Summary
Qorin, directed by Ginanti Rona and produced by IDN Pictures, is an Indonesian supernatural horror film released in 2022. With ghastly elements from different cultures , it weaves a sophisticated tale of self-identity as well as an exploration of the deeper rooted evils within oneself. The film is set in an Islamic boarding school for girls, capturing how systems built on submission and order foster hidden rage and internal chaos.
The plot revolves around Zahra, played by Zulfa Maharani, a fervent and devoted practitioner. In her long years of training to become a model student, Zahra learned the virtues of obedience to those who hold power over her as a scrupulous worker bee. Undoubtedly, with such calamitous goals locked away peculiarly deep within her soul — to be adored — she is now regarded as the prize pupil of that particular institution. Furthermore, she basks in the admiration showered by staff members like Ustad Jaelani and Omar Daniel (a handsome and charming young teacher who later reveals disturbing qualities).
Zahra’s constructed world descends into chaos with the arrival of Yolanda, portrayed by Aghniny Haque, a new student with an audaciously vibrant personality and a dark history. Instantly, both clash nefariously. For Zahra, Yolanda is the epitome of everything that’s wrong in the school; whereas for Yolanda, Zahra is yet another mindless conformist. To add to their misfortune, circumstances require both girls to work together when Zahra is tasked to guide Yolanda through the school as a lazy mentoree.
Ustad Jaelani sows further discord within the school by commanding Zahra to carry out an unorthodox and forbidden spiritual exercise which purportedly summons the qorin—a dyadic mythical figure from Islamic folklore. There exists a belief that each individual possesses a qorin spirit or shadow essence intimately tied from birth; this essence serves to embody one’s more primal and darker instincts.
With the onset of the ritual, harrowing occurrences unfold for the students of the boarding school. They are stalked by doppelgängers, which are shadowing figures that clone their movements and subsequently turn violent. As horrific incidents involving a girl’s qorin take center stage, it marks a transformation of the school into a psychological horror movie and battleground simultaneously. At this point in the story, Zahra and Yolanda have already surpassed dangerous intersections of identity and the supernatural and instead confronted trauma without form as well as identities suppressed, confronting spiritual guides that embody deep-rooted hypocrisy.
Zahra is left with enduring desperate scrutiny from venerated mentors dogmatized within her head—does she select choosing blind faith or spiraling into control scenarios devoid of any semblance to order? The ultimate reality quagmire is equally uncomfortable: there exists conflict not only with zone governance but shifts between self-contained domains for puppet masters framing existence structured around its core philosophy.
Cast and Crew
Director: Ginanti Rona
Writers: Ginanti Rona and Lele Laila
Producer: Susanti Dewi
Cinematography: Arfian
Editing: Wawan I. Wibowo
Music: Aria Prayogi
Key Cast:
Zulfa Maharani plays Zahra: A commited student whose moral crisis drives thickens the narrative arc.
Aghniny Haque portrays Yolanda: A new confident student who is secondary to the action but pivotal to the developing horror.
Omar Daniel as Ustag Jaelani: Initially a ‘religious’ leader of unbounded charm, his increasingly malevolent ulterior motives become more pronounced as the narrative unfolds.
Dea Annisa as Umi Hana
Putri Ayudya as Umi Yana
Others include Naimma Aljufri, Cindy Nirmala, and Alyssa Abidin in supporting roles.
Zulfa Maharani and Aghniny Haque have also been highlighted for their role completion by capturing sensitive yet fierce depictions of adolescence caught within a mercilessly compliant system. This duality earned them accolades portraying characters caught in a ruthlessly obedient structure.
Themes and Symbolism
Qorin is not limited to being an additional horror story; it analyzes identity—or selfhood—in conjunction with repression using metaphors. The central figure is the qorin which is a monstrous representation of each character’s buried emotions, secrets, and traumas. These spiritual doubles, although “evil,” are merely destructive mirrors reflecting everything that has been silenced, hidden, or loathed.”
The strict regimen of a boarding school depicts fully controlled patriarchy in its most concentrated form, where young girls are raised to be mindless followers for the sake of religion. Zahra’s evolution from an ideal compliant pupil into a critic sheds light on the culture of self-awakening and personal emancipation.
Ustad Jaelani is critical of religious devotion without rational questioning. What begins as deep respect gradually shifts into the captivating yet exploitative hold he casts over his followers as spiritual authority. The school administration and students place too much misplaced trust in him as he disrupts order with chaos under the guise of divine peace for their utter ignorance.
Qorin addresses issues such as trauma and social phobia. Students struggling with their respective qorin must also confront aspects of themselves that have been imprisoned, which include severe violence, shame, or fantasies stemming from childhood.
Reception and Impact
Qorin’s reception was mixed among viewers and critics alike. Some praised the film’s stylistic approach of using incestuous religion as horror, stemming from sociological themes of religion, conflict, and grief. Others critiqued the film’s pacing while praising its cinematography, acting, and overall mood as well as tension strengthening elements throughout the film. Still, considerable critique was directed towards pacing issues and underdeveloped characters; secondary characters in particular received a lot of backlash.
As previously noted, Rona’s more nuanced ideas were discussed by film experts and critics alike. Emphasis would be placed on visually framing psychological tension with the camera until nearly the last moment. Visually frenetic yet grotesque action only manifests at the conclusion. Rather than through jumps or graphic displays of violence; dread, confined spaces, and omnipresent qorin beings drive this untamed narrative forward.
Those knowledgeable in Islamic folklore found spiritual concepts such as ‘the personal shadow self’ to be particularly interesting since it is recurring in non-mainstream horror narratives.. However, audiences unfamiliar with Indonesian culture and Islamic traditions will most likely find many subtexts too vague or underexplained.
Regardless of the complexities involved, the film stands out within Indonesia’s evolving horror landscape for its originality and social critique. Moreover, it contributes to the movement that is shifting the focus of the horror genre from a purely Western lens toward incorporating Southeast Asian narratives and philosophies.
Conclusion
Qorin enigmatically transforms the stubbornly persistent misunderstandings related to ‘horror’ by inviting audiences to examine their relationships with authority structures, compliance, and autonomy. Qorin uses specific cultural motifs and psychological elements not only to terrify but also to provide sharp guidance regarding an individual’s existence amid institutionalized control.
It may seem unlikely that Qorin will engage viewers who appreciate cinematic techniques of mainstream cinema that rely on traditional horror rhythms and neatly wrapped resolution arcs.
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