“Possession: Kerasukan” is an Indonesian horror film set to premiere in 2024. The film is set against the backdrop of supernatural horror, psychological drama, and sociopolitical suspense. It is directed by Razka Robby Ertanto and serves as Possession’s (1981 Andrzej Żuławski cult classic) local retelling through an indonesian lens, critiquing the film’s patriarchal themes. The film’s portrayal of trauma, obsession, and mystical forces is accentuated by the exceptional performances from Darius Sinathrya and Carissa Perusset, urging the audience to experience psychological fragmentation through the potent lens of strife and forbidden spirituality.
The synopsis
The plot follows Faris, a military officer, who comes back home after a long deployment, only to realize his wife Ratna is cold-shouldering him emotionally and is contemplating divorce. Shocked and confused by her sudden shift, Faris becomes skeptical and suspects she is having an affair. In a bid to recover his damaged pride and control, he becomes hyper jealous, which prompts him to confront her mysterious behavior through spying.
But the truth that he uncovers is even more surreal than anything he could have conceived. Ratna is not simply discontent; she is disturbed, withdrawn, and suffers from violent outbursts. As Faris probes deeper, he unearths an unsettling link between Ratna and an ethereal figure that appears to be absorbing her. This unidentified force, which is only referred to as a possession, begins to disclose itself in increasingly violent and grotesque forms.
The film centers on Faris’s psychological breakdown while attempting to save his marriage, questioning a force he cannot comprehend. At the same time, Ratna’s metamorphosis embodies the disintegration of self in relation to the identity which is forged through oppressive systems. The culmination of blurred lines that exist between supernatural intrusion, mental affliction, and identity fracture builds toward a stunning revelation. What remains ambiguous is the core of reality, and the question arises, who is genuinely possessed.
Performances and Cast
Darius Sinathrya is marvelous in the role of Faris Sinathrya. Sinathrya exhibits each side to the character of a man surrendering mentally and emotionally. His performance is marked by a beautiful capture of control and hopelessness which makes his paranoia both alarming and empathetic.
As Ratna, Carissa Perusset captures a deep and disturbing blend of victimhood alongside the deep pain of obsession; her change is entirely personal, psychological, and metaphysical. Her metamorphosis is from crippling paralysis to something more visceral, unspeakable, ancient—and transhuman.
Sara Fajira takes on the role of Mita, a family friend who becomes a part of the couple’s turmoil and grapples with the interplay of mental illness, disturbance, and spirituality.
Budi’s character is played by Sultan Hamonangan, while Toni and Wahyu are Arswendy Bening Swara and Nugie respectively. All have important secondary roles that contribute to the understanding and meaning of the film in relation to society, family, and culture.
The emotional instability experienced by the characters is complemented by the leads’ interactions. They act out in an uncensored manner, touching each other in ways that are far more disturbing, and intensely emotional, escalating some of the most volatile scenes in the film.
Direction and Cinematography
While directed by Razka Robby Ertanto, we see a very distinct choice in pacing; everything unfolds slowly, allowing for a gradual build-up of tension and dread. Their choice to leave much of the horror psychological instead of overtly gory renders possession scenes much more disturbing than if violence were portrayed more heavily throughout the rest of the film.
The cinematography of the film, done by Yunus Pasolang, uses long takes with dim lighting and cramped spaces, enhancing the claustrophobic feel within the domestic spaces of the film. The character’s fractured identities and emotional confinement are represented visually through the various mirrors, reflections, and the tight framing of shots. This severe style reinforces aspects of repression and duality – most notably in the scenes where it becomes physically evident that Ratna undergoes transformation.
Editing and Sound Design
Sentot Sahid’s editing style cultivates increasing tension and dread within the film through controlled pacing. It is noticeable in the earlier scenes, which are calm and methodical, much like Faris’s attempts to piece his world together like a jigsaw puzzle. His world shatters into pieces through supernatural occurrence, and the editing shifts to a more fragmented, frantic approach to reflect his crumbling psyche.
In this film, sound design does do very important work. Ambient sound fills the time inbetween dialogue and creates an atmosphere of feeling watched- creaking floor boards, dark whispers, and distorted growls for example. The soundscape created throughout the film doesn’t rule the viewer’s senses, rather it is used handsomely sparingly to heighten the experience. It amplifies horror without relying on excessive jump scares.
Possession: Kerasukan also serves as a study on repression, the feminism, and self-determination. The meaning behind Ratna’s possession is a woman’s struggle around traditional expectations, and the psychological consequences of suffocating their voices, wishes, and sense of self. Her unravelling is more than just spiritual; it symbolize the act of elusive casting off the restraints of compulsory submission and obedience towards subservience.
Ideal figure of a husband, Faris, seems predominantly captained by patriarchal notions. Ferocious, poised, and completely emotionally unavailable. His lack of empathy for ratna’s visceral pain leaves no room for accepting her will, which in turn gives him the reason to try dominating her through violence, surveillance, and deceptive control. Ratna’s supposedly nonchalant attitude worries him so much that his delusions about them remaining married turn violent, which clashes against the marriage he turns possessive over, revealing the shadow of society’s rage against women embracing their defiance.
Some horrors of the film go beyond the unnatural, the interplay of the characters not being able to speak, show raw emotions, or engage with their hidden struggles culturally categorized as demons, is equally frightening. The term ‘possession’ is more likely to hint at cuts and bruises shackling people socially and emotionally instead of the spirit waiting to seize the captive.
Reception and Impact
Possession: Kerasukan received a mixed reception from critics and public audience in Indonesia. Its ambition, multi-layered symbolism, and unflinching gaze at personal and social decay was well received. The acting, especially the performance of Carissa Perusset, was praised for its intensity and nuance.
Some Indonesian viewers felt that the film’s pacing was slow and that its use of symbolism was too abstract for their taste. The film’s lack of traditional horror elements, preferring psychological and emotional horror over visible scares, may not resonate with ardent fans of the genre. However, the film did ignite discussion regarding issues such as patriarchy, mental illness, and the impact of Western horror cinema on the Indonesian narrative.
Conclusion
As far as the Indonesian film industry is concerned, Possession: Kerasukan is undoubtedly one of the most psychologically rich and emotionally profound horror films to come out of the Indonesian cinema. It goes above the typical disgusting gory horror movies Indonesia are heavy with by exploring haunting visuals, disturbing performances, and socially relevant narratives. It is a tale not just about the supernatural, but more about the things we choose to avoid facing—be it within us, in our relationships or our culture.
With its intense psychological depth and cultural commentary, Possession: Kerasukan moves into territory deeper than horror cinema; it becomes a reflection on the sinister side of intimate human connections explored through the chilling reality of self-neglect.
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