★★★★☆
Joko Anwar’s Ghost in the Cell is a dark comedy and body horror film that leans heavily into its exploitation and genre roots.
In return, it creates a fun, entertaining, bloody good time while leaving room for a layered narrative with compelling characters.
The film follows Dimas, a journalist who is framed for killing his boss right as he’s about to break a story about workers dying horrible deaths in a labor camp.
He is then sent to prison, where this ghostly entity follows him and bodies continue to be mangled and displayed.
“Part of what makes Anwar’s script so compelling is that it works on multiple levels, leaving room for engagement with each without sacrificing the one before it.”
On the surface, it shines with witty, humorous protagonists and antagonistic antagonists who work as entry-level dirtbags without hindering the premise or tone.
This allows the dialogue to be light, fluffy fun while remaining grounded, maintaining its ability to shine a light on corruption and inequality within Indonesian society, which is a centerpiece of the film.
Anwar’s ability to weave these callouts seamlessly into the film’s DNA is an accomplishment in itself.
He does so by creating idealistic, righteous criminal characters who naturally go against the order of corruption and dishonor.
Anggoro’s character is a clear example of this. He’s a criminal who has become the leader of the nonviolent inmates, who, without him, would never survive. His intentions are pure and principle-based, not selfish or attributed to personal gain. A criminal with a code.
“Anwar’s vision and narrative are clear and well executed, brilliantly blending a political drama with exploitation and horror.”
His script sets the baseline and groundwork for what he would bring to life behind the camera.
While it’s clear Anwar set out to tell a story about political corruption overruling and sucking the life out of Indonesia and the people living there, he simultaneously crafts a genre film that allows his voice to be heard and his message to be presented to the masses while paying homage and honor to the genre.
Utilizing tone and delivery, he is able to take digs at the corruption and the people who abuse their limited power for personal gain.
He makes a mockery of the prison guards, who act all mighty and tough around those they can abuse without repercussions, yet whimper at the thought of disappointing the shot-callers who are “locked up” in their prison.
This creates comedic, entertaining moments while showcasing the power dynamic and corruption. A realistic look at the justice system in the country and how broken it is, without diluting the film’s entertainment or reach.
Ical Tanjung’s cinematography is one example of how clear and balanced Anwar’s vision is.
The shots are crisp and intentional. Each shot is fitted to the scene, with the intent not only to capture it but elevate it.
The kill scenes are captured with emotion in mind, making them eerie and creepy, building tension, adding to the tone, and assisting in the pacing.
The flashback scene of the drug lord stabbing a DJ in the club for not liking the song is a perfect example.
From the lighting to the execution of the shot, its energy is pitch-perfect.
Paired with a stellar score by Tony Merle and Aghi Narottama, the film further establishes that balance.
From the kill scenes to the more fun and lighthearted moments, the score always finds a way to accompany the scene elegantly, even when it operates outside the norm of what one expects.
The performances are spot-on without ever really branching off into a category of greatness.
“From script to screen, Ghost in the Cell is a fun, entertaining genre film that packs an underlying punch.”
It makes a political statement without corrupting the film’s core as a bloody, fun exploitation flick.
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