nak ( film )
toured thai temples conducting ceremonies to appease nang nak' s spirit and obtain good luck for the film .
nang - nak plot is unknown at this time. we will update nang - nak plot as soon as possible .
film offers the opportunity to create memorable branded experiences that immerse the viewer and illicit strong emotional responses. at nak house, we ensure that from the initial concept through storyboarding and the finished film, we convey our clients’ messages in their most compelling and emotive form .
artists working in film and video have long engaged questions of narration and structure, truth and fiction .
monsters inc: nak the single - mum ghost in a reincarnation as a pop - heroine .
looking for movie tickets? enter your location to see which movie theaters are playing nang nak near you .
based on an ancient thai folk legend, nang nak tells the story of a young couple, mak and nak, who share an idyllic existence in a stilted wooden house on a quiet rural bayou. nak is a beautiful and devoted wife who caters to mak' s every desire and comfort, and mak provides for his bride by fishing, foraging and farming. life is good, until mak is called to war in the city of bangkok, leaving a pregnant nak behind to fend for herself .
the rugged outdoors and surrounding oceans are the driving influence behind nak' s modern and contemporary grooming range. read more ...
ghost of mae nak is a love story first, a horror movie second. the cast is excellent and the screenplay is original .
before all that, however, project hashima commences as if it' s positioning itself as a thai version of blair witch project. when the film begins, five young thais are seen wandering around a dark mansion, shooting footage of the bloody chaos within and then running for their lives as a specter jumps into view; the screen suddenly freezes, and the viewer is then to realize that the sequence is a staged horror - film, one that the quintet is hawking to a film producer (played by real - life filmmaker nonzee nimibutr of nang nak and jan dara fame) .
if you like the movie the ring you would love movie ghost of mae nak. this movie having a really nice twist to it .
nak, animation featuring the voices of sasikarn apichartworasin, petchthai wongkamlao and chukiat eiamsuk. directed by natthapong rattanachoksirikul: nak, the new animation from bboydcg studio, is a clumsy clash of civilisations: rustic postcards of old siam vs lcd - billboarded mega - capital; japanese anime pop - aesthetics vs sci - fi mytho - babble; liberal swagger (the legendary nak is depicted here as a sexy, single - mum ghost) vs conservative reassurance (the ghosts cup their hands to pray when facing the film' s monster - in - chief, a lava - breathing iron buffalo) .
thailand pop cinema' s controversial' monks with guns' movie is a saffronhued neo - noir, completed in 2008, kept on the shelf by its nervous film studio until last - year' s liberalisation of thailand' s film censorship laws, but now the surprise box office and critical hit of thai cinema in 2010 .
explores film and video not only as a tract upon which scenes are enacted, broken and re - spatialized, but as a scenario, a deception and a scheme .
nak is a ghoulishly fun, animated musical romp. set in the present day, nak features a collection of thai ghost legends that have grown tired of haunting and moved to the country intent on helping all humanity. one night, at a temple fair, an audience is enjoying an outdoor movie when a ghost comes out of the screen and takes away tee, a seven - year - old boy. the king of all ghosts plans to use tee to fulfill his dark plan of world domination. nak, the most popular ghost legend in thailand, and her very colorful friends keaw (a headless ghost), thong (a doggy ghost), and eud (a tall demon) come together to help gam, tee' s sister, get tee back. nak is especially moved by gam' s plight as her painful past comes to the fore and she fights for someone who was once taken from her. chock - full of exuberant characters, lively action, and a variety of emotional and toe - tapping songs, nak is a film based around ghost legends that is perfect for late - elementary youth and older. the film is also a ...
there is a lot more to this film than immediately meets the eye. most thai historicals or ghost stories are loaded with anachronistic pop culture cliches. this one wasn' t; people spoke with their mouths filled with betel (maak), the lead actress didn' t have lipstick, the houses were quite realistic, etc. in addition, the rural monks switched between high - level speech and country slang. the point is that this film is a serious attempt to do justice to both the original tale and the time period it is set in. the empathy for nak far surpassed the scariness. what stood out for me is that nak' s justification for her actions seemed quite defensible, adding to the anguished poignancy of the situation. asian ghost stories, when done well, have a strongly moral character. this is one of the finest examples i have seen .
ghost of mae nak: 7 out of 10: first we had j horror (stark white japanese female ghosts with long black hair that scream) then korea developed k horror (featuring stark white ...
as the film opens we see nak (davika hoorne) struggling in childbirth alone, crying for her husband mak (mario maurer). but he is away at war with four other soldiers he has become friends with; aey (kantapat permpoonpatcharasuk), ter (nuttapong chartpong), shin (wiwat kongrasri), and puak (pongsathorn jongwilak). they are nearly overwhelmed by an assault but mak rallies them, saying how he refuses to die without seeing his wife and newborn child. they escape despite mak being gravely injured, and return to mak’s village. mak and nak are joyfully reunited, and mak invites his friends to stay in a nearby hut .
what kind of scenes in a horror film scares you the most? when a ghost appears totally unexpectedly? when the main character does not see the ghost sneaking up behind him? when at the very... see full summary »
the plot brings together the work of artists who share approaches to non - linear narrative. the plot explores film and video not only as a tract upon which scenes are enacted, broken and re - spatialized, but as a scenario, a deception and a scheme .
going into this i really had no idea what to expect; i had never seen a thai film before, and all of my knowledge about asian culture comes from the few animes / mangas i have looked at. the closest american comparison i can think of is the scary movie series, but it’s really in genre only. this film is not a compilation of horror trophes and the humor is less crass than the american style is right now. but i have to say, this movie is one of the greatest balances of horror, comedy, and romance that i have had the pleasure of seeing. i have mentioned before that i don’t really do horror because the suspense kills me, but this movie was ok because it wasn’t too heavy on the suspense. sure it was there, but it is really more of a comedy than a horror film, so i did alright .
brings together the work of artists who share approaches to non - linear narrative. they use structural breaks, an economy of means (or its aesthetic) and the employment of film as a stage upon which amateur actors (or their proxies) consider history, human relationships and the space created by the camera .
original teaser of
nak
, the project i' ve been worked with for 4 years. it was released in 2008. this teaser was created around 2005, before we' ve got the budget for the project. so, not many people has seen this one: )
in nak, the rural ghosts live in peaceful symbiosis with the humans: the ghosts play the moral police by spooking bad people, while the good humans supply them with food offerings. but when the city ghosts - led by an underaged anakin skywalker - like child demon and a replica of that hideous woman from the ring - abducts a human child from the village to use in a ritual that will enable them to rule the world, nak and her motley crew of local demons (one of them has the features of a dwarfish shrek) board a train to the city to rescue him .
nang nak is an artful and elegant portrayal of the traditional thai lifestyle, imbued with the deep cultural values and ancient superstitions that permeate the ethos of the thai people. with its masterful cinematography, refined talent, minimal dialogue, and subtle drama, director nonzee nimibutr has created a hauntingly memorable cinematic work .
a perennial thai ghost story (filmed something like 30 times before) gets definitive treatment in this relatively big budget effort from the talented nonzee nimibutr. after mak has reluctantly left his pregnant bride nak to fight, he returns bearing the scars of battle. she greets him with all her heart, and they have a beautiful baby now, yet their old friends avoid the household. nak died in childbirth, they tell him. the dialogue is rudimentary, but nonzee goes to such pains to establish his characters and their love, the horror when it comes is as moving as it is grisly (and believe me, it' s grisly !) .
fortunately for us english - speakers, the majority of the comedy was physical so it’s funny in any language. as much as i appreciate witty humor, i also love me some slapstick, and this film delivers. the romance was also very well done i feel, there were some really cute moments between mak and nak and a couple of scenes that were very sweet. there were a few things that were lost in translation, but they were mostly cultural quirks. for example, at the time this is set (it is technically a period piece) it was fashionable to eat a kind of fruit that left people with black teeth, so that’s why the entire cast appears to have rotten teeth .
nak is a familiar character who has been reborn in thai cinema over 20 times (usually she haunts people; and in one movie she even invades japan). in this animation she' s been put in an unprecedentedly colourful context, and however refreshing it seems, it' s too bad that we learn nothing new about her at all
they arrive at a megapolis of humans and spirits whose relationships aren' t as pally as those in the province. the transition from the bucolic setting in the first half to the industrial archi - texture of the second is jarring, despite the elegant design by the team of thai animators who' ve been working diligently on the project for nearly four years. nak and her sidekicks battle the horde of flying, hooded, skull - faced ghosts of no clear ethnicity in spaceship - like corridors and then a large, grey - steel bowel resembling something from an early star wars movie: the film becomes a half - realised sci - fi extravaganza, even though the legion of thai ghosts still display their traditional qualities with relish .
again, i have no doubt that thai animators have adequate technical proficiency to produce an eye - popping 3d animation like the americans or japanese. but something is lacking here: the wit, the shrewdness, the cinematic fluency, a script that would play the traditional - contemporary swing with humour and flair, the independence from its assorted influences, and maybe the boldness to claim that independence. nak is pretty to look at, but the film is stiff in the joints, cramped in the muscles. its protracted climax is a jumble of confusing tones - wacky, sentimental, spiritual, magical - and above all, it leaves no clear conviction about what the movie really wants to be: thai, contemporary, japanese, pixar, all, or none of the above .
the next day the five men go into the town where they encounter suspicious villagers who believe that nak is a ghost. mak is angered by the claims and refuses to believe anything of the sort, but his friends become wary. back at mak’s hut, the four find evidence that everything is not as it appears. shin is creeped out when he tries to find mak at his house late at night and everything looks run - down. ter finds a partially buried, decomposing body in the woods, and all four are subjected to a meal of rotting leaves and worms that mak seems to have no problem with. now convinced that nak is a ghost, the four men try to tell mak that he needs to get out. he rebuffs them and they retreat, coming up with a plan to “free” him. they abduct him from a local carnival he was attending with nak, but when he reacts to some rice that has been blessed by a priest, his living status is thrown into question. the four friends must now figure out exactly who is alive and who is the ghost before they can rescue the living from the dead .
the new nak cartoon, produced by songwriter boyd kosiyabong and action - maestro prachya pinkaew, harnesses startling technology, but it is also an example of the awkwardness when the filmmaker wanted his work to look both cool and customary, to be fashionable and to be grounded in the familiar audience perception. nak, usually known as the lovelorn wife who died in childbirth when her husband was away fighting in a war, is pictured here as a sassy pop - heroine with fuchsia hair and pink, midriff - baring traditional robes. her eyes are the egg - sized portholes of japanese cartoon nymphs, her breasts prominent under the tight wrap, her naked shoulders square, her waist supermodel - slim, and her skin the ashen colour not of a dead woman, but of a chic girl who regularly uses uv - protection whitening cream .
mak' s best friend is killed in the war, and mak himself suffers a serious wound. nonetheless, he manages to make it back home to reunite with nak and their newborn son. but it isn' t long before mak begins to realize that all is not as it seems. nak is as devoted as ever, and the baby they dote upon is fat and healthy, but mak senses the shroud of dread that has fallen over their fellow villagers. he is shunned by many as he begins to hear rumors of death and delusion. an eerie chill comes with each nightfall, as the plaintive wail of a ghostly voice wafts through the village on the wind that blows down from the lonely mountains. when a series of mysterious deaths plague the village, the village shaman and his disciples decide that it' s time for mak to learn the truth .
for the past 9 months my family has been hosting a thai foreign - exchanges student, and she is returning to thailand tomorrow. so i thought today would be a perfect time to post about a thai movie she showed me that i thought was pretty great. pee mak (i would translate that for you guys but it’s a name, not really a word) was directed by banjong pisanthanaku and came out in 2013. it is thus far the highest grossing film in thailand, as well as one of the highest in asia. it’s a horror comedy based off of the well - known thai legend of mae nak phra khanong (again, the first half is a name and the second half is the name of the village). there are basically six main characters, including four played by what is apparently thailand’s modern equivalent of the marx brothers: kantapat permpoonpatcharasuk, nuttapong chartpong, wiwat kongrasri, and pongsathorn jongwilak. the first two paragraphs will contain some potential spoilers !
unable to get a deal, the five film - school graduates uploaded the clip to youtube, and somehow caused a sensation by chalking up six - digit views in just days. on the strength of this, the aspiring filmmakers is offered a deal by a tv production outfit company to shoot a horror - driven tv program on hashima, with all expenses paid. cue the production placements, as the characters discuss buying travel insurance before departing and then, upon arrival, are somehow shown enjoying a grand time at a theme park in nagasaki .
these distractions run the risk of the film' s hashima - set showpiece an afterthought - and it' s all because the central premise is very shaky. rather than employing hashima' s extraordinary history as a narrative backbone - the once - flourishing community, nicknamed the
battleship island
for its crowded concrete appearance, quickly descends into a no - man' s - land when its coal mines shut down in 1974 - the remarkably untouched buildings only served as the backdrop of a half - baked story about a jilted wife cursing the island upon her death .
when one of project hashima' s inevitably ill - fated protagonists tempts fate by messing with some possessions of the dead, he shrugs and states how
rules are meant to be broken
. well, the supposedly spine - tingler of a story he' s part of has indeed ruptured a few horror - film maxims, but not in a good way: by overwhelming the sporadic short - sharp shocks with teen - romance melodrama - bizarre love triangles and licentious loan sharks ahoy - producer - writer adirek
uncle
wattaleela has delivered a stuttering thriller which outstays its welcome .
in short, the film wants to look thai and it wants to look contemporary. and by straddling those two realms it poses the same anxious question upon itself whether it' s possible to gel the two pressures and construct the right
contemporary thai
look - and sensibility. because the idea of
contemporary
seems be borrowed from outside, primarily the west, but also from the geekdom of pop - cult like japan, the attempt to present something recognisably thai yet also
modern
- something that doesn' t look old and choie - is not just an artistic but also a social challenge .
( 2011) by berlin - based keren cytter, whose films often present characters acting out complex and alienated relationships. her scripted work offers an instability that references direct experience and personal observation, as well as calling upon popular cultural forms (film, television, theatre, and literature). cytter’s short scenes, repetition and use of a hand - held camera result in abstracted interactions and events. unstable notions of identity, memory and relationships are also found in the work of vancouver - based isabelle pauwels. pauwels’ innovative approach to shooting, editing and installation draws attention to authorship and spectatorship as a process. pauwels’ work, including
nak wants so much to be visually progressive, but its underlying mentality is that of a straight - laced middle - class type; it has no messages, it only has reassurances. wonderful japanese cartoons, such as spirited away or grave of the fireflies, or even a mainstream hollywood product such as ratatouille not only tell good stories, but they also challenge young viewers to see adults - or the world in general - a little differently. these movies ask questions, instead of just reminding us of the old answers (that every mother loves her child, and that evil always looks like evil) .
having just opened in vietnam and hong kong in the past fortnight and set to unspool in singapore on mar. 27, project - which opened in thailand last halloween - is unlikely to cross more international thresholds beyond these shores. it' s certainly not going to break the japanese market anytime soon, what with its misshapen take on hashima (which, in reality, has never been regarded as a paranormal hub, let alone
the top five haunted places on earth
, as explained in the film), its single - tracked depiction of the country' s folk traditions (it' s all about female ghosts in kimonos) and pale duplicates of j - horror templates (with ringu casting the heaviest shadow on it all) .
just as much as the five young filmmakers seem not to know what they were looking for on the island, project hashima' s makers haven' t really thought through the story they want to tell with their extraordinary set. while the film' s final twist does revolve around a character' s silly stunt on the deadly island - rule - breakers are destined to have themselves broken, or something like that - what follows is just a lot of screaming and running around as a japanese ghost wreaks havoc in their lives back in bangkok. rather than making broad and loud gestures - something also symbolised by the overwhelming score from frequent pang brothers collaborator peyont pernsith (the detective, re - cycle) project hashima would have been better off bringing home some japanese - style repression and subtlety .
keren cytter (born in tel aviv, 1977) has been the subject of numerous solo exhibitions at venues including kunsthalle zurich (2005), kw, berlin (2006), mumok, vienna (2007), witte de with, rotterdam (2008), x initiative, new york (2009), and moderna museet, stockholm (2010). cytter’s work has also been included in a number of biennials and group exhibitions, and she is the author of several novels and live performances. she is represented by pilar corrias gallery, london; schau ort, zurich; and galerie christian nagel, cologne / berlin / antwerp. jos de gruyter (born in geel, belgium, 1965) and harald thys (born in wilrijk, belgium, 1966) have been working together since the mid - 1980s. their work has been the subject of solo exhibitions at such venues as muhka, antwerp (2007), culturgest, lisbon (2009), kaleidoscope, milan (2009), and nak, aachen (2011). they have also participated in numerous biennials and group exhibitions. they are represented by isabella bortolozzi galerie, berlin and galerie micheline szwajcer, antwerp. isabelle pauwels (born in kortrijk, belgium, 1975) received her mfa from the art institute of chicago. she has had solo exhibitions at or gallery (2001), contemporary art gallery (2003) and presentation house (2009) in vancouver, and at mercer union, toronto (2004), henry art gallery, seattle (2010) and tatjana pieters, ghent (2010). her work has also been included in group exhibitions internationally. she is represented by catriona jeffries gallery, vancouver .
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some thai artists have succeeded in that elusive quest, to varying degrees. kamin lertchaiprasert drew deeply from the wellsprings of buddhist thoughts in his new - age art pieces, and in sakarin krua - on' s famous installation, he gave us gallery - friendly real rice paddies. then we have someone who goes beyond the tribal classification of thai or non - thai and dallies with the liquidity and fluctuation of global cultures - someone like the new york - based rirkrit tiravanija, who once turned a thai cooking class into a performance art and who staged the ramayana rock opera in manhattan' s lincoln center in 2006. in cinema, we have apichatpong weerasethakul, whose films are so steeped in the wealth of siamese folklore yet so metaphysical in their textures that a lot of thai moviegoers just don' t get him .
as a mother, she' s quite hot (not too hot, maybe, to become a spokeswoman of the culture ministry). yet as a thai from a rural community, she preserves the value of a loving parent who' s ready to sacrifice herself to protect her children in the face of mortal danger. or is that the logic from harry potter ?
in 2006 the expensive thai animation khan kluay, made with over 100 million baht, exploited the sleek technique to relate a uniquely thai narrative: the vanquishing of the burmese, our de facto enemy. in the process the chubby khan kluay became the most right - wing elephant in the history of our moving images; and the movie sticks out as an odd package of children - oriented entertainment, made with superb craft and technology, that tells a cynical adult' s tale of deep - seated conservatism .
recently, another exceptional animation played in bangkok. persepolis is the tale of an iranian girl who grows up during the islamic revolution, based on the autobiographical comic books by iranian marjane satrapi. hand - painted in black - and - white, with the flat, destylised design of old comic series, the movie feels more
contemporary
in its look and outlook than any 3d computerised cartoons .
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a group of thai ghost legends have grown tired of haunting and move to the country to help humanity .
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humidity proof your hair just in time for melbourne cup. read more ...
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melodrama and other distractions deflate any horror in a piece which makes spare use of its titular location. twitter
piyapan choopetch' s paranormal thriller sees five thai filmmakers struggle with the after - effects of a location shoot on hashima, the abandoned japanese island which inspired the villain' s den in
skyfall
.
perhaps it' s worthy to note how scenes set on hashima - the once vibrant but now entirely abandoned japanese island which inspired sam mendes' vision of the villain' s den in skyfall - only takes up about half an hour of project' s 118 - minute runtime. with director piyapan choopetch and his dp nattawut kittikhun falling short of fully capitalizing even the eerie atmospherics of hashima - where crumbling tenement buildings still stand decades after they were vacated - the build - up and the aftermath of the characters' ill - advised island adventure are even more lackluster .
but amidst all this the characters are given some kind of texture by falling into type: there' s the alpha - male off (alexander rendell) and his plain but diligent girlfriend nan (rom - com / horror star apinya sakulkaroensuk, most recently seen in rotterdam indie entry concrete clouds); the needy beauty may (sushar manaying); the sensitive, artistic nick (pirat nipitpaisalkul); and the long - haired oddball dog (mek mekwattana). somehow at odds with the suspense needed for the genre, adirek' s screenplay instead elects to expand these characters on romance and soap - opera twists: many a suppressed emotion exists among these fivesome, and personal trials and tribulations which are either left underdeveloped (such as nick' s struggle to consolidate his first step on the slippery ladder of showbusiness) or swerved towards something distinctly at variance with a ghost story (when one of off' s friends pay the price for the gambling debts he chalked up) .
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a young newlywed couple acquires an old abandoned house that bring them into contact with a vengeful spirit. at first the ghost protects the couple from unscrupulous visitors but it becomes apparent that it expects a terrible favor in return. only by setting the spirit free, can they escape its wrath .
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i really liked this movie. the filming isn' t great and the special effects are sometimes downright silly, but i enjoyed watching it. this isn' t high class horror, but it was fun to watch. what other horror movie has a musical montage in the beginning of people fixing up a house ?
if you love thai movies, especially scary ones, then you must get this one. i ordered for my mother who' s thai, and she loved it .
not for everyone, but asian horror seems to make me think. find out what ghost wants, try to give it to her and hope for the best. this is a pretty common theme but i never get tired of the journey and this one took me in a new direction .
this movie is a ghost story made out of a legend. it was well written and the acting was excellent. if you like actual ghost stories, this one is definitely for you !
another reviewer i think already hit on the key point that this movie is more about love than about horror. i watched this movie last summer on dvd and really enjoyed it. for many people this will probably be their first thai movie they' ve seen. i' ve seen a few as i' ve travelled to thailand on a few occasions. i' ve certainly seen scarier thai horror movies than this one, but i don' t think it was the director' s intent to make this a
scary
movie. as others have pointed out, this is a folk tale, and the movie feels like a folk tale being told to us. it' s not supposed to be jason v. freddy with special effects and 12 different camera angles showing someone' s head coming off. and i think it is more of a love story than it is a ghost story. if you are expecting blockbuster effects you will be disappointed. if you like seeing a folk tale or a good ghost story you might tell around a camp fire come to life, then you' ll likely enjoy this one .
in thailand, during the reign of rama iv, king mongkut, there lived a beautiful young woman by phra khanong in bangkok .
i watched this movie just to see what it was about and i felt that it took too long to get to the point. there are many other jhorror filmz that out beat this trilogy, like wise .
it' s a slow starting movie that is extremely boring. half the movie is about a wedding and the rest is about a ghost .
low - budget cinematographer mark duffield takes a seat in the director' s chair for his first outing, a thai horror flick that ...
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keren cytter, still from avalanche, 2011. 4 - channel digital video, 32 min. courtesy the artist and pilar corrias gallery, london .
( 2005), typically weaves a dense, layered story that implicates the viewer in a negotiation with psychologically complex spaces. brussels - based collaborators jos de gruyter and harald thys create films
( 2010), that focus on issues of thwarted communication and defensive interiority. revealing the absurdity of the world we live in, their work questions individual power and proposes a schematic equivalency between individuals and objects .
together, these works test claims to territory and storytelling. the disruption of narrative in
overall i thought it was a really cute comedy with some horror thrown in, and i thoroughly enjoyed it. it’s pretty easy to find with english subtitles, the version we watched was on youtube. so if you’re looking for some thai culture or if you just want to branch out a little with some comedy, this is the movie for you !
“you know i’m terrified of ghosts. but i’m more terrified of living without you. ”
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kid, the next time i say ,
let' s go someplace like bolivia ,
let' s go someplace like bolivia .
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nak ( thai : นาค ) is a thai animated fantasy film that was released on april 3 , 2008 . the story is based on ghosts of the folklore of thailand , who in this movie shed their sinister reputation and are the heroes . nak , its central character , is based on the figure of mae nak , a thai female spirit that has a baby and can stretch her arms . nak 's striking fuchsia-colored hair and eyes in this movie are a departure from her alleged looks in traditional lore though . other spirits familiar to thai people that appear in this movie are phi hua kat , krahang , krasue , phi am , nang tani , nang takian and phi phong . ghosts from other backgrounds such as phi yipun , the scary woman with long , stringy black hair wearing a white gown , a well-known vengeful ghost ( onryō ) from japanese horror films based on the yotsuya kaidan story , also have a role in the nak movie . 
nak (thai: นาค) is a thai animated fantasy film that was released on april 3, 2008. the story is based on ghosts of the folklore of thailand, who in this movie shed their sinister reputation and are the heroes. nak, its central character, is based on the figure of mae nak, a thai female spirit that has a baby and can stretch her arms. nak's striking fuchsia-colored hair and eyes in this movie are a departure from her alleged looks in traditional lore though. other spirits familiar to thai people that appear in this movie are phi hua kat, krahang, krasue, phi am, nang tani, nang takian and phi phong. ghosts from other backgrounds such as phi yipun, the scary woman with long, stringy black hair wearing a white gown, a well-known vengeful ghost (onryō) from japanese horror films based on the yotsuya kaidan story, also have a role in the nak movie.
nak (thai: นาค) is a thai animated fantasy film that was released on april 3, 2008. the story is based on ghosts of the folklore of thailand, who in this movie shed their sinister reputation and are the heroes. nak, its central character, is based on the figure of mae nak, a thai female spirit that has a baby and can stretch her arms. nak's striking fuchsia-colored hair and eyes in this movie are a departure from her alleged looks in traditional lore though. other spirits familiar to thai people that appear in this movie are phi hua kat, krahang, krasue, phi am, nang tani, nang takian and phi phong. ghosts from other backgrounds such as phi yipun, the scary woman with long, stringy black hair wearing a white gown, a well-known vengeful ghost (onryō) from japanese horror films based on the yotsuya kaidan story, also have a role in the nak movie.