Sumala is an Indonesian supernatural horror film set to release in 2024. Rizal Mantovani, a distinctive figure in the Indonesian horror cinema industry, directs the film. Mantovani has previously directed Kuntilanak and The Doll. He returns with a masterfully haunting story filled with folklore and deep emotional elements of maternal grief and the consequences of forbidden deals. Unlike other films that primarily rely on jump scares, Sumala is a thought-provoking horror movie that unsettlingly explores humanity’s darkest desperation.
Synopsis
The plot takes us back to 1948 after Indonesia’s independence where it focuses on a rural village in Semarang Regency. Soedjiman and Sulastri, aristocrats facing challenges with a child, grab the viewers attention. Even though the couple has access to great wealth and material possessions, they struggle with overwhelming sadness because of the lack of children—and this becomes a source of gossip.
Out of desperation, Sulastri resorts to the services of a dukun, a traditional shaman or spiritual healer. The dukun engages her in a pact with a supernatural force that claims to bestow a child upon her, yet requires something in return. The ritual seems to have worked, as Sulastri now gives birth to twin daughters, which she names Kumala and Sumala. Education Sumarla is stillborn under circumstantial and mysterious factors.
Kumala’s character is sustained throughout the years, with her remaining completely oblivious to the world’s expectations, and to the secrets surrounding her birth until she unfortunately gets confronted with the reality of such ragged edges. And as time goes by… Unexplainable deaths start emerging, alongside ghostly apparitions, and an incessant presence that starts appearing with her. To put it in simpler words, a malicious one. This phenomenon combined turns the once calm and sunny feeling village feel dark and smothering.
Over time I have noticed the stillborn spirit of Sumala emerges from under the rug. This ignites the quest to face the rage that transforms the once charming secrets into haunting ones. As memories built through cross edges finales unfold, so does revenge. To tame such forces the village itself, alongside the family is required.
Casts and Their Contributions
Sulastri by Luna Maya
Soedjiman by Darius Sinathrya
Kumala/Sumala played by Makayla Rose Hilli
Mbok Sum by Ivonne Dahler
Sukir by Denino Basrial
Sabdo by Budi Gunawan
Sabdo by Denny Rahman
The Dukun by Denny Sumargo
Pak Lurah by Rizky Hanggono
Bu Lurah by Ratu Felisha
As noted by many critics, Luna Maya’s performance as Sulastri is the youngest star’s best performance so far as it perfectly captures a mother in both a state of madness and a profound obsession. In what could be the most chilling performance of the decade, Makayla Rose Hilli gives life to both Kumala and her vengeful spirit, Sumala, perfectly balancing innocence and terror.
Direction and cinematic approach
Rizal Mantovani applies his trademark style to the movie by combining traditional Indonesian horror practices including rituals and folklore with modern approaches to horror. With Sumala, there is no misunderstanding the fact that the atmosphere is rife with tension. Slowly building dread throughout the film is achieved via the use of long takes and ambient sound design alongside sparse dialogue.
The cinematography showcases the remoteness of the countryside: dense jungles, foggy trails, and colonial ruins, then adds a certain ageless quality which deepens the otherworldly tale. The lighting is mostly candle-lit or softly saturated, increasing the spookiness of the setting, while the set design meticulously represents Indonesia’s architecture after colonial rule, illustrating sharp focus on splendor and detail of the culture.
Themes and Symbolism
- Maternal Exasperation and Self-Identity:
Emotional peak of the film rests on Sulastri’s desires to be a mother. The depths to which she goes simply to fulfill her dreams, like compromising with a malevolent entity, truly reflects the societal burden placed on women and their conception around motherhood. There is critique on how women are reduced to their wombs in the society and how these demands can bring devastation to someone’s sanity.
- Twins and the Chiaroscuro of Life and Death:
The twin motif of Kumala and Sumala serves not only as a shocking device but rather as one portraying the sensitive line between life and death. Their duality introduces a discomforting sense of tension, and it is very hard to claim that one is at rest when one part of him is lost, or rather neglected.
- Folklore and Spiritual Beliefs:
Even in the modern context of the movie, Javanese mysticism is deeply intertwined with concepts such as dukun, reincarnation, and spiritism. These cultural aspects are not mere background—they are central to the action and motivation of the characters, integrating the country’s folklore and spirituality into the horror elements of the film.
- Guilt and Consequences:
Bringing forth Sumala’s spirit is not just for the sake of supernatural retribution. It is the very echo of guilt, denial, and the subconscious phenomena of hiding from a reality one ought to face. In this case, the moral foundation of the film rests heavily on the fact that unrecognized, unresolved wrongdoing will inevitably seek to reemerge.
Reception and Impact
Sumala was one of the most talked-about movies in Indonesia after it was released. The public response was that it was entertaining—and critics complimented the film for its mature narrative, rich folklore, and overwhelming anxiety. From a financial standpoint, the sum of viewrs showcased considerable interest in the movie’s box office, particularly fans of horror who were intrigued by original, indigenous stories.
From a global perspective, the film boasts a rating of 7.0/10 on IMDb where many reviewers commended the film for its compelling emotion and unique cinematics. While on the contrary, the first act is considered slow in comparison to the latter half, most viewers unanimously agree that the slow pacing is justified due to the intense and soul chilling final scenes.
Sumala also ignited discussions online and in academic spaces regarding the exploitation of female trauma and cultural femininity in horror cinema. Many people viewed it as one of the greatest films directed by Rizal Mantovani, drawing parallels with other iconic Indonesian horror movies such as Pengabdi Setan and Kuntilanak.
Conclusion
Sumala is not just another horror tale; it is a captivating story of desire, remorse, and silence. The combination of supernatural horror and deep emotional conflict sets the movie apart from other Southeast Asian filmmakers. It demonstrates once again how director Rizal Mantovani understands that real horror often resides not only in dark places but also in the untold stories, the silenced histories, the families’ anguish, and the wounds frozen in time.
“Chilling” and “cathartic” are two distinct descriptors that sum up the essence of Sumala for folklore horror fans. The impact of the film is guaranteed to loom long after the credits roll due to its captivating blend of mysticism, psychological, and maternal tragedy.
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