[Film Indonesia] Folklore : A Mothers Love

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Marissa Anita is quite convincing as Murni, in a role that has her exhibit both her love and her frustration, as much as a need for payback that occasionally reaches the borders of pettiness. The scenes where she gets fed up are the highlights of her performance. Muzakki Ramdhan as Jodi is also good, in a role that lingers between sadness and frustration. Their chemistry is one of the best aspects of the film, as exemplified in a number of dialogues, particularly in the one in the table and the one with the sheets.

Over the past few months, Folklore's segments have premiered at various film festivals, and now, HBO subscribers can experience the horror anthology all at once. Whether it's love, loyalty, or complete lunacy, here are the underlying themes and meanings of Folklore's six endings.

In the last few years alone there has been a surge of Indonesian horror films that offer enlightening cultural perspectives, haunting exploration of folklore, gruesome gore, and relatable fears. Many of these films are a product of post-New Order society, the current political climate offering more freedom of expression and creativity. Through these films, the filmmakers are not only crafting sinister and compelling horror stories but powering their cultural voice and showcasing what their brand of horror can offer the rest of the world. Here are 9 terrifying films to introduce you to a movement.

Indonesian horror is very folklore-focused, tapping into childhood fears, forewarnings, and problems within society that need to be addressed. There are many tales of vengeful feminine spirits who haunt and seek revenge for the wrongs done to them. These malicious spirits represent the mistreatment and inequality for women ranging from physical violence to poor healthcare, including increasingly high mortality rates for infants. One major cultural monster explored heavily in the new wave of Indonesian horror films is Kuntilanak, a hideous and ferocious female ghost who masquerades as a beautiful woman, carrying soothing, floral tones to lure young children to her. Her origins lie in losing her child and own life when giving childbirth, leaving her in a mournful, rage-filled existence that urged her to take back what she lost. Kuntilanak is described to have sharp claws, piercing teeth, a deformed face, and red eyes. She will take misbehaving children, but she primarily takes children who go willingly or are unhappy within their own families. The tale of Kuntilanak addresses not only what the horrors of losing a child can drive you to, but the importance of ensuring the children who do survive are wanted and loved.

A MOTHER'S LOVE is an effective & smart storytelling about an Indonesian traditional mythology wrapped in a universal story: a love from a mother to her children.You can tell that this is a Joko Anwar's work, especially from the point of view how he builds the world in his story; how he composes an urban life into pictures; how the camera pans to \"play\" with our perspective & perception.The uses of retro songs, one of Joko's cinematic trademarks, also has a significant value here.I also admire how Joko uses news for diegetic and also non-diegetic purposes to inform us about the situation here.

The premise alone is bit creepy, if not touching, to say the least. I mean come one, how sweet of a mother can one be to find a bride for her son in the afterlife! Yeah, it's creepy. A mongdal in an unmarried bachelor ghost. Sometimes there are shamanistic rituals that aim to unite both forms of ghosts, cheonyeo and chonggak gwishin, so that they may be married. If successful, their life is completed and satisfied (in a spiritual sense). At peace, they may then be permitted to heaven. In pop culture and films, the female ghost is much more common than the male version. [6] Dong-Joo is a disturbed kid who is infatuated love with a girl in his class. All the kids think he is weird and even attribute the murder of another girl to him. Rumors and whispers abound, the kid's reputation is in peril (more than it is already) and eventually things go awry when his infatuation love turns her back on him. Have no fear because Dong-soo's mother, who is the school's principal (talk about awkward) swoops to the rescue and takes matters into her own hands trying to make right what was \"wrong\".

Overall, I would say that Folklore, season one was a success despite its few misses. Still, I think they were well-made films that was able to share with the world, customs, and folklore that otherwise would be unknown to most of the Western civilization. It succeeded in that it made me want to look into these stories further and introduced a whole new world to me. Give it a watch and see for yourself.

The first story is of a mother who discovers sometimes one must love what they have to keep from losing it. The mother in this segment learns her lesson well. When she finds the depth of her love, nothing can stand against it, be it natural or supernatural.

There's something in the water in the new film Nanny. Over two unsettling hours, director Nikyatu Jusu submerges the audience in suffocating night terrors, blending glowing reflections of Black love with discomforting glances amongst kin. The film is an experience for the senses; you'll hold your breath as you're consumed.

Jusu's film demonstrates that Black stories don't need to be situated within a familiar white framework to be both recognizable and impactful. While films such as the upcoming live-action adaptation of The Little Mermaid may have cast Black actors in preexisting white narratives to be more inclusive and representative, Nanny illustrates that Black people have their own folklore; Black mermaids already exist. Jusu draws from Black history and mythology, while also subverting and recontextualizing them in a contemporary setting. It is a classic New York immigrant story, retold.

The final act of the film is bathed in ambiguity. It renders Aisha's journey as an open-ended question and left me wondering whether I had also drowned in a dream or sunk into a dark reality. As Jusu intends, Nanny is a haunting film of personal and racial horrors, diving into the complex experience of being a mother and an immigrant, harnessing the power of African folklore.

Undoubtedly, Asian horror films are considered the most horrifying and the best form of thrill for every movie buff. With the best horror movies hailing from South Korea, Malaysia, Indonesia, Japan and Thailand, these movies are guaranteed to raise the hairs on the back of your neck. These Asian horror movies are changing the course of cinematography and the horror genre through surreal imagery and technical innovations. While there are no definite styles for horror, the genre is usually linked with various types of storytelling through culture, folklore and mythology.

Starring Maya Karin as Meriam, Pontianak Harum Sundal Malam is a daunting tale about a restless female ghost who seeks revenge. Set in the past and present timeline, the film follows Meriam, who gets involved in a love triangle that causes her unfortunate death. Fifty years later, Maria, who resembles a spitting image of Meriam, is accused of the mysterious occurrences happening in the same village. Is there a connection between Meriam and Maria 1e1e36bf2d