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.
