Set in 1972 rural Thailand, the film’s production design is far from nostalgic. The vast, sun-bleached cassava fields and the rickety wooden stilt house become characters in their own right. Cinematographer Naruphol Chokanapitak uses the Thai countryside not as a postcard but as a labyrinth. Daytime scenes are hazy and oppressive, while night scenes plunge into a darkness that feels absolute—lit only by kerosene lamps that cast more shadow than light. This isolation is key: there are no monks arriving for a ritual, no hospital, no police. The family’s patriarch (Phu Manas) and his eldest son, Yak (Nadech Kugimiya), are left with only folk remedies and shotguns. The setting strips away the safety net of urban modernity, forcing the family to confront the supernatural with the same tools their ancestors used—and often failed with.