Pengepungan di Bukit Duri

Thrilling seat-edger, but drags nowhere.

As a long-time admirer of Joko Anwar's work, I watched a critic's review ahead of this release, which described him as one of Indonesia's most distinctive and promising directors, though it also suggested that his growth as a filmmaker may be distancing him from the essence that once defined his style. Having seen most of his entire filmography, I consider Pintu Terlarang and Pengabdi Setan 2 to be his most compelling, narratively coherent, and innovative works within their competitors. I've observed his tendency to deliberately distort the plot, seemingly to provoke discussion, which can be effective if it leads to meaningful resolution. Pengepungan di Bukit Duri marks his third consecutive work where I've questioned his overall quality and growth as a well-known Indonesian director, yet the consistently high expectations surrounding his work compel me to reconsider whether my critical stance might stem from a biased perspective rather than a true decline in his creative output.

Pengepungan di Bukit Duri. Discrimination. Violence. The only elements which dominate the film to such an extent that little else emerges from the narrative. While the main message has been conveyed early on, the plot's development feels constricted, resulting in a two-hour runtime that often drags in its attempt to deliver a point of social critique. From my perspective, Joko Anwar consistently excels in crafting compelling premises and captivating the first act, which successfully keeps the audience with intrigue. However, his recent works, including this one, tend to lose strength in the second act and stall entirely by the third. It increasingly feels like his plots start with great premise, only to lose momentum midway, leaving some spectators confused and unsatisfied. By the time I reached the third act, I found myself mentally overwhelmed by a relentless stream of conflict, both from the storyline and audiovisual design, without any pause of resolution. This continuous barrage creates a draining viewing experience. The film's sensitive content teeters between feeling authentic and artificial. Its buildup and visualization of certain acts lacks uniqueness to his other work, making it feel unnecessary and repetitive.

Some characters create gaps between the smoothness of the overall delivery, specifically Diana, which raises a great question about her mysteriousness and clarity of the character. For some followers of Joko Anwar's work, you must know what this mystery is related to.

That said, in terms of technical execution, Joko and his team remain exceptional. The production design, cinematography, and overall visual coherence are executed with a level of craftsmanship that commands respect. Even when the narrative falters, the visual presentation remains captivating which reinforces a good impression of a thoughtfully-made project. The audio design, which features a throbbing bass segment, dynamic action effects, and meticulous stereo mixing, enhances the immersive quality of the film and adds emotional depth, serving as a reminder of Joko's continued strength in sensory storytelling.

About a teacher named Edwin who searches for his sister's child, who was raped. It's set in a dystopian era with riots everywhere. Inspired by the racist riots against the Chinese in 1998.

The visuals are quite impressive, with Jokan's graphic, gory scenes. From beginning to end, we see slashings, stabbings, and burnings-all of them fantastically brutal. Personally, I was watching it with a shiver of joy and wincing.

Personally, i expected plenty of action. However, the transitions between the stories felt slow, and many of my expectations felt unfulfilled. Even so, Jokan managed to deliver another jaw-dropping ending.

In the end, this film successfully depicts and critiques all forms of racial issues that have occurred in Indonesia and also portrays the deplorable morality of schoolchildren. Whether it's violence or offensive language (ajg, bgst, ngentot)-it's all truly present here.

Anyway, keep this up, Bang Jokan!

I honestly don't understand the negative reviews here. This film delivers strong acting, excellent cinematography, and a very convincing portrayal of chaos and fear. The performances feel raw and human, and the visuals really pull you into the atmosphere of that dark moment in history.

Some people criticize it for "not reflecting Indonesia today," but that completely misses the point. This is a fictional film inspired by historical events - it's not a documentary, nor is it meant to represent current Indonesia. Its purpose is to tell a story, to evoke emotions, and to remind us of the human cost behind tragedy.

As a piece of cinema, it succeeds: the acting is solid, the direction is thoughtful, and the tension feels real. Instead of comparing it with today's reality, we should appreciate it for what it is - a well-crafted film that dares to revisit painful history through the lens of fiction.

I believe it deserves much more credit than it's getting here.

Joko Anwar is bold enough to raise the issue of racial discrimination against Chinese Indonesians.

(Apologies) Without intending to discredit Gen Z and beyond, this film can be quite provocative if viewers don't filter or approach it with an open mind.

At the very least, it will prompt them to look up historical articles about the 1998 tragedy.

Morgan Oey + Omar Esteghlal = Boom!

Fatih Unru was quite memorable for me.

Minimal plot holes, but unfortunately it loses momentum from the middle to the end.

The layered plot twists were interesting, though one of them was predictable - minus 0.5 from my rating.

Joko Anwar is (still) the best director at the moment.

A visceral and unflinching descent into the darkest corners of racial hatred and societal neglect, Joko Anwar's The Siege at Thorn High is a powerful, albeit uneven, action-thriller. Known for his mastery of the horror genre, Anwar steps into a different arena, using a gritty, high-octane premise to deliver a searing critique of deep-seated prejudices in Indonesian society. The result is a film that is both relentlessly brutal and deeply thought-provoking, though its narrative ambition sometimes outpaces its execution.

The film opens with a harrowing prologue set during the 1998 racial riots in Jakarta, where a young Edwin (Morgan Oey) witnesses the brutal assault on his sister. The trauma of this event echoes through the film, driving Edwin on a mission in 2027 to find his nephew, the child born from that horrific incident. His search leads him to Thorn High, a school for juvenile delinquents that more closely resembles a prison. Here, Edwin finds himself a minority, a Chinese-Indonesian teacher in a hostile environment ruled by the volatile and deeply prejudiced student leader, Jefri (Omara Esteghlal). The tension builds with the simmering resentment between Edwin and Jefri, culminating when a new wave of riots erupts, trapping them and a handful of students inside the school.

The true strength of The Siege at Thorn High lies in its fearless exploration of its themes. It's a raw and confrontational look at systemic prejudice and the cyclical nature of violence. The film doesn't shy away from the brutality, and Anwar's direction, reminiscent of The Raid's visceral action choreography, makes the violence feel impactful and earned. The school, with its claustrophobic halls and barricaded classrooms, becomes a crucible where years of racial animosity and personal trauma collide. The performances, particularly Esteghlal's turn as the detestable but complex Jefri, are a highlight. He embodies the rage and ignorance that are a product of his surroundings, making him a compelling, if deeply unlikable, antagonist.

However, the film is not without its flaws. The pacing in the second act can be sluggish, with repetitive verbal confrontations between Edwin and Jefri that stall the momentum of the siege. While the plot point of Edwin's missing nephew is the emotional core of the film, its execution can feel like an afterthought, and the revelation is a twist that some viewers may find perplexing. The film's message, while vital and powerful, is at times presented with a bluntness that leaves little room for subtlety. The social commentary is so transparent that it can feel like a lecture rather than an organic part of the narrative.

Despite these shortcomings, The Siege at Thorn High is a film that demands to be seen. It's not a fun or easy watch; it's a grueling emotional and physical gauntlet. Yet, it serves as a powerful and necessary social critique, a warning that history will repeat itself if unhealed national trauma is left to fester. Anwar has created a film that is both a propulsive action-thriller and a grim reflection on the corrosive power of hatred. It's a bold and important work from one of Indonesia's most exciting filmmakers, and its final moments, as brutal as they are, offer a haunting sense of tragic completion.