Also unusual is that The Unseeable is a period film. Taking place in the 1930s. the story is about a rural young woman who is seeking the husband who disappeared on a business trip. The woman, Nualjan, has been given the address of a house in a remote area that offers lodging. In the main house lives the owner, the mysterious Madame Ranjuan, who is pining away for her own husband. The household is run by Madame Somjit, a strict older woman given to walking around in the daytime with an old fashioned oil lamp. One of Nualjan's housemates is a young woman, Choy, who provides comic relief with her sassiness.

At least one major plot twist can be anticipated after the first half hour if not sooner. While The Unseeable is relatively subtle and restrained by Thai standards at least during the first hour, comparisons to such films as The Haunting or The Innocent is very misleading. Wisit has stated that the look of the film was inspired by the artwork of Thai artist Hem Vegakorn. If any western frames of reference are more apt, I would consider The Unseeable closer in spirit, as it were, to Carnival of Souls with a nod towards Mario Bava's Kill, Baby, Kill. Too often, the soundtrack blares to instruct the audience to be startled. As the film was made primarily for a Thai audience, the concessions genre conventions emerge strongly during the last half hour. And yet what Wisit achieves a more genuine sense of poignancy that a less capable director could only wish for. Unlike too many Thai filmmakers who think nothing of playing down to their perceived audience, Wisit aims a bit higher. Wisit's artistic aspirations may have hurt The Unseeable at the box office, but it made for a much better film.