Dominion of Darkness (2024), directed by Bobby Prasetyo, marks a significant entry in Indonesian cinema as the country's first major Catholic exorcism horror film. Set against the backdrop of Indonesia's rich cultural tapestry, the film intertwines traditional beliefs with Catholic rituals, offering a unique perspective on the age-old battle between good and evil.
The narrative centers on Father Thomas (Jerome Kurnia), a priest grappling with a crisis of faith following the tragic deaths of his mother and sister. His spiritual turmoil is further compounded when he's tasked with assisting the seasoned exorcist, Father Rendra (Lukman Sardi), in a harrowing case involving Kayla (Lea Ciarachel), a teenager possessed by a malevolent entity. Kayla's descent into possession begins innocuously when she attempts to contact her deceased father through a traditional Indonesian spirit-calling ritual known as jailangkung. However, the ritual inadvertently summons a far more sinister force, leading to a series of terrifying events that challenge the very foundations of faith and belief.
Visually, Dominion of Darkness excels in creating an atmosphere of dread and suspense. The film's makeup and special effects, particularly in depicting Kayla's possession, are commendable, adding a layer of authenticity to the supernatural occurrences. The cinematography captures the eerie ambiance of the settings, enhancing the overall horror experience.
However, while the film's premise holds promise, its execution falters in several areas. Critics have pointed out that the storyline adheres closely to conventional exorcism tropes, offering little innovation to the genre. The pacing is uneven, and the character development, especially of Father Thomas, lacks depth, making it challenging for audiences to fully engage with his internal struggles. Additionally, the film's sound design has been a point of contention, with some viewers finding the score overpowering, detracting from crucial dialogue and diminishing the impact of key scenes.
Despite these shortcomings, Dominion of Darkness stands out for its cultural significance. In a nation where Islamic themes predominantly influence horror cinema, this film's exploration of Catholic exorcism rituals offers a fresh perspective. It delves into the complexities of faith, guilt, and redemption, themes that resonate universally, transcending cultural boundaries.In conclusion, Dominion of Darkness is a noteworthy attempt to diversify the horror genre within Indonesian cinema. While it may not revolutionize exorcism narratives, its cultural context and atmospheric visuals provide a compelling viewing experience. For audiences interested in horror films that intersect with spiritual and cultural themes, this film offers a glimpse into the rich tapestry of Indonesian beliefs and the universal struggle between light and darkness.
