It’s undeniable that Indonesia’s cinematic landscape has undergone a remarkable transformation in recent years, with the horror genre standing out much more with their spine-chilling narratives to masterful cinematography.
The films have definitely evolved into a formidable force in the global stage as their filmmakers have skilfully created a retelling of local myths, legends and presented cultural elements in said narratives, adding authenticity to the stories and providing a unique, yet unfamiliar, experience for international audiences.
Having spent my formative years engrossed in the world of Indonesian horror, the genre holds a special place for me, and the fact that Indonesia’s proximity is rather close to Brunei amplifies the impact of these films, hitting the right scare volume in my brain.
From the iconic and somewhat cherished Sundel Bolong films of the 1980s to the more recent, not-so-horrifying-yet-still-enthralling Qorin in 2022, the spectrum of Indonesian horror has left a fixed mark on my cinematic sensibilities.
I’m genuinely astounded by the significant strides Indonesian horror movies have taken in elevating their cinematography to new heights.
MANTRA SURUGANA
In today’s entry, we turn our focus towards a fairly new Indonesian horror flick – Mantra Surugana. The movie came out some time in mid-2023, and it is part of the new releases that you can find on Netflix right now, and I decided on a whim to indulge myself in it.
The movie opens with a black screen. The voice of a man struggling can be heard, and the scene immediately materialises after a few seconds to show him blood-soaked, struggling with a knife in his hand in front of a shed-like house. He stabs his thigh. A scream, followed by a girl running towards him to stop him from entering the house.
He starts chanting a prayer, the girl follows suit. Some scenes unfold, a spectre emerges behind him and fire erupts, engulfing him in it.
Eerie. I’m intrigued. What could have happened prior?
My eyes transfixed to the screen. The girl is now a young woman entering a dormitory. The introduction to the place gives off that strange vibe. You know there’s something there.
SYNOPSIS
Directed by Dyan Sunu Prastowo, the movie unfolds the tale of a fresh female college student named Tantri (played by Sitha Marino) who, upon moving into a dormitory with a history of mysterious events, becomes a firsthand witness to unsettling occurrences.
Titillated, she begins questioning her fellow students about these enigmatic incidents.
Soon, the group unravels a chilling revelation – the deaths and disappearances are the result of a demon’s awakening, triggered by an ominous incantation. To their shock, it becomes apparent that someone has inadvertently summoned this malevolent force.
Adding another layer of dread, the protagonist realises a personal connection to the curse.
This revelation isn’t entirely surprising, considering the brutal opening scene that hints at the involvement of a demonic force from her past.
CONVENTIONAL HORROR TROPES
While it might not meet lofty expectations, the film does offer some pleasant surprises throughout its duration. Unfortunately, the initial moments are marred by a sense of forced jump scares that don’t really give shock to your nervous system, a disheartening choice considering the story’s potential for more sophisticated horror.
Nevertheless, there are exceptions to this drawback. A handful of jump scares do succeed in making a significant impact, redeeming the film from an entirely negative judgement.
It’s not an entirely bleak experience, with moments that manage to rise above the shortcomings.
You’ll have scenes where voices start whispering, interrupting music from the radio, shadows lurking behind glassed doors, doors shutting on its own, you know, the whole horror expectations.
You’ll also, funnily enough, see an obviously CGI-ghost floating about. I still like the flow of the storyline though. It maintains a rhythm with elements of mystery and intrigue, leaving you curious and compelled to see it through to the end.
So, don’t write this movie off yet. Have a watch and decide for yourself whether it’s worth watching throughout. – Izah Azahari
