Jakarta, CNN Indonesia —
Before I comment at length Torment of the Gravefirst of all I want to say that this Joko Anwar film is definitely not for those with “fragile” guts or watching horror just for the sake of it.”have fun“.
Joko Anwar embodies the personal and wild images contained in the short film Siksa Kubur (2012) into a film lasting almost two hours. In fact, I dare say that Jokan is not only showing his imagination about the concept of torture in the grave in Islam, but also really wants to ‘torture’ the audience’s psyche.
ADVERTISEMENT
SCROLL TO CONTINUE WITH CONTENT
Jokan’s ‘torture’ can even be felt from the start of this film. Style psychological horror used Joko Anwar It has started in the chapter of the story which should contain hues of happiness and beautiful memories.
Joko deliberately uses clumsy, odd, and somewhat disturbing scenes which are intended to poke fun at the audience’s comfort. Jokan is consistent with this for at least 2/3 of the film.
Not only that, Joko also uses dramaturgy and inserts a theatrical style in providing the background of the story to the audience. Coupled with dialogue that tests reason, to be honest, this spectacle cannot be compared to the best-selling horrors out there, including the Servant Satan saga that Jokan made.
Review of the film Siksa Kubur: The psychological horror style used by Joko Anwar begins in the story phase which should contain shades of happiness and happy memories. (doc. Rapi Films via YouTube)
It is in this dialogue aspect that I feel that Joko Anwar’s personal side and thoughts are expressed clearly. The testing of reason on complex concepts of religious understanding, for me, makes this (slightly) religious horror film have its own weight.
At that moment, I understood why there were no other actors who could star in Siksa Kubur other than those of the caliber of Slamet Rahardjo, Reza Rahadian, Christine Hakim, and Arswendy Bening Swara.
For me, Slamet Rahardjo and Reza Rahadian are the main stars in this film.
Their ability to play theatrical acting is perfectly explored in this film. Seeing the two of them wrestling in one frame, I thank Joko Anwar for that moment.
Even so, Joko Anwar doesn’t seem to be placing the burden of Siksa Kubur on the players.
Complex script writing that is as intricate as a puzzle, and challenges the audience’s reasoning even to the point of leaving the cinema is the main ingredient. Joko Anwar’s complicated, realist script is actually a challenge and a big opportunity for actors and actresses in acting in front of the camera.
Review of the film Siksa Kubur: Slamet Rahardjo and Reza Rahadian are the main stars in this film. (doc. Rapi Films via YouTube)
I appreciate the way Joko Anwar brings the concept of life after death according to Islam in Siksa Kubur. Joko does not carelessly mix this concept with filmmaker-style imagination when making films.
Joko chose to modify and present the concepts of religious teaching metaphorically, in order to maintain the dramatization aspect without having to fall into reckless exploitation.
Of course, the writing of the story of Siksa Kubur is much more logical than the film that featured torture after death some time ago which was unclear and I thought was just an exploitation of a religious story.
Joko Anwar also doesn’t mess around in showing the imagination of the torture of the grave or the terror of supernatural creatures throughout this film. Joko seems to be trying to explore a new style of terror in Siksa Kubur.
The style of terror and the appearance of these supernatural creatures feels more Western than before, for example during Pangabdi Satan. However, I think this is Joko’s attempt to bring Siksa Kubur to the international market and so far it is still ‘safe’.
[Gambas:Video CNN]
Moreover, Joko was not only involved in writing and directing Siksa Kubur. He sat alone as the editor of this film, which makes Siksa Kubur feel even more personal and every scene feels like it has its own purpose.
After the visual aspect which is really “Joko Anwar and Ical Tanjung”, another thing that I appreciate about Siksa Kubur is scoring and music that becomes torture for the audience after the story and visual aspects.
Aghi Narottama and team really explore disturbing sounds without resorting to them pitch ear-splitting high. Only with bass and fast-paced repetitive low-pitched drums, scoring Siksa Kubur can make cinema seats feel uncomfortable.
Siksa Kubur (2024): Joko Anwar alone sits as the editor of this film, which makes Siksa Kubur feel even more personal and every scene feels like it has its own purpose. (doc. Come and See Pictures/Rapi Films/Legacy Pictures via IMDb)
I also appreciate the makeup, prosthetics, effects, production design teams, as well art department who clearly worked hard on this film. Especially, the nail scene which can make half of the cinema audience scream.
Apart from Joko Anwar’s solid presentation in Siksa Kubur, I just hope that people can watch this film with an open view and without any expectations. Moreover, just to fill your free time and hope to find the same thing as Satan’s Servants.
What is clear is that Siksa Kubur proves Joko Anwar’s imagination and capacity, which – once again – is indeed above the average film director and scriptwriter in Indonesia.
(end)