Satan’s Slaves

In the early 1980s, a modest house on the outskirts of a quiet Indonesian village holds together a family weathering both economic strain and the lingering shadows of past fame. Mawarni, once a celebrated singer, now lies bedridden, while her husband Bahri struggles to keep the roof over their heads. Their children—responsible older sister Rini, restless teen Toni, imaginative ten‑year‑old Bondi, and mute seven‑year‑old Ian—move through daily chores that feel heavier than the land they till.

The quiet routine is shattered when Mawarni, after three years of a mysterious illness, passes away. Yet the house does not feel empty; an uncanny sense of her presence lingers, as if the line between life and loss has thinned. The family, already stretched thin, finds themselves drawn into a subtle, unsettling current that hints at forces beyond ordinary grief.

Within the cramped rooms and the distant fields, each family member reacts differently. Rini steps into a protective role, shouldering the weight of her siblings, while Toni battles teenage rebellion against the encroaching dread. Bondi’s curiosity leads him to the hidden corners of the home, and Ian, though unable to speak, senses what others cannot. Neighbors and a quiet religious teacher arrive, offering comfort that feels both reassuring and oddly foreign, further deepening the house’s charged atmosphere.

As the days pass, the rural setting becomes more than a backdrop—it breathes with whispered folklore and the lingering echo of a mother’s love that refuses to fade. The film cultivates a mood of quiet terror, where ordinary life and the supernatural intertwine, leaving the audience to wonder what returns from the past and what price the living may have to pay for the promise of a final, haunting reunion.

Last Updated: September 20, 2025 at 16:46