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The acclaimed Thai film, Tropical Malady (2004), represents the tropics as a surreal place where conscious and unconscious are as inextricably entwined. Directed by Apichatpong Weerasethakul, Tropical Malady presents two interconnected stories: one a quirky gay love story; the other a strange disconnected narrative about a shape-shifting shaman, a man-beast and a ghostly tiger. This paper will argue that from it beginnings in the silent period, the cinema has created an uncanny zone of tropicality where human and animal merge.