On Oct 23, Prime Video invites audiences into the haunting world of Mae Sue. Host, a chilling original film, reimagines one of the country’s oldest folk beliefs for a new generation.
Rooted in the myth of Mae Sue, a guardian spirit said to protect children from birth until age 12, the film transforms this once comforting presence into a figure of terror. Set within the claustrophobic confines of an isolated girls’ reform school, Host merges folklore, psychological horror and social allegory into a story that promises to unsettle viewers long after the credits roll.
For director Pokpong Khumwan, known for Siam Square (2017) and Girl From Nowhere (2018), the project represents both a creative challenge and a cultural responsibility.
“In my spare time, I often find myself jotting down new story ideas — most of which tend to circle back to the horror genre,” the director told Life during a recent exclusive interview.
“When I looked back through decades of Thai horror cinema, I realised that Mae Sue — a spirit familiar to almost everyone and one that people often reference in jokes or everyday life — had never actually been depicted in film. That struck me as surprising and it felt like a creative opportunity worth exploring.”
The film centres on Ing (Thitiya “Baipor” Jirapornsilp), a frail young girl sent to a reformatory school on a remote island where obedience is the only rule. Surrounded by cruelty and hierarchy, Ing becomes the target of Aim (Veerinsara “Perth” Tungkitsuvanich), the ruthless head student who rules the dormitory with fear. When eerie events begin to occur, Ing is forced to question whether she’s being haunted or if the haunting comes from within herself.
For Pokpong, the school isn’t merely a backdrop, but an essential psychological landscape.
“Once I had the idea, I began searching for a setting that would give the film a distinctive personality — something more unusual than a city or a forest, but still a place where the characters could feel trapped,” he explained.
“We decided to adapt the idea into a girls’ reform school since the story connects more naturally to themes around women and motherhood. The world we built in the film is simultaneously confining and free. The students can move about the campus, but they cannot leave the island. It’s like letting cows graze freely along a path, except the cows can’t wander far.”
The visual tone of Host draws from both historical and mythological sources, reflecting the director’s fascination with reinterpreting cultural memory through modern cinematic language.
“When it came to balancing tradition and creativity, I went back to the project’s core intention,” Pokpong said.
“I wanted to craft a horror film that carried the texture of local folklore, similar to what we’ve seen from American New Wave of horror — films like The Witch [2015] or Midsommar [2019] — which reinterpret old legends with a new cinematic voice. At the same time, I also wanted the film to retain the essence of classic Thai horror, like Nang Nak [1999] or The Unseeable [2006]. Our goal was to take something ancient and transform it into a new flavour and cinematic experience.”
That approach aligns perfectly with Amazon MGM Studios’ growing commitment to distinct local storytelling within its international originals strategy. Darin Darakananda, head of central scripted series and movies, international originals, sees Host as part of a broader movement to bring Southeast Asian narratives to the global stage.
“Southeast Asia is truly the next frontier in terms of global storytelling, with Thailand in particular having proved itself in recent years as a producer of high-quality stories that resonate worldwide,” Darin pointed out.
“Our content is distinct as our stories are always rooted in human connection and lean heavily towards emotions. Like our cuisine, where we want all five flavours to be highlighted in every Thai dish, we want our audience to experience a range of emotions when enjoying our content.”
In Host, those emotions run deep beneath the film’s supernatural surface. The legend of Mae Sue, as Pokpong reimagines it, becomes a mirror for modern fears — about power, isolation and survival.
“My starting point was to create a kind of microcosm of Thailand — shrinking the country down to a smaller, more intimate setting, but focusing on the individual experience within it,” he said.
“I feel that Thai society today has become one where people are largely left to fend for themselves. That idea really shaped how I wrote the characters — they exist in a dog-eat-dog world, where the weak inevitably become prey.”
Within this closed system of control, the supernatural emerges not only as terror, but as metaphor — a force that exposes human cruelty and the fragile hierarchies people construct to survive.
“The horror genre is uniquely positioned to transport audiences to a familiar realm while simultaneously asking them to suspend their beliefs and preconceived notions,” Darin added.
“It provides filmmakers with a special sandbox where they can both narratively ground a story while adding fantastical elements that feel both natural to the story, yet supernatural in tone. That freedom allows us to introduce non-Thai audiences to Thai folklore and also tradition and customs in a way that is entertaining and cultural.”
That dual mission — to scare and to speak — runs through every aspect of Host. From the unsettling atmosphere of the reformatory to the layered performances of its young cast, the film treats fear not as spectacle but as emotion.
Pokpong’s collaboration with Thitiya “Baipor” Jirapornsilp and Veerinsara “Perth” Tungkitsuvanich demonstrates his belief that horror works best when grounded in empathy.
“I wanted to see Baipor step away from the sweet, cheerful image people are familiar with and take on a more emotionally demanding role,” he recalled. “Honestly, I didn’t have high expectations at first, but when she came in for the audition, I was struck by her energy and determination. I immediately knew she was Ing. After three or four days of shooting, I realised she had already grasped the character better than I did.”
As for Perth, Pokpong says her natural charisma brought the film’s darker layers to life.
“She naturally has an air of arrogance — she doesn’t even have to try,” he said, laughing. “That quality made her perfect for Aim, the dominant leader among the girls who exerts control over others for her own reasons, yet carries a certain fragility in her eyes — a wound that hints at something deeper inside.”
The result is a film that oscillates between cruelty and compassion, power and vulnerability — an emotional range that echoes Darin’s earlier metaphor about Thai cuisine. While Host may frighten audiences, its true intention runs deeper.
“Empathy,” Darin said simply when asked what she hopes viewers will feel. “There can always be more empathy in the world. Success is being able to have entertained our audience for two hours and hopefully add a little more empathy into the world.”
And for Pokpong, that empathy begins with understanding Mae Sue herself — not as a villain, but as a reflection of our own contradictions.
“We aimed to reimagine her with respect for the traditional belief, drawing from multiple regional references while also creating new elements to bring freshness,” he said. “The goal was never to offend the original myth, but to present a Mae Sue that feels different from what audiences have long imagined, while staying true to its roots.”
Through that balance of reverence and reinvention, Host hopes to be more than just another Thai horror movie. It hopes to be a cultural resurrection, an invitation to revisit forgotten beliefs through the modern lens. The film’s haunting power lies not only in its ghostly apparitions, but in the uneasy recognition.
As Pokpong reflected: “Once people see the film, they’ll understand that our goal wasn’t just to frighten them, but to make them feel — to look at something ancient and see it reborn before their eyes.”