Sorop

Sorop I think has an interesting story idea that has not been developed before. If the things in the red book about Sorop and the fasting that was mentioned therein are crafted in a more detailed scenes, then the audience will know something new in the context of Javanese folk beliefs; as to why kids are not allowed to be outside of the house during dusk.

When there is a unique village story depicted, I think people would still throng to movie halls; let alone the mushrooming horror film production in Indonesia.

Something black that flows out of the mouth is to me quite disgusting.

Unfortunately, the story of Sorop was picturized for too long in the dark with quite a lot of jump scares that resulted in no goosebumps at all. Repetition of the same scene after scene without development on the story board to a new level caused tiresome to the eyes. Having said that, there could also be a slight psychological disturbance among the viewers which I suppose could have given rise to a feeling of boredom.

One of the biggest problems with Indonesian horror films today isn't always the filmmakers-but the audience's low viewing standards. Since the majority of Indonesian moviegoers tend to value jumpscares over actual storylines, horror films often become cheap thrill machines instead of meaningful narratives. It's not because our filmmakers lack talent, but because the viewers themselves demand shallow scares. And that's exactly what ruins this film!!

Director Upi ( I like her job in "30 days to find love") actually did a great job in building a solid and intriguing plot twist. The beginning of the story was compelling-it made us ask questions, speculate, and wonder what secrets lie beneath. But sadly, everything fell apart due to the excessive, meaningless, and irrational jumpscares.

There were simply too many of them. Jumpscares that didn't serve the story. Jumpscares that felt forced. Instead of building real suspense, they turned the film into a haunted house ride-not a mystery thriller. It stopped being scary and started being ridiculous.

Another cliché that drags the film down is the constant use of dark lighting. Why do Indonesian horror films always rely on overly dark scenes to create a "spooky" atmosphere? Darkness can be effective, but here it's overused to the point of being absurd. Like cooking in the dark kitchen?? It's illogical!!

What's sad is that the foundation of the story was actually very strong. The film had the chance to explore psychological and emotional depth, and the mystery had enough weight to keep audiences engaged. But all of that was wrecked by pointless jumpscares, as if horror must always mean loud noises and sudden cuts.

Indonesian horror has great potential. But it won't grow unless the audience grows first-by appreciating nuance, tension, and meaningful storytelling instead of relying on cheap shock tactics.

Sorop draws you in with its rich visuals and fresh color palette, which help bring the village setting to life. The cinematography feels intentional, capturing both the beauty and eerie stillness of the world within the story. The sound design, though simple, plays a key role in building tension, making the unsettling moments even more effective.

The film also stands out because of the performances. Hana Malasan and Yasamin Jasem bring depth to their roles, creating a sibling dynamic that feels natural and real. Their bond strengthens the emotional core of the story, making their journey even more compelling. Despite this being their first collaboration, their chemistry makes their connection feel lived-in and authentic.

Given my love of all things horror and Asian cinema, then of course I needed no persuasion to sit down and watch the 2024 Indonesian horror movie "Sorop" from director Upi Avianto. Sure, I had never even heard about the movie prior to sitting down to watch it, not that it mattered, because it being a horror movie was more than sufficient to make me give it a viewing.

While the storyline certainly was watchable, it wasn't exactly an outstanding horror experience. It was somewhat generic and formulaic, especially to someone having watched Asian horror movies for many years. So "Sorop" wasn't an outstanding Indonesian horror movie from writers Upi Avianto and SimpleMan. There weren't really anything scary throughout the narrative. And an old bearded Indonesian man muttering the word "Sinom" hardly goes as being scary in my book.

I was not familiar with the cast ensemble in the movie, but I will say that the acting performances were good.

The effects in the movie were also good, adding something, at least, to the overall enjoyment of the movie.

If you are a newcomer to the Indonesian horror cinema, then I suppose you will get a lot more out of watching "Sorop" than I did as a seasoned horror veteran.

"Sorop" is a movie that is suitable for a single viewing and is entertaining enough for what it was, but it is hardly a movie that warrants more than a single viewing.

My rating of director Upi Avianto's 2024 movie "Sorop" lands on a bland five out of ten stars.

The cinematography of Sorop is so thoughtful; every shot feels like it is intentional. It's the kind of film where even the stillness feels like it is imbued with meaning.

Also, the actors (Hana Malasan and Yasamin Jasem) have such natural chemistry on the screen and their bond feels so real which makes it easy for viewers to get immersed in the story.

The film takes its time unfolding. If you're into slow-burn stories with a strong atmosphere, it's totally worth a watch. It's haunting in a quiet way, and definitely one to check out if you're in the mood for something beautifully shot and emotionally gripping.