Following a 2023 that definitely belonged to Malaysia, with titles like “Tiger Stripes“, “Abang Adik”, “La Luna” and a number of others, it seems that 2024 belongs to another ASEAN country, Indonesia. For us that we have been following local cinema for some years, this does not come as a surprise, since the stories were already there and it seemed that the industry just needed some nurturing in order to fully bloom. Following investment by CJ, it was when streamers and particularly Netflix started investing in local content, that the leap that was bound to happen finally became reality. Headed by Joko Anwar, Kamila Andini, Kimo Stamboel, Timo Tjahjanto and a number of others, local cinema seems to be in good hands, as the movies in the following list eloquently highlight. At the same time, the same can be said about the actors, with names like Laura Basuki, Shenina Cinnamon, Yusuf Mahardika, Putri Marino, Devano Danendra and many others leading a group that can carry local cinema for years to come.
Check the full reviews by clicking on the titles and also take a look at the interviews we had with the filmmakers.
Yohanna (2024) by Razka Robby Ertanto
With the help of DP Odyssey Flores, Razka Robby Ertanto implements numerous tracking shots through handheld cameras that follow the protagonists, in an approach that results in the film functioning much like a documentary. This visual approach extends to the context of the movie, which is rather grounded in realism, particularly during the first part, with Ertanto presenting the exploitation of kids, and the way the police and essentially the corruption of the system allow something so appalling to happen in its darkest colors. (Panos Kotzathanasis)
The Silent Path (2024) by Yonri Revolt
Revolt’s sophomore film that is superbly edited and told with heart, celebrates its world premiere in the festival’s Harbour programme. It is a profound study of a man who was gradually defined by the country he had spent most of his life in, which maybe made him both a better cleric and a better human being, but none the less a part of the system. (Marina Richter)
Tale of the Land (2024) by Loeloe Hendra
Apart from this, though, there are a number of traits found here. For starters, the inspiration from Kim Ki-duk‘s “The Bow” regarding the main premise and from Kamila Andini‘s “The Seen and Unseen” are evident and actually work quite well here. Furthermore, the hint that something weird is happening with Tuha and the overall atmosphere of disorientation that permeates the movie creates a setting that thrives on mystery, in a way that retains interest from beginning to end of the movie.
Crocodile Tears (2024) by Tumpal Tampubolon
The clash of the two women, which happens more through the consequences we saw on Johan than between the two also works quite well, as its subtle fashion avoids almost any kind of fetishization in ‘catfight’ terms, with Tampubolon instead opting to raise the tension through it, instead of presenting it in more physical terms. This tension is another of the movie’s traits, with the presence of the crocodile and the danger they emit, even if subconsciously and not physically once more, and the notion that something supernatural is also taking place, dictating it to a large degree.
Borderless Fog (2024) by Edwin
Visually stunning and full of amazing details, Edwin‘s film is a thing of beauty. The fog-infested rainforest for example, while beautiful to look at, one gets the feeling that there is something sinister lurking behind the tall trees. Both the tropical heat and the humidity play important roles in creating the mood and tense atmosphere as well. But overall, it is a slow burn murder mystery, and the plot takes its time to come to fruition. However, one action scene involving Sanja chasing a suspect through a small border town really stands out. Adding a bit of local culture, the Dayak gong instrument soundtrack accompanying it is indeed a nice touch. (David Chew)
Grave Torture (2024) by Joko Anwar
Joko Anwar uses his story in order to present the blights of (Indonesian) society, with the two protagonists perhaps symbolizing youths as the main recipients of the blights’ consequences. As such, religion and particularly religious fanaticism, capitalism, and particularly the western penetration in countries such as Indonesia, corruption in the higher echelons of society (which is again connected with capitalism) and probably the mentality of previous generations (or the one before that one could say) are highlighted in the darkest colors here. In smallest scenes, one could also find a comment about the problems with (over) tourism while the circumstances in boarding schools and elderly care are also depicted throughout the movie.
Respati (2024) by Sidharta Tata
Although it does not exactly reinvigorate the genre, “Respati” is a well shot, highly entertaining supernatural horror that will appeal to most fans of the category.
The Shadow Strays (2024) by Timo Tjahjanto
Apart from this, though, “The Shadow Strays” is essentially a continuum of non-stop, as-impressive-as-it-is-brutal action, including some of the most outstanding sequences we have seen in a similar film for quite some time. In that fashion, the introduction which pits the protagonists against yakuza and pencak silat nad knives against katanas is just an hors d’oeuvre in front of the plate of intricacy and diversity of action Tjahjanto and fight choreographer/stunt coordinator Muhammad Irfan serve later on.
