Every once in a while, you’re lucky enough to watch a film that makes you feel like you can run through a brick wall. I’m thrilled to report that Joko Anwar’s Ghost in the Cell is one such film.
It all starts when Dimas (Endy Arfian), a journalist who’s recently returned from Borneo, is accused of heinously murdering his editor after a disagreement over a piece. Dimas is eventually transferred to Labuhan Angsana prison, where he meets Anggoro (Abimana Aryasatya), a father of two who keeps getting his sentence extended because of fighting. Trouble is, the reason he’s fighting is in defense of his fellow inmates.
Dimas and Anggoro’s journeys are central to Anwar’s horrific and hilarious tale (yes, I said hilarious, more on that in a bit), but they’re not the only players caught up in this haunting Indonesian class war. Wildan (Mike Luccock) is a devout Muslim whose knowledge of aura meaning will become central to their survival; Pendi (Lukman Sardi) is a former professor who plays stupid until it’s the right time to outsmart; and Six (Yoga Pratama) suffers from an intense migraine that leads to the ability to see aura, making him pivotal to the survival of his friends.
Plenty of films have a lot of characters, but few manage to be a true ensemble piece. While Dimas and Anggoro are central to the story, Anwar’s script and Juandini Liesmita’s casting amassed a wonderful group of talent that makes the words on the page soar. From Aryasatya’s passion as Anggoro to Bront Palarae’s performance as the overtly cruel warden, Jefri, every player is doing their part to make Ghost in the Cell a socio-political horror comedy of the ages.
Oh, and did I mention that there is a pissed-off ghost absolutely mowing through victims in the gnarliest way it can?
Dimas is sentenced and imprisoned almost immediately for two reasons. First, the CCTV footage was mysteriously missing — a happenstance that occurs whenever convenient for the corrupt powers that be. Second, his boss was found strung upside down via his ceiling fan with his guts artfully splayed across the room. Dimas knows that it wasn’t him, but no justice system is going to listen to the “a malevolent ghost did it” defense, let alone a corrupt one.
As soon as Dimas arrives, the ghost begins to wreak havoc on Cell Block C. Everything that unfolds from that point is a hilarious mix of Random Acts of Violence and Kung Fu Hustle, showing that Anwar isn’t just capable of being fascinatingly mean in his projects, but also hilarious.
The artistic cruelty of the ghost coupled with the comedic timing of the cast would have been enough to make Ghost in the Cell a good film. The juxtaposition of horror and humor is far from new, but rarely is it showcased in such extremes. The ensemble is frequently charged with illustrating slapstick shenanigans in the face of abject terror, and meets the challenge with ease.
Still, Anwar, clearly not satisfied by the already impressive duality of his story, took the film from good to great by ensuring that every decision both on page and on screen was dictated by an ongoing class war that threatens to gobble up Indonesia’s poor while propping up the rich and those that keep them in power.
Anwar’s long been known for celebrating practical effects in his films. Ghost in the Cell is no exception, with a makeup department credit list as long as your arm. Still, there’s an obligation to note that the only thing keeping this entry in his filmography from being a perfect film is just one rough-looking digital kill.
Perhaps it wouldn’t have stood out the way it did if it weren’t in a sea of brilliant practical effects, but it’s noticeable. Thankfully, it’s only sixty seconds of screen time before we go back to showcasing the ghost’s brutal artistry.
Ghost in the Cell’s comedic chops and haunting horrors culminate in a finale that will leave you grinning so hard your face might split in half. Classism and brutal cosmic justice team up to deliver an endlessly satisfying climax of just desserts, as things come to a close on a shockingly feel-good note after all the pain the ghost inflicts during the film’s (shockingly short-feeling) two-hour runtime.
The director has long been awing horror fans across the globe, but Ghost in the Cell is far and away Anwar’s best film to date. Striking practical effects spurt blood across truly knee-slapping slapstick comedy, showcasing a perfect understanding of timing and how to use opposite emotions to build up an armor-clad narrative. That it also happens to be a sharp political commentary with international appeal only furthers the strength of the film.
