Primbon (2023) is an Indonesian supernatural horror film which examines the blend of Javanese mysticism and modern family life. The movie is directed by Rudy Soedjarwo and written by Lele Laila, giving an absorbing account on different coping mechanisms and personal tragedies from the perspective of a psychological thriller infused with local culture.
🧾 Synopsis
The tale follows a young woman named Rana who, while hiking with her friend Janu, goes missing on a remote mountain trail. After an exhaustive search, both authorities and her family decide to give up searching for her, presuming her dead. As is customary, Rana’s family, especially her grieving mother Dini and father Banyu decide to hold a tahlilan – a traditional Islamic-Javanese prayer ceremony performed for the deceased.
To everyone’s shock, Rana comes back home a week later. While her return seems miraculous, there is still something off about it. For one, she returns mute devoid of the weird charm, subdued energy ring that now surrounds her. She speaks so little and behaves in such peculiar ways that it is shocking that these were not her mannerisms before the ordeal.
At first, her mother receives her with immeasurable relief and joy, having her daughter back after a long time. But skepticism is also present in the family. They begin to ask the lingering questions: Where did she go? Why is the recollection of events vague? Why does she have…. different feelings?
Her relatives, especially the elders, conservative and traditional, turn to consult Primbon, a mystical compendium of calendars almanacs, filled with prophecies, strange occurrences and lore’s of Javanese culture. In the view of the Primbon a being appearing after seven days gap under miraculous situations, is not human but rather anlay wig or a creer Gendung vessel possessed.
The more the family believes that Rana is gone and all that is rumored to remain in her place is an imitation of evil spirits, concerns begin to go out of control. Her behavior is more unstable. Different animals shun her, strange things take place to her brooding reflection in mirrors, and her knowledge seems out of context. Even Janus her fellow companion is on the fence concerning the question of whether meeting her is a good idea or not highly disturbed that the person he knew might in reality be slipped in the shroud of bunk world.
Tensions arise between modern reasoning and traditional customs. Dinno staunchly holds onto the belief that her daughter is alive and simply traumatized, leading to Banyu’s fear-logic conflict. The rest of the kin, however, resort to rituals and other purging consultations informing that inaction will force this entity within the household into unleashing disaster or death.
As far as the rest of the family is concerned, the most terrifying confrontation that lies in the juncture in-between love, tradition, and survival will unfold at some point in time.
🎬 Cast & Crew
Director: Rudy Soedjarwo
Writer: Lele Laila
Produces: Yoen K., Agung Priyanto Dwi Nugroho
Cinematographer: Bella Panggabean
Editor: Wawan I. Wibowo
Music Composer: Andi Rianto
Main cast:
Flavio Zaviera as Rana- The protagonist whose disappearance along with the return makes the events set in motion. As usual, Zaviera merges innocence confusion along with creeping menace in providing layers to his character.
Happy Salma as Dini- The character represents a mother’s love and denial in the face of absolute impossibility.
Nugie as Banyu- A typical man torn between an omnipresent logic and culture driven superstition, as the father of the Rani depicted in the title.
Chicco Kurniawan as Janu: One of Rana’s friends and an important hiker companion who assists in the revelation of the truth.
Azela Putri as Tari: The youngest of Rana’s siblings who grows more and more wary of her sister’s abnormal behavior.
Jajang C. Noer, Oppie Andaresta, and Septian Dwi Cahyo portray the older family members who, through Javanese superstitious lenses, provide insight into the occurrences, which is culture rich accenting and adding tension to the main plot.
⭐ IMDb Rating & Critical Response
IMDb Score: 5.2/10
Like many indonesian movies, “Primbon” had indeed received mixed reviews from indonesian audiences both critical and uncritical alike, as well as horror enthusiasts from overseas. The film has been praised for its adaptation of Indonesian culture and folklore through its psychological and spiritual narrative.
Critics have highlighted the film’s atmospheric tension, cinematography, and its use of traditional elements to build dread with little to no gore or jump scares. The film is set primarily inside a Javanese traditional house and a foggy mountain range, which serve to create a feeling of discomfort as well as mystery. The art in the film does a great job of showing the spiritual burden and isolation which is heavy throughout the film.
Though several reviewers remarked the film builds its pacing slowly, other viewers said it may have been dull for audiences expecting typical horror thrill rides. The storyline/subplot takes on a more psychological and emotional hue as it examines the cultural superstition’s role in augmenting paranoia, alienation, and familial dysfunction.
Other viewers found the ambiguity around Rana’s condition to be both captivating and aggravating, as the film fails to provide any definitive explanation. This creates ambiguity — is the horror authentic, or is it a byproduct of shared trauma and fears?
The film has, in recent years, received criticism and praise in equal measure but Primbon stands out for carving a space as a culturally relevant horror piece. Unlike other entries into the horror genre that depend on Western stereotypes or universal monster archetypes, “Primbon” takes a different approach by rooting its supernatural framework within genuine real world beliefs and practices.
Primbon Themes and Cultural Significance
At its core, “Primbon” is not simply a horror film; Instead it seeks to understand how timeless belief systems continue to influence people in contemporary Indonesia. The explores:
Rational vs. Superstition: The presumption that different generations and family members experience, process, and deal with tragedy through a lens unique to them.
Denial and Grief: The extent of how love may blind people to reality when it is dangerous.
Cultural Identity: The response to the unknown through Javanese rituals traditions and cosmology.
The title in itself is important, “Primbon”. The Primbon is a true manuscript that has ever been consulted by a section of Javanese people to understand omens, predict fate or even supernatural diagnosis. Using this as a base dramatically enriches and authenticates the culture in modern horror cinema, which is rarely seen.
🎬 Final Thoughts
“Primbon” may not be a horror film for everyone. It’s pace, cultural specificity, psychological chasing with little explanations require an open mind and a great deal of patience. For people interested in folklore, spiritual horror, cross generational storytelling, this is a haunting and thought provoking film.
With its subtle directional choices, dedication to performance, and deeply embedded cultural roots, “Primbon” stands as a reminder of one sobering truth. Sometimes the most terrifying monsters are not only those lurking in the shadows, but also challenge the very core of one’s belief.
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