Humour has always been an integral part of Thai horror, a cinematic genre characterized by its internal hybridity and fluidity. Despite some attempts to align local productions with Western or Japanese horror, the majority of Thai horror films continue to mix scares with laughter, frequently featuring the ‘unholy trinity’ of ghosts, slapstick comedy and the kathoey – a Thai third gender category, often depicted in such productions in terms of the Gothic body that is simultaneously the site of ridicule and fear. This article examines the work of two directors who have embraced this approach – Poj Arnon and Yuthlert Sippapak. While Poj Arnon’s films have often been branded as tasteless and nonsensical, each of his 30-something productions has made a healthy profit, attesting to their popularity. In contrast, Yuthlert Sippapak’s works have baffled audiences at several international festivals and the director himself has been promoted as an inscrutable auteur. This article focuses on two major film series by these directors – Hor Taew Tak by Poj Arnon, and Buppah Rahtree by Yuthlert Sippapak. The article uses these films to illustrate a distinction between Thai horror comedies and Thai popular horror films, arguing that the comic elements are an indispensable part of their Gothic framework and a feature characteristic of Thai popular horror film in general.
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