Banjong Pisanthanakun’s The Medium explores the complex world of shamanism in the Isan region of Thailand. The gendered power dynamics within the film are noteworthy: female mediums like Nim (Sawanee Utoomma) challenge traditional gender roles through their spiritual authority, in stark contrast to the dominance and control asserted by male shamans like Santi (Boonsong Nakphoo) over female agency. Analysis of the character dynamics and thematic elements present in the film reveals the complex interplay between gender, spirituality, and power, which further reveals The Medium to be a challenging and renegade horror.
Set in 2018, the story follows a documentary team filming “The Descendants of the Psychic” as they investigate the lives of psychics across Thailand. The Medium centres on Nim, a psychic possessed by the ancestral god Bayan, who has been a spiritual figure in her family for generations. The film’s setting is in northeast Thailand, where ancient beliefs in gods prevail, and it provides a unique cultural backdrop. In this region, anything supernatural is considered a “god,” encompassing both benevolent and malevolent entities. This context is crucial for understanding the spiritual and gender dynamics portrayed in the film and the fact that “medium” and “psychic” are used interchangeably in the English translation.
A middle-aged woman, Nim has devoted herself to serving as Bayan’s medium. She takes pride in her family’s esteemed lineage, which originated with her grandmother. Her ancestor held the revered role of overseeing a yearly ritual within their community that foretold the fortunes of the upcoming year. Nim upholds her grandmother’s legacy while also assuming the role of healer. Her remarkable ability to diagnose and treat ailments caused by “invisible things,” such as aiding a man cursed and paralyzed after disturbing a grave, solidifies her position as both a spiritual leader and a revered community member.
Despite Nim’s spiritual authority, she lives simply and has a straightforward approach. Her shrine to Bayan is situated in a sparsely decorated room where she attends to her patients. She diagnoses and cures in the same breath, without theatrics or followers surrounding her. This simplicity extends beyond her spiritual duties; Nim has carved out a semblance of autonomy in her personal life. She enjoys sewing, watching television, driving to see her family, and finding solace in the ordinary. This balance highlights her unique position: she retains control over her personal life while surrendering her body to Bayan’s spiritual demands, subtly challenging traditional gender roles.
In contrast, Nim’s estranged sister, Noi (Sirani Yankittikan), offers a different perspective on traditional gender roles: instead of rejecting them, she embraces them. Initially selected as Bayan’s medium, Noi rejects the role, choosing to convert to Christianity so she can focus on raising a family. While Nim lives alone, Noi and her family live with their elder brother, Manit (Yasaka Chaisorn), and his family. The divide between Nim and Noi is rooted in Noi’s guilt over her sister having to serve Bayan in her place, coupled with a lingering uncertainty regarding Nim’s role as a medium and healer. Despite their village having touches of modernity through electricity, televisions, and cell phones, no women outside of Nim hold any position of power. Even when Noi is given the opportunity to inherit her deceased husband’s market stall, she refuses to do so — transferring it to Nim instead.
Noi’s refusal to embrace her spiritual inheritance and her subsequent condemnation of Nim reflect the societal pressures women often face when stepping outside traditional roles, even within their own family. Noi often dismisses Nim’s concerns about her daughter, Mink (Narilya Gulmongkolpech), refusing to listen when Nim tries to share them after sensing that something sinister has clung on to her. Lashing out with rage and boldly flaunting her sexuality, Mink acts as if she is possessed, and Noi initially seeks help from a male shaman instead of Nim. This unnamed shaman, despite being known as a charlatan, has a solid following and an elaborate altar, highlighting the gender bias in spiritual leadership. Even after this visit ends in disaster, Noi remains reluctant to consider Nim’s help, indicating internalized scepticism towards female authority figures.
One can see how deep Noi’s scepticism runs when she expresses her doubt about Nim — doubt that does not extend to her grandmother or her aunt. Raised in a culture where elders are respected above all else, Noi is only willing to question her younger sister Nim’s legitimacy. Noi’s guilt is palpable as she admits that she believed in Bayan enough to turn to Christianity to avoid becoming his medium. Yet, she still hesitates to believe in Nim’s legitimacy. The fact that Nim has helped people is ignored, and when Noi does accept that her daughter is possessed, she remains unconvinced that Nim can heal her. Instead, Noi only trusts her sister enough to seek out a reputable shaman on her behalf.
Santi (Boonsong Nakphoo), a male shaman with significant influence, highlights the stark differences between himself and Nim. His ceremonies are marked by elaborate rituals and the involvement of numerous followers, who dress in white and serve him with a devotion that borders fanaticism. This spectacle includes beautiful dancing women, introducing a sexual element to Santi’s ceremonies. This starkly contrasts Nim’s austere practices and attire, reinforcing her authenticity and dedication to her spiritual duties. Santi himself admits that this pageantry is a sham, a means to pay his bills, highlighting the exploitative nature of his rituals despite his genuine ability as a shaman. It is impossible to imagine Nim doing the same; even when she expresses moments of doubt, her sincerity and compassion define her.
During Mink’s exorcism, Santi freely and vocally complains about the strain of the ritual, relying heavily on his followers for assistance. The physicality of his rituals, where he hits Noi (who acts as a temporary vessel for the gods that occupy Mink) to expel the evil, demonstrates a form of control that is both physical and symbolic. In contrast, Nim’s approach is notably different — she limits physical contact with her patients, even with her niece, Mink. This restraint emphasizes a more respectful and less invasive interaction, sharply contrasting with the aggressive methods of male shamans like Santi. Instead of filling the space around her, Nim occupies the least space possible.
Moreover, Nim’s expression of worry and doubt is more restrained and internalised. Throughout the film, she often refuses to continue with the documentary interview, expressing her anxiety physically rather than verbally. This quiet demeanour contrasts sharply with Santi’s vocal complaints, further emphasizing their different approaches to spiritual leadership. Nim’s lack of sexualization and humble appearance underscores her genuine connection to the spiritual world. However, there is an inherent disappointment, too, that Nim has to be depicted in such a way as to have credibility.
Nim’s sexless appearance seems an intentional choice on her part, as the film strongly suggests that she has a clear understanding of how society views her and the world that she lives in. She has the calmest reaction when Mink’s incestuous relationship with her deceased brother is revealed and remains unphased when Mink, now possessed, attempts to molest her uncle and flaunts her sexuality. Nim is not disgusted by the idea of sex, even taboo sex, but by Mink’s lack of agency, something that the rest of her family and Santi are seemingly unconcerned with.
The presence of other male shamans further accentuates this dynamic. The unnamed male shaman that Noi initially consults for her daughter operates with a devoted audience and asserts authority in ways Nim does not. This discrepancy underscores the gendered power structures within the spiritual community, where male shamans often exert more visible and direct control over their followers and rituals. In contrast, Nim’s quiet, solitary practice and personal sacrifices highlight a different form of spiritual authority that challenges traditional gender norms.
The societal implications of these gendered dynamics extend beyond individual characters. The film reflects broader cultural attitudes towards gender and power within Thai society, where traditional gender roles are deeply entrenched. Overt aggression, sexuality, and dominance are attributed to males, while the opposite is expected from females. The Medium critiques these cultural norms by presenting female mediums who command spiritual authority and challenge these roles. It suggests that spiritual power can transcend gender and that female spiritual leaders possess a unique and profound influence that contrasts with and often surpasses their male counterparts.
Ultimately, The Medium uses its narrative to explore and question traditional gender roles within its cultural context. Through the characters of Nim, Noi, and Santi, the film illustrates the complexities of spiritual authority and gender, highlighting how female mediums navigate and challenge the patriarchal structures surrounding them. This exploration enriches the film’s narrative and provides a thought-provoking commentary on the intersection of gender, spirituality, and power in contemporary society.
