Out of FrightFest, Joko Anwar’s Ghost in the Cell explores the discovery of profound peace in faith, art, or oneself. In the face of a society riddled by anger, the journey to enlightenment can be difficult, impossible even. But uncovered harmony works as the perfect anecdote. With his latest film, the writer/director achieves a thoughtful meditation on humanity’s constant quest for purpose. From the mastermind behind Impetigore and the Satan’s Slaves films, Ghost in the Cell wraps these ideas around all the blood, guts, and gore you could possibly desire. It’s not an easy feat, yet Anwar unlocks the perfect balance between carnage candy and clever thematic probing.
While investigating illegal nickel mining, journalist Dimas (Endy Arfian) stumbles upon a string of mysterious murders. But the newspaper’s editor-in-chief worries that Dimas has completely missed the mark on what the story should be. After his boss demands revisions, Dimas finds himself in a sticky web of murder, resulting in his incarceration in a notorious prison known for a meth lab and gang activity. He befriends a group of inmates, but he still fears for his life. His cellmate Tokek (Aming Sugandhi) is an unhinged psychopath with a thirst for sexual exploitation and bloodshed.
Upon Dimas’ arrival, someone or something begins slaughtering numerous prisoners and displaying their mutilated bodies in elaborate art-like installations. Anwar masterfully showcases both the beauty and brutality of the human form. Through such a violent, visceral lens, the filmmaker drives home the thorny, blood-soaked concepts throbbing at the film’s core. Another detainee, Anggoro (Abimana Aryasatya), convicted of robbery, leads the prison in assembling a plan to conquer this unseen entity. Whatever it may take, he’s willing to try anything, no matter the cost. But as the force inches closer, the group closes ranks, as the rival crew believes that Anggoro’s squad has something to do with the murders.
Joko Anwar carves out a marvelous display of pure horror cinema. Ghost in the Cell cracks with a more serious tone, but as the story unravels, Anwar pours in physical humor (e.g., dance as a salve to blinding rage) that balances with the macabre. Mangled corpses are nothing compared to one’s ability to find the comedy in life’s darkest moments, stripping away the power of negativity to destroy human connection and civilization itself. With the specter growing in power, it’s up to Anggoro to unlock the reason it’s ravaging through the derelict cell blocks in the first place. Knots are tied, and loose ends tangle together in Anwar’s story about humanity pushed to the brink.
Ghost in the Cell operates as a wonderful slice of fleshy entertainment, but it makes remarkable statements that go much deeper than meets the eye. Joko Anwar delivers his most meaty and tasty film to date, with great attention to character and the muscale behind good versus bad. Sometimes, it’s nothing more than insecurities masked as strength.
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