Siksa Kubur

For the duration's worth and the marketing materials, I was expecting Joko Anwar to expand the discussion triggers on various perceptions of what would happen the moment someone was buried six feet under. Unfortunately, he spent too much time on the jumpscare build-up in the second act to fully develop his promising main characters, which made the story... kinda go nowhere.

The first act is solid, Widuri Puteri and Faradina Mufti did an immense job of making the seamless transition from young Sita to adult Sita. Her and Adil's childhood struggle is a stellar backstory, which is a shame that the follow-up in the second act felt cheap to handle their inner conflictions. Would love to see more screen time of young Sita and Adil in the pesantren because it would've given more betrayal value to add to drive Sita's motivation and also satisfactory value for what eventually happened to the villain. Personally, I wasn't invested enough in the villain to see his ass totally whipped as a payoff. The horror elements in the second act are what tickled me the most because for being something that supposedly affected Sita's state of mind, all of the events were actually meaningless and contradictory. Why bother making bad things happen to the people who don't deserve it when the point is that you'll reap what you sow before entering the afterlife?

Another thing is Adil's character journey. I feel like he had so much potential, especially with the exceptional delivery by the incomparable Reza Rahadian, that went wasted because the film didn't want to address him explicitly. For being half of the main characters, I wish we got more of his story shown.

All in all, the cast ensemble carried this film on their backs. No bad performances whatsoever. The sound design also popped off. If only the story is much stronger.

Have you ever been in a group project where everyone had a good idea, but no one could agree on which one to use? That's exactly how this movie feels. While it does deliver some genuine scares (hence the bump to a 5), the overall direction is completely scattered. It feels like a college movie project gone off the rails.

This is not a 6/7-star horror movie like The Night House, A Dark Song, Session 9, Tigers Are Not Afraid, Huesera: The Bone Woman, or Lake Mungo (which I personally think deserve higher ratings, but are likely dragged down by non-horror fans). I suspect this film's rating may be inflated, possibly due to being more catered to a religious Indonesian audience.

It's worth a watch, but don't make it the main event for movie night. It's the kind of film you put on when you don't mind your friends talking during it. Or maybe the one you watch before diving into something really good.

Honestly, this movie would've worked better as an anthology. The number of different directions it tries to go in ends up being almost comedic at times.

Netflix often drops international horror films with little promotion, so I'm here to keep you in the loop. If you're into chilling stories, I highly recommend "Grave Torture", the latest from Indonesian horror master Joko Anwar (known for Satan's Slaves and Impetigore). It's streaming now, and trust me, it's worth watching!

"Grave Torture" grabs you right from the fantastic opening scene and never loosens its grip. The film masterfully builds tension, keeping you on edge with every twist and turn. Joko Anwar creates an atmosphere so thick with dread that it's impossible to look away, no matter how unsettling things get.

If you're after something truly creepy, this is it. The slow-burn suspense and chilling moments will stick with you long after it's over. "Grave Torture" is a must-watch for horror fans looking for a film that delivers on every front.

Grave Torture was a harrowing experience for me, standing out among the many horror films I've seen. As a fan of the genre, I was drawn into the film's immersive atmosphere, which I credit largely to Joko Anwar's impressive direction. While the storyline itself isn't particularly groundbreaking-reminiscent of other films that challenge common beliefs-the execution is what sets this movie apart.

The pacing and tension were masterfully handled, keeping me engaged even when familiar plot points emerged. What truly surprised me was the ending, which took an unexpected turn, adding depth to the otherwise conventional narrative.

Faradina Mufti's portrayal of Sita was both compelling and convincing, capturing the emotional weight of her character. Equally noteworthy is Widuri Puteri, who played 'Little Sita,' laying the groundwork for the character's development.

Overall, while the story may not be entirely unique, Grave Torture excels in its execution and atmosphere, offering a chilling experience that horror fans are sure to appreciate.

Life after death is not a new story that has emerged around us. From the animist era (kejawen) of Semar's disappearance to the realm of virtue to the concept of heaven and hell in the religion of Abraham, we are attached to the belief to do self-moral as a form of devotion to God. Interestingly, this movie does not try to reflect on moral boundaries, but instead challenges the general concept of each belief without offending any party. From the beginning, we are brought into the movie feeling various sides of emotions and the impression of injustice for deep wounds. Leading us to be unsure of the direction of this movie. I personally did not feel a deep impact when watching this movie the first time. But realized that there was a hidden message being carried. Creating various question marks about the direction of this film. Realizing that many feel this film is good, but for me personally this film is less able to describe an explicit picture or traumatic impression in death itself. Which is the soul of the movie itself. I realized that the director (from some media interviews) did not delve into that area, from the beginning he tried to open new doors to create a space for discussion. For me, this is unacceptable because it seems selfish and will exclude ordinary viewers who don't really dig the absurdity. If I reflect on this movie, it is more suitable to be juxtaposed with films like Shutter Island (2010) or Seven (1995). But I appreciate that Jokan (as fans call him) remains consistent in bringing his world. Given that quite a lot of people are fanatical about his work. Various theories are proposed and concluded, but not many are satisfying for me. I would personally recommend this movie for anyone who wants to explore further the psychological sides of humans rather than looking for trivial fears that are widely peddled in most Indonesian films.