It is no exaggeration to say that Ratu Ilmu Hitam is one of the most anticipated Indonesian movie in 2019. Dubbed as the first body horror movie in Indonesia cinema, the movie isn't so shy in flaunting its ambitiousness. It features big names such as Kimo Stamboel as the director, who is known for movies like Rumah Dara, Headshot, Killers (as The Mo Brothers) or DreadOut -- which is also released earlier this year, and; Joko Anwar as the scriptwriter, who is known for movies like Gundala, Perempuan Tanah Jahanam, as well as remake on Pengabdi Setan. The original Ratu Ilmu Hitam itself was previously released in 1981 which features Suzanna. Yet, do not expect a total remake of the classic. Kimo and Joko' version only takes the main idea and develop it in their own way.
Unlike the 1981 classic, which presents the story in rather straightforward act of revenge upon the perpetrators, Ratu Ilmu Hitam takes a little more complex way in unveiling the underlying mystery; something which you may say has been Joko Anwar's main formulae -- at least in the past few years. Seemingly following Joko, Kimo's fascination with gory, grotesque imagery also isn't abruptly presented. The movie takes a more careful approach and builds the story slowly while putting certain elements here and there as the foreshadowing of the eventful incident to come; also trying to familiarize the audience with central characters of the story: Hanif, Jefri, and Anton. These three once grew up in the same orphanage, and they are all invited to come because the owner of the orphanage is at the death's door. How Kimo and Joko set the tone also contribute in making audience brimming with anticipation. What is supposedly a really warm reunion between childhood friends is delivered in a rather dark, grim tone. It also helps with the introduction of peculiar characters: like Maman and Siti, married couple who are also fellow orphans of Hanif, Jefri and Anton; and to certain extent also Jefri and Anton' wives, who each carries certain peculiar personal issue.
Then series of incidents start occurring; and this is where Kimo showcases his specialty. From the point when Hanif and Jefri discuss the future of the orphanage while hinting upon horrible incident which used to occur there, the story never looks back. It is now filled many grotesque imagery, as well as constant use of torture. Even then, the perpetrator isn't instantly unveiled; seemingly done deliberately in order to invoke more fear in audience' mind while provoking them to constantly trying to figure out who is responsible. Like how Hanif and Jefri do so in the story, audience may project their confusion and suspicion on Maman and Siti; there aren't any other plausible candidate. But, in actuality, they aren't the one who are responsible -- in fact, they aren't even aware of the one who sent the invitation. This where Joko presents the twist in the narrative; that there is seemingly another character, who is once mentioned in the story -- the missing child, Murni. This revelation also unveils the true story of incident years ago, the murder case of Bu Mira done by the owner of the orphanage, Pak Bandi, with the help of Hanif, Jefri and Anton. Also revealed is the case of child sexual abuses conducted by Pak Bandi on every orphan girls, including Siti, and that Bu Mira is actually trying to protect the girls (especially Murni) who needs to be silenced and killed. But only nearing the end of the story that the titular [villain], Murni, finally makes an appearance. With help of one of the orphan, she then proceeds to create hell on earth in order to satisfy the need to revenge; which is delivered in such harrowing, even almost poetic, way. Murni herself died in the end, unfortunately done in such hurrying manner, which may left some unsatisfied; although she makes another appearance during the final sequence -- leaving the movie hanging without conclusive ending.
[...] If the whole governmental system and your non-violent thoughts are conditioned by thousand year old oppression, your passivity only serves to place you on the side of the oppressors. (Sartre as quoted in Marcuse, 1965)
Grotesque imagery on Ratu Ilmu Hitam might incite a sense of unpleasantness, yet we must go beyond this try to find the underlying problem problem presented in the story: how unpleasant the fact that victims of sexual abuse is being treated in our patriarchal society and how hard it is for them to seek justice. The repressive ideology is so deeply embedded in that it, in many cases, project us to blame the victims of sexual abuse instead of the actual perpetrators. This result in normalization of women subordination, as well as rape culture itself; we see how horrifying this ideology works in our society - common examples include how people, especially law enforcer asks whether the victim of rape (or sexual abuse in general) "enjoy" it (being raped) to validate every rape cases. Or how society sees it as normal for family to marry their daughter, who was raped, to the perpetrators.
But what if women, especially victims of sexual abuse, are aware of this oppression and start fighting back?
By elaborating Bakhtin's notion of grotesque, Kusumaryati put out interesting idea on the function of horror film; as a site where [marginalized] folk is allowed to engage in dialogue with the sanctioned power structure as well as challenge the dominant power structure. (Kusumaryati, 2016) Earlier, Stephen Gladwin also see the pattern of feminine representation in early days Indonesia horror cinema during new order regime, in which basically women are divided into two characteristics: the 'proper' women, the restrained, pleasant, or obedient, and; the fearful women, usually possess certain magic as well as exercise reign of terror (usually over men.) (Gladwin, 2003) The lattter notion is represented via Murni, the titular character in Ratu Ilmu Hitam - as the fearful, possessor of black magic, who in her quest of revenge then creates hell on earth for those who are responsible for her suffering.
It is always interesting to witness such a what-if situation; how would the privilege reacts when subordinated (women) are able to attain political consciousness - the origin of their oppression. The use of violence to fight back might not sit well with some; after all, it has been a long time debate, as we all know, regarding the effectiveness of every movement who allows the use of violence: whether it is useful or counter-revolutionary - especially in feminist movement, where some say that the use of violence is against feminist ethics. But then again, such use of violence are necessary if every means of protests, particularly peaceful approach, are futile. And in every case of sexual abuse, we already how hard it is for the victims to seek justice - and so, resorting to 'violence' can be argued as legitimate action. The privileged, who maintain the status quo, needs to be reminded how powerful the oppressed are once they are able to attain consciousness. As members of German feminist movement Die Rote Zora once said in interview, how they dream of "Small gangs of women everywhere, and that rapist, women trafficker, wife beater [...] must fear that a gang of women finds him, attacks him, and humiliates him in public," (Karcher, 2016) fear and the use of violence, are in the same degree as the more peaceful movement; in which both can work together in creating a world where all are equal and women are free from any form of oppression.
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References
Gladwin, Stephen. 2003. Witches, Spells, and Politics: The Horror Films of Indonesia in Schneider, Steven Jay (ed.), Fear Without Frontiers: Horror Cinema Across the Globe, Surrey: FAB Press.
