Indonesia’s Folk Horror: A Look Into Monty Tiwa’s Keramat (2009)

Source: A24

The folk horror genre introduces modern and foreign audiences to cultural phenomena that may be considered endemic or obscure. Some popular folk horror movies that you might recognize are Ari Aster’s Midsommar (2019) and Robin Hardy’s The Wicker Man (1973). Many folk horror movies border on the fantastical and supernatural sides of a certain tradition, but they aren’t necessarily preternatural in nature—rather, these elements provide a glimpse of the humanity that struggles against the incomprehensible and the consequences of tampering with things you don’t understand. 

You might recognize creatures of Indonesia’s own folktales, such as the Kuntilanak and the Pocong, as they tend to appear in many Indonesian horror movies. The appearances of these beings may justify a movie being ‘folk horror’, but the main conflict in most Indonesian horror movies is the supernatural versus the religious, without necessarily exploring the cultural context behind the existence of such beings.

In Monty Tiwa’s Keramat (2009), meaning sacred in English, an amateur film crew goes to rural Java to shoot a documentary when one of the actors gets possessed by a spirit who claims to be her ancestress. After consulting a shaman, the film crew is told that the only way to save her is to travel to the spirit realm, where they encounter many beings known in Javanese folklore. 

Keramat (2009). Source: Youtube

The film has a very interesting take on introducing these beings, highlighting the folk horror themes. For example, Nyi Roro Kidul is known to inhabit the southern coasts of Java, and the crew unwittingly encounters her in her disguised form as a jamu seller. One such scene truly conveys a sense of culture and identity, even in a horror film. Not only that, but the film is also shot in found footage format, similar to that of The Blair Witch Project (1999). Watching the film from a first-person perspective offers a raw and unfiltered experience for audiences who are new to and familiar with Javanese tradition and folklore. The film not only features beings from existing folklore and mythology but also sets inspired by various sacred places and temples in Java.

Folk horror as a genre explores the terrifying human nature associated with folklore and tradition. In a way, one might say that watching folk horror is a key to understanding and appreciating our roots. Keramat’s depiction of Javanese folklore and heritage not only mesmerizes audiences with Indonesia’s rich cultural roots but also its spiritual identity. Indonesia is a country laden with superstition, which is integral to folklore. For example, the movie subtly depicts Nyi Roro Kidul as an unassuming jamu seller, but what gives her identity away is the fact that she’s wearing a green kebaya—the color associated with Nyi Roro Kidul. It is said that one should not wear green on the coasts where she resides, in fear that she might take them to the sea with her.

Like the folktales it’s based on, Keramat’s examination of its characters reminds audiences of the consequences of greed, lust, and ambition. Each character faces the consequences of their own actions and desires by the end of the movie. Such sequences feel like echoes of traditional Indonesian folktales, or known as cerita rakyat in Indonesian.

In 2022, a sequel was created by Monty Tiwa, featuring many renowned influencers as its stars. Like its predecessor, Keramat 2: Caruban Larang depicts Indonesian folklore in a more modern lens while still being in found footage format. Characters are seen doing the Jailangkung ritual, which is an Indonesian version of the Ouija board ritual, and there are dancing spirits shown to haunt the cast throughout the film. Although the film received less praise compared to its predecessor, it is still undoubtedly a staple of the Indonesian folk horror genre.

Keramat may not be the only Indonesian film to depict folklore as a medium of horror, but it is certainly one that has a novel and refreshing approach. The film’s references to many Indonesian spirits, sacred sites, and superstition encapsulate its identity not only as an Indonesian horror film but also as a modern memento of Javanese heritage.