Kuyang is an upcoming Indonesian supernatural horror film scheduled for release in 2024. The film is directed by Yongki Ongestu. Steeped in local lore, the film weaves a chilling tale that is emotional and centered around fear, survival, and supernatural beliefs. It combines Southeast Asian mythology with atmospheric horror, resulting in a film rich in cultural depth and genre thrills. The action occurs in a remote village on Borneo where a young couple expecting a child become embroiled in an age-old curse.
Plot Summary
The narrative starts with Bimo, a civil servant who has relocated to a rural village in Kalimantan (Borneo), Indonesia. His wife, Sriatun—or Sri as she is often known—accompanies him and is seven months pregnant. The couple hopes to achieve a new lease on life as they await their child’s birth, hoping the relocated job brings them peace and stability.
Their optimism is quickly eroded by unnerving events. Sri begins experiencing harrowing visions, including floating coffins, ghostly figures, and unnerving animal behavior. Soon enough, whispers among the villagers suggest the existence of some sinister force. Bimo and Sri learn about kuyang, a creature from Indonesian folklore. The kuyang is depicted as a flying female head with dangling entrails, eternally searching for the blood of pregnant women or newborns to sustain her fleeting power.
Progressing days put Sri’s life under mounting peril. This entity is more tangible than ever, and it is fixated on monitoring her every move. Tension rises as the young couple struggles to find help in the deeply isolated community, which is unresponsive and filled with either suspicion or guided by cryptic warnings. With the help of a few daring locals, they set out to battle the creature through dark woods teeming with malevolence.
The Myth of the Kuyang
The kuyung myth is found in parts of Indonesia, Malaysia, and Thailand and is more widely known as Krasue or Penanggalan. Within Indonesian mythology, the kuyang is commonly conceived as a female who practices witchcraft in order to gain certain powers. She seeks out blood of pregnant women and newborns, and in her search she is often seen flying with her head separated from her body, her entrails trailing below. This renders pregnancy to a life-threatening condition.
The film integrates this mythology within its narrative, portraying the kuyang in meticulous detail, yet visually capturing the mythology. Moreover, the legends on self-defense against those spirits, such as garlic, thorns, and blessed clothes are mentioned adding some reality to the myths and therefore further immersing the viewer into village life.
Cast and Crew
Dimas Aditya portrays Bimo, who is a multi-layered character. He is split between fear and his personal duty. Throughout the film, we see growth; he evolves from a self-assured executive to a desperate, helpless man. His transformation from a confident man into a frantic father figure who embraces his role and protects his loved ones is steadily paced through the film and well executed.
Alyssa Abidin represents Sri, the emotional core of the film. She effectively evokes vulnerability, courage, and a nurturing disposition. As the horrors unfold, she changes from a passive victim to an active survivor. Her performance offers subtle terror and strong determination.
Putri Ayudya appears as Mina Uwe, a local healer and spiritual guide. She gives Sri important information regarding the kuyang and connects modern skepticism with traditional faith. Her role in the film adds spiritual depth to the story.
Villagers who range from openly helpful to actively aggressive, contribute to supporting roles showcasing the community torn between fear and denial. Tambi Nyai and Ampong are representative of vague characters: neither explicitly supporting the protagonist nor opposing them, which adds to the film’s tension.
Direction, Cinematography, and Music
As the film’s director, Yongki Ongestu scientifically creates a taut, immersive atmosphere. Unlike other filmmakers, he invests shallow jump scares; instead, he works towards imbuing his films with slow-burning dread. The film’s pacing grants ample time to soak in the stifling atmosphere and emotional solitude the characters endure.
The film stands out in numerous aspects such as its cinematography. The foggy rivers, the wooden houses surrounded by the village’s thick jungle, as well as the dimly lit houses creates a visually appealing yet haunting tapestry. Viewers experience heightened anxiety and tension during nighttime scenes due to the fear factor created by shadows and sudden movement.
Regardless of the low-budget nature of the film, the special effects portraying the kuyang are done remarkably well. The head that floats while glowing entrails dangle in a sombre fashion is mesmerising in an equally grotesque way. It maintains a balance between terror and curiosity as it is neither overused nor underwhelming.
Eerie ambient sounds such as rustling leaves, creaking wood, distant cries, and creeping silence build psychological tension while remaining sparse yet effective. Muscial accompaniment that is present often marks important emotional or supernatural moments.
Themes and Symbolism
Outsider Alienation affects Bimo and Sri who, in a close-knit rural community, are treated as outsiders. Their arrival is met with suspicion, and their requests for assistance are frequently ignored. The film subtly critiques the urban-rural divide as well as how mistrust can doom those most in need.
Maternal Fear: Sri’s pregnancy is more than a detail of her character; it is a dual mark of optimism and dread. The fetus contrasts with strength, signifies fragility, and her protective instincts as a mother face both human and supernatural dangers.
Gender and Power: The kuyang myth focuses on female magic and power gone wrong. The film supplements this narrative by depicting female evil in the form of the kuyang as well as female strength through Sri and Mina Uwe. This interplay offers the story some feminist undertones.
Belief vs. Rationality: Bimo, the government employee, embodies the contemporary monolithic rationality and bureaucracy. His encounter with the kuyang and subsequent turn to belief reflects the struggle between modernity and cultural tradition prevalent in many Southeast Asian countries.
Reception and Criticism
Overall reception to Kuyang has been mixed, but largely positive among fans of Southeast Asian horror. Praise came from the film’s regard for local myth and its atmospheric tension. Depictions of the kuyang were regarded as frighteningly original, with some viewers drawing favorable comparisons to international folklore-based horror.
However, some criticisms include:
Slow pacing in the first act, which may test viewers used to faster pace Western horror films.
Some subplots, particularly those concerning villagers who play a significant role in the beginning, quickly lose importance.
For non-Indonesian audiences, the lack of exposition may be an issue as certain cultural allusions will remain unelucidated.
That said, the film has received acclaim for its respectful occultation of folklore while integrating horror elements that appeal to a non-Indonesian audience.
Final Thoughts
Kuyang is a deeply disturbing and masterful film that functions on multiple levels. It breathes life into chilling urban legends as it examines the ideas of motherhood, fear, isolation, and cultural identity. Kuyang showcases impressive performances and striking visuals that honor the chilling myth which served as the film’s basis, cementing its place as one of the best examples of Southeast Asian folk horror.
Kuyang is ideal for any horror aficionado or anyone who prefers folklore-driven stories. The film is more than just a horror; it’s an immersive experience that weaves narratives deeply anchored in history and culture.
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