Siksa Kubur

Probably not the best Joko has produced as some have pointed out, but it's the most enjoyable to me so far. Pacing's good, not too fast, not too slow. The story's pretty understandable too, well at least 80% of it without the help of forum and discussion. Open to different interpretations? Yep, it's not Joko if it's not. Funny thing is, the movie doesn't feel like religious to me (from one particular religion) if you think it through, as it has a universal message of humans in the face of death as they lie dying rather than it is about people finding out one particular religion is right, or in other words: More psychological than religious, more human than supernatural, a spiritual journey and reflection about the end we're all gonna face one day, even for those who don't believe.

8.5/10.

Watching films is not just entertainment, but there is value that we bring home. Joko Anwar offers psychological horror, which is the time for film lovers to move up from just bland exotic horror. The cinematography and tone are perfect, the acting of all the actors is seasoned, even though some actors are debutants, the scoring is great, and the plot twist at the ending is typical Joko Anwar. The film is only 1 hour 57 minutes long, but it would take perhaps a week to discuss it.

Watching the Joko Anwar film is like reading an interactive children's novel by R. A. Montgomery. We are stimulated to think, every scene contains a clue. In fact, the ending of the film is also up to each viewer's interpretation. Joko Anwar never forces his will in any of his films.

Joko Anwar has been known to make films with notable standards like great characters, interesting premise to follow, provoking dialogues, and doses of gore here and there. Grave Torture checks all of the items, but unfortunately, it also checks Anwar's notorious trademark: a weak third act.

Anwar has always been a good storyteller. This movie is no exception. It has a bubbling mystery in every corner, asking me to guess in every scene, unrolled with witty, almost absurd, characters, to keep me on my seat along with amazing technical aspects, especially the sound design. Then, the third act comes.

It reminds me of all of his previous horror works where the plot becomes chaotic and blurred. I don't know how, but it felt really exploitative. There's not much of a story, just series of audience-engaging scenes masquerading as a climax. How is that justify all of the buildups? How is that going to answer all of the questions? Those questions keep me on my seat until suddenly, it ends.

I realized that Anwar is not responsible to make a film that I can fully understand. Maybe I am not smart enough for that. Maybe it's a trick to anticipates for possible sequel (if any). Or maybe, it's time for me to accept that Anwar's style will never going to a direction that I like. But, I think most of his climax is an easy way out for such lucrative plot development that he makes.

Then again, the climax stays in my head for two days. It does impactful.

Horror movies. Often a genre synonymous with jump scares, gore, and mindless entertainment. While these elements can be thrilling, they rarely delve into the deeper recesses of the human psyche. They seldom grapple with the existential questions that gnaw at us in the quiet hours, the ones that keep us up at night. This is precisely why Joko Anwar's Siksa Kubur a.k.a. Grave Torture, struck such a profound chord with me. It dared to be different, to transcend the genre's limitations and offer a horror experience unlike any other.

Unlike its conventional counterparts, Siksa Kubur didn't shy away from the very questions I myself grapple with. These weren't the usual horror tropes - ghosts seeking revenge or vengeful spirits. Instead, the film delved into the complexities of fear of the unknown, the nature of good and evil, motives and consequences. It forced me to confront these unsettling realities head-on, making me a willing participant in its exploration of the human mind.

But what truly elevated from Siksa Kubur was its ability to offer insightful answers to these harrowing questions. It didn't bombard me with simplistic solutions or preachy pronouncements. Instead, the film presented its ideas through a masterfully crafted narrative, allowing me to arrive at my own interpretations. The terror wasn't simply a means to an end; it served as a catalyst for introspection. The scares, while undeniably effective, weren't the sole focus. They were meticulously woven into the narrative, each one serving to push me further down the rabbit hole of self-discovery.

This is not to say that the film shied away from genuine scares. Siksa Kubur delivered moments of pure, unadulterated terror. However, these moments were not gratuitous. They were meticulously placed, serving to heighten the emotional stakes and reinforce the film's central themes. The true brilliance lay in the way these scares intertwined with the exploration of the aforementioned questions. Each jump or moment of heart-pounding suspense added another layer to the film's tapestry, deepening the overall impact.

The film's characters also played a pivotal role in its success. They weren't simply one-dimensional archetypes, instead, they were complex individuals wrestling with their own internal demons, mirroring the struggles of the audience. Their journeys became our journeys, their fears resonated with our own anxieties. We empathized with their plight, becoming emotionally invested in their fate, which made the film's exploration of these profound themes all the more impactful.

Ultimately, Siksa Kubur served as more than just a horror film. It was a thought-provoking experience that challenged me to confront my own fears and grapple with the existential questions that linger in the shadows. It offered no easy answers, but instead, empowered me to forge my own path of understanding. In a genre often content with cheap thrills, Siksa Kubur dared to be different, offering a horror experience that was both terrifying and intellectually stimulating. It reminded me that horror, at its best, can be a powerful tool for introspection, forcing us to confront the darkness within and emerge, perhaps, with a newfound sense of self-awareness.

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.