Shutter

A couple hit a woman with their car and drive on. Shapes begin appearing in his photographs.

Banjong Pisanthanakun and Parkpoom Wongpoom shoot it conventionally and rely on two things: a spirit-photography motif that gives the film a reason to keep showing you images, and a final revelation that recontextualises a running physical detail you have been watching for ninety minutes without registering.

That reveal is truly one of the great final shots in the genre and it is not a twist about identity, it is about weight.

The Polaroid sequence in the darkroom is the standout scare.

Remade in America in 2008 by the same director, which almost never happens and did not help.