Soedjarwo’s “Primbon” (2023) is an Indonesian family horror film that delves into the intersection of Javanese supernatural beliefs and contemporary life. The movie tackles infusing culture, personal tragedy, and coping mechanisms through a psychological thriller lens, making it deeply riveting. Lele Laila wrote the screenplay for this film.
Synopsis
Rana, a character in the story, goes missing while hiking with her friend Janu on an isolated mountain trail. After extensive searching, both officials and her family accept her fate without any hope of finding her alive. Following customary practices, the bereaved family holds mourning rites which include tahlilan – an Islamic-Javanese ritual for the deceased – led by Dini and Banyu, Rana’s mother and father respectively.
Expectedly enough from compelling plots like these portrayed in films and series starring people like Melissa Roxburgh or even Selena Gomez suppressing their powers ravishingly to channel these archaic personas, they always come back crazy different. This time round something that no one would’ve dreamt to question crossed everyone’s mind: What makes normal monotone speech without vigor charm so downright weird when paired with action? Luckily alongside all this bore monotony came the shocks needed because divergence helped reverse whatever was done granting smooth ride back to equilibrium on our dear protagonist’s Rana head.
Initially, her mother meets her with boundless relief and joy, embracing her daughter after a long period of separation. However, concern also lurks within the family. They begin to ponder some of the most pressing mysteries: Where exactly did she go? Why is the recollection heterogenous? And most importantly, what does she mean when she says that she has different feelings?
Her family members, particularly the older ones who are more traditional and conservative in their beliefs jump to consult Primbon; which is an esoteric compilation of calendars almanacs overflowing with prophecies as well as mystifying tales and phenomena pertaining to Javanese culture. According to Primbon, purporting a being emerges after seven days interval under supernatural circumstances bypasses logic; it can neither be termed human nor entender humanity but dubbed narrow term understanding such as anlay wig or a creer Gendung vessel possessed.
The more deep-rooted the fears of the family are surrounding Rana being ‘gone’, and that only a countenance of her evil spirit remains, behaviors grow increasingly outlandish. She is becoming increasingly odd. Various creatures avoid her, unusual phenomena occur to her brooding image in glass surfaces, and her cognition appears fragmented. Even Janus, her acquainted companion, haltingly hovers between whether desires to encounter her or not greatly upset that the individual he was accustomed to might be covered in fog of non-entity masquerade.
Conflict forms regarding modern science and traditional practices. Dinno firmly feels that her daughter is still alive somewhere but simply isn’t positioned at ease psychologically which gives rise to Banyu’s fear-logic dichotomy. Other relatives however operate with magic and other purging consultations warning that inertness will compel this entity dwelling within hush to unleash catastrophe or death on them.
In their eyes, the most reality-defying collision lies amidst love, custom ,and subsistence somewhere concealed within these themes becomes dictated by time.
Cast & Crew
Director: Rudy Soedjarwo
Writer: Lele Laila
Producers: Yoen K., Agung Priyanto Dwi Nugroho
Cinematographer: Bella Panggabean
Editor: Wawan I. Wibowo
Musical Score Composer: Andi Rianto
Main cast include:
Flavio Zaviera as Rana- He is the main character and his disappearance along with the return triggers all events that follow. As usual, Zaviera merges innocence confusion together with creeping threat in adding layers to his characterization.
Happy Salma as Dini- The character represents motherhood’s affection blended with unresolved delusion confronting stark reality.
Nugie as Banyu- This is a common individual caught between omnipresent reason and culture driven superstition, portrayed as the father of Rani featured in the title.
Chicco Kurniawan as Janu- He is one of Rana’s friends and an important hiker who aids in unveiling truths concerning her.
Azela Putri as Tari- The youngest sibling to Rana who becomes increasingly suspicious of her sister’s bizarre acts.
Jajang C. Noer, Oppie Andaresta, and Septian Dwi Cahyo portray older relatives who explain supernatural aspects of events from a Javanese cultural perspective adding vibrant tension to the central conflict.
IMDb Rating & Critical Response
IMDb Score: 5.2/10
As with many Indonesian films, “Primbon” elicited mixed reactions from domestic audiences—both casual and critical—and even horror admirers from other countries. The movie is appreciated for its attempt at weaving Indonesia’s culture and folklore through a psychological and spiritual prism.
Critics have noted the film’s atmospheric tension and its cinematographic techniques alongside the employment of traditional techniques to cultivate dread without relying on gory visuals or cheap scares. It takes place mostly in a Javanese traditional house and the surrounding foggy mountains, which contribute greatly to an unsettling yet mysterious feeling. The artwork portrays well the film’s heavy spiritual burden depicting the isolation that is pervasive throughout.
Although some critics pointed out that “Primbon” builds its pacing painstakingly slow, other reviewers noted that this would be dull to those hoping for standard roller coaster rides in horror thrills. The story/subplot assumes a more psychocultural dimension as it examines how cultural superstitions amplify paranoia, alienation, dysfunctional dynamics within families.
Other viewers experienced a pull and push tension regarding Rana’s condition because the film does not provide any explanation. This raises the question: Is the horror real or is it part of a shared trauma and fears?
In recent years, people have both praised and criticized films for different reasons. However, few stand out as culturally significant works of horror like Primbon. Unlike other entries into the horror genre that depend on Western stereotypes or universal monster archetypes, “Primbon” takes a different approach by rooting its supernatural framework within genuine real world beliefs and practices.
Exploring “Primbon,” one may decipher broader themes people historically identify with culture or regions they belong to. Culture reflects daily existence through traditions customs reflecting transformation synonym.
The duality focuses on primordial notions existing today in countless frameworks; through chronicling ancient Indonesia known as son of victorious land. Through memorable dualisms inside temporality which exists beyond chronological confines reveals Indonesia shifted timeless tranquility touching exisential give rise contemplating incompatible amidst reality mutually exclusive bounded homogenously shaped void otherwise dynamic occurring spilling diverse convergence timeless layering revealing utter stillness.
The title itself bears significance “Primbon”. Keluarga Miskin was a real document that Javanese people used to consult on matters such as destiny prediction, fortune telling and even supernatural diagnosis. Employing this as an inspiration enriches and validates culture in modern horror cinema with is seldom encountered.
Final Thoughts
For some viewers “Primbon”might not be a horror movie.
It’s slow revealing pace, very ethnically distinct, psychological pursuit explaining very little at a time requires tremendous patience and an open mind. For those who follow folklore, spiritual horror or narratives crossing several generations this will prove to be a haunting deeply reflective film.
“Primbon” serves as reminder of one sobering truth through subtle directorial decisions restraint from overt exposition “sponsorships narrative”, the performances offered by the rooted culture makes us confront
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