Abstract
Kuyang: Sekutu Iblis yang Selalu Mengintai is an Indonesian horror movie set to release in 2024. It deeply explores the folklore of Kalimantan’s indigenous culture. The story revolves around a young couple, a government employee named Bimo and his wife Sriatun who is expecting a child. They move from the city to the quiet village of Muara Tapah, which unfortunately seems to be the abode of the Kuyang, an ancient evil spirit. What was once a hopeful quaint life soon turns into a nightmare.
In folklore, The Kuyang is a woman’s head with organs dangling beneath it who flies in search of blood from pregnant women and newborns. Bringing a child to term makes Sriatun vulnerable to this demonic force. Initially, signs are minor—disquieting dreams, odd night sounds, strange villager behavior, but eventually the Kuyang starts intensifying the attacks, forcing the couple to realize that both their and their child’s lives are in immense peril.
Their fear directed them to a local shaman Mina Uwe, who practices some semblance of the spirituality of the area. Mina uncovers the Kuyang’s secret and carefully guides them through protective spells, ancestral manipulations, and self destructive curses. Bimo and Sriatun are forced to not only physically confront the Kuyang, whose presence intensifies over time, but also to question the remnants of their disbelief and fragility.
Cast and Characters
Dimas Aditya portrays Bimo, a civil servant who battles between his reasoning as a man of logic and the captivating yet horrifying truths of the supernatural world. His journey is one of desperation for action and self sacrifice as he tries to save his wife and child from the horrors surrounding them.
Alyssa Abidin as Sriatun, whose maternal vulnerability makes her the emotional pillar of the narrative. She endures a journey of great fear and physical danger, and trauma all of which exude horror through a lens of motherhood.
Putri Ayudya casts as Mina Uwe, the local shaman who stands as a mediator between the world of traditions and that of denial. As much as she is a guide, she embodies spirit and strength in the realm of cultural wisdom and womanhood.
Elly D. Luthan portrays Tambi Nyai, a village elder whose intricate lineage allows her access to ancient family secrets. She provides guidance of her own frustrating yet vital nature.
Egy Fedly as Bue Alang depicts the husband, Tambi Nyai, who plays the role of a Hereg male as a dangerously cautious figure. He is the kind of person who does not take kindly to external meddling; however, would assist when the situation threatens risks.
Totos Rasiti as Kasno, another elder, represents the too much self-control polite man who guides a man who does not know how to defend. This is his role as the villagers weakness. When coming across the Kuyang, this drives the villagers disregard consequence of their forbidding eternal silence.
Direction and Production
The Director of the Film is Yongki Ongestu, who combines classical Indonesia style movie-making with contemporary suspense. The screenplay of the motion picture, which was adapted from a novel by Achmad Benbela, keeps the novel’s traditional Indonesian feel, ethereal sense, and emotional intensity.
Kaliminast is projected through the camera in a very distinct hot, wet, and stuffy manner. It Can be noticed that the foggy sceneries, bright oil lanterns, and soft light interiors are quite soporific in nature, slowly but strongly beating the heightened anxiousness forward. The sound engineering increases tension with background sounds such as crickets, howling wind on the far, and leaves moving making a spectator feel as though they are gazing at a significantly evil entity.
The Kuyang comes to life through an ambitious attempt by the special effects team that mixes practical effects and CGI. The creature is shown both in fleeting shadows and full confrontations. While some may dislike how it was done, the haunting and unsettling tone of the movie’s Kuyang adds to the overall effect.
Themes and Analysis
Folklore and Cultural Identity
Kuyang embodies Indonesian culture as a story, specifically the oral folk tales and local beliefs of Indonesians in the modern world. This film attempts to revive cultural elements that Indonesian cinema tends to ignore by embracing Kuyang, a character with roots in local mythology. It serves as a reminder to its viewers of the supernatural tales that are still prevalent in many parts of Indonesia.
Motherhood and Fear
Sriatun’s pregnancy serves as more than just a plot device; it is also an overarching symbol of extreme vulnerability and new life. The film delves into the portrayal of anxiety toward motherhood in an unfamiliar, isolated setting. The fear of an invisible evil threat toward an unborn child becomes a dominant emotional force.
Conflict Between Rationality and Tradition
Bimo reflects the urban rationalist archetype. The rub in village beliefs leads to coexistence friction, but his metamorphosis brought about by the inexplicable demonstrates what reason cannot accommodate — truths that lie deeper in culture. This is also the case in Indonesia, indicating a society where modernity struggles to accommodate older ways of life and vice versa, existing in often uneasy tension.
Isolation and Alienation
The setting itself reinforces the themes of alienation. The dense forest, the ancient traditions that surround Muara Tapah, and the rituals practiced there turn the place into a half character.. While the villagers show manners, they also keep their distance. The reserved and polite nature of the villagers hints at restrictions they wish to forge and fear that governs their lives. The positionality of Bimo and Sriatun deepens their uncanny dread and helplessness as they confront the shore.
Critical Reception
Kuyang was well received by critics and audiences alike, though responses to it remained mixed. It was noted that the film offers a new perspective, and that was praised. Many cited this as a breath of fresh air as Kuyang seemed to radically shift from conventional horror movies plagued by haunted houses. The portrayal of Bimo, Alyssa Abidin, and Putri Ayudya received high praise for emotional strength and authenticity.
On the more critical side, some pointed out the pacing issues with the middle act’s exposition building far too much leading to stasis. The CGI depiction of Kuyang did capture attention in equal measures, being called terrifying by some, while others believed that the attempt at a digital portrayal lessened the Kuyang’s realism.
Yet, it has to be noted that the film maintained its rich cultural value and didn’t falter on themes and folklore value. For the people of Indonesia, particularly the residents of Kalimantan or those acquainted with the legends, the movie collated lots of concepts about traditional wisdom and spiritual world, arousing rich discussion.
Conclusion
Kuyang: Sekutu Iblis yang Selalu Mengintai is an entertaining work of horror cinema made with disturbing sensibility that delves deeply into the local folklore that does not get mainstream representation. The intense dramatic elements, combined with the supernatural aspects of Kuyang, serve to strengthen the Indonesian heritage rather than use it as a mere prop for scares.
Concerning a singular couple’s battle with an ancient evil, Kuyang serves to pose the questions surrounding faith, society, and the strength of legend. The fears presented, which include the portrayal of the creature itself, depict a far more human emotion with its array of layers beneath motherhood, isolation, and the ages old fear of the unknown.
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