Hooptober 12: 12/32

Viewing horror from different countries and cultures has become a favorite past time as my personal cinematic journey evolves. The cultural touchstones ingrained within different country’s horror often reveal more about a nation’s collective psyche than even history books could. And as a Dad with a half-Indonesian son, it’s a bit shameful to admit that this is the first Indonesian film I’ve seen, horror or otherwise. All said, Satan’s Slaves was a phenomenal starting point. 

Taking place in the 80’s as many horror films like to do, it’s certainly not the 80’s retro aesthetic one might expect from a US production set in the same time period, and I love it even more for that. Instead of bright, neon tinged pastels, Joko Anwar’s visual aesthetic revels in decaying, sepia-toned interiors and washed-out colors that make our focal residence feel sick and withered, mirroring the central Suono family's eerie decline. Horror stories built on familial grief and trauma have certainly become a staple of modern storytelling, and with how effective Satan’s Slaves employs that trope, it’s clear to see the reverberations sent through the medium on the backs of films like Hereditary and even into this year’s Bring Her Back. 

Theres a trove of horrific imagery which Anwar’s narrative centers around, with demonic, folkloric Indonesian visuals tied into more modern supernatural visuals resulting in a visual tone that relentlessly builds its tension and suspense. Pair that artistic visual sense with a score that eschews obvious aural stings, and rather ominously build like a locomotive, and you’ve got a very smitten writer. 

Such a fun watch with my baddie wife. Can’t wait to get into more Indo-Horror, currently taking recs!
🇮🇩👻🧟🧟‍♀️🏡👶🏽🩸