Synopsis
Sabrina (2018) is a supernatural Indonesian horror film by Rocky Soraya. It is a spin-off and spiritual sequel of The Doll films, which had already gained popularity in Southeast Asia. The movie is set in Bandung, Indonesia, and depicts Maira and Aiden, a married couple that live in a lavish house with their niece, Vanya. Aiden, a successful toy manufacturer, has designed and produced a life-sized doll named Sabrina which is part of his company’s product line. He gives this doll to Vanya hoping it would lessen the trauma of losing her mother Andini.
Vanya accepts the doll with much enthusiasm, but her sadness and longing for her mother still lingers. Obsessed with grief plauging her mind, Vanya resorts to an urban legend ritual called Charlie Charlie: a suposedly easy way to talk to the spirit world. In her mind, Vanya only wishes to reach her mother’s soul. Unfortunately, her wish summons a great and evil force into their lives.
It was not long before their domestic life began to be interrupted by strange phenomena. Doors slam shut, whispers can be heard from down the hall, and the Sabrina doll begins making unsettling movements. Initially, Maira and Aiden think Vanya is merely mimicking tantrum behavior due to the trauma she has experienced. But, as the strange happenings escalate in violence and menacing nature, they understand that the situation defies all logic.
The couple enlists the help of experienced demonologists and paranormal investigators, Laras and Bagas. The experts reveal that the spirit troubling them is neither Andini nor just another ghost, but instead an ancient and malevolent demon, Baghiah. This demon, awakened through the ritual, aims to capture Vanya with the intention of turning her into a puppet for its diabolical schemes.
There is no doubt that Aiden is hiding something. The paleontologist’s enthusiasm towards his wife’s birthmark suggests a family history rich with deception waiting to be uncovered. In the midst of this turmoil, an insatiable thirst for success and wealth drives Aiden to make a series of morally questionable decisions. With each choice he makes, the strange activities unfolding within the walls of their home spiral further out of control. The film builds up to a classic showdown between good and evil, where the demonologists, in a desperate race against the clock to preserve Vanya’s essence, attempt an exorcism.
Main Cast and Characters
Maira, a deeply sympathetic woman trying to protect her family, is portrayed by Luna Maya. Her performance hits the film’s emotional arch, capturing the depth of vulnerability mixed with resignation that is vital for her role.
As Maira’s husband and Vanya’s guardian, Aiden is played by Christian Sugiono. A multilayered character, Aiden’s arc shifts from a caring father figure to an antagonist burdened with guilt from his past choices.
Vanya, a young girl overwhelmed with grief and loneliness, is portrayed by Richelle Georgette Skornicki. Skornicki captures the duality of childhood’s innocence and the chilling shadow grief can cast.
Laras, the seasoned demonologist tasked with confronting the evil force, is played by Sara Wijayanto. Equipped with spiritual calm, Wijayanto portrays commanding presence infused with mysticism.
Bagas, Laras’s partner, is portrayed by Demian Aditya. As a fellow demonologist, he balances the more sensitive side of Laras with some analytical perspective.
Direction and Style
As Sabrina’s director, Rocky Soraya infuses a visually sophisticated and polished style into his films. His lighting and focus on color combinations create visual suspense and dread throughout the film. With the supernatural threat increasing, the family home’s interiors become increasingly claustrophobic, with Soraya wisely choosing to focus on atmospheric terror rather than gore.
The film’s score and sound design enhance the building tension. For example, every creak, whisper, and thud is heightened during moments with the Sabrina doll to ensure that the audience remains alert. The Sabrina doll—a porcelain child with eyes that seem disturbingly sunken—serves as the chilling focal point, and somewhere between a symbol of innocence and horror.
Themes and Symbolism
At its core, Sabrina is driven by the grief that one harbors as unresolved and reflects upon the dangers of it. Vanya’s wish to reunite with her mother embodies the desire humans hold to reconnect with deceased loved ones. This feeling is undeniably universal and effectively supports the narrative, providing the horror aspects emotional depth.
Moreover, the film delves into the realm of guilt and hidden truths. Aiden’s attempts to conceal segments of his past catalyze the evil forces that plague his family. It is suggested that spiritual disturbances are often bound to psychological and moral unbalance, which is a principle that permeates the story.
There is a critique of emotional detachment which is represented through Aiden’s replacement of human connection with toys using commercialism. The Sabrina doll meant to offer comfort for Aiden, turns into a source of terror which emphasizes the grievous consequences of deriving genuine affection and relationships and trying to substitute them with physical meaningless objects.
Critical Reception
The film Sabrina was received ambiguously by both Indonesians and international recipiants. The production design, visual effects, and emotional performances from the lead actors, gave the audience something to appreciate. In this case, the performance put forth by Luna Maya was considered to be the finest aspect of the movie.
On the other side of the coin, critics emphasized the over embedding of horror elements through using jump scares, stagnated pace, and over-ploting popular themes from existing American films such as Annabelle and The Conjuring. Some reviewers felt that incorporateing “Doll” films into the storyline using flashbacks as narration was done, but added next to no value to the film became far too predictable to the audience.
Regardless of the criticism, it stands true that the film succeeded in delivering the suspense within the context of depicting themes of southeast Asian horror. Shifting the focus from pure brutal violence, the film used elements of spiritual conflict, moral damage, and emotional grounding to grab hold of the viewers.
Conclusion
Sabrina (2018) is a remarkable edition to Indonesia’s evergrowing horror cinema. It intricately intertwines folklore, modern family drama, and spiritualism into a single narrative. The film does have its flaws, but Sabrina showcases the potential of Indonesian filmmakers in creating genre films with distinct cultural voices. The film blends emotional depth and traditional exorcism with modern horror, resulting in a spooky yet culturally reflective experience.
As part of “The Doll” series or a standalone horror film, Sabrina delivers remarkable performances, genuine suspense, and insight into grief and guilt serving as haunting entities. Sabrina is one of those films which prove sometimes the scariest spirits come from turmoil awakened by our deepest fears.
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