The Indonesian ghost story Impetigore shocked me, chilled me, and left me guessing where its story was headed until its very last minute. That’s an extremely rare quality to find in a modern horror film, especially one that sticks this close to the tones & conventions of its genre. In an ideal, perfectly-functioning movie industry, Impetigore would be the kind of well-funded horror flick that hits wide theatrical release regularly: handsomely staged, efficiently creepy beyond the traumatizing shock of its imagery, and complicated enough in its mythology that it’s not just a simple morality play. Instead, it’s an international export that premiered to mildly positive reviews at this year’s Sundance before quietly finding its way to streaming on Shudder with little fanfare. Impetigore should be an industry norm. Instead, it’s a minor miracle.
It starts with a concise, conceptually brilliant cold open in which a highway tollbooth employee is stalked and eventually hunted in her glass cuboid prison by a machete-wielding maniac. Before he raises his weapon for the deathblow, the crazed killer complains in a reasonable, weary tone, “We don’t want what your family left behind. Please take it away.” That short-story slasher intro then opens up to a much wider, richer tale of an intergenerational curse. A young, desperate woman treks back to her seemingly well-to-do family’s isolated village, hoping to reclaim any generational wealth she may have left behind when she was whisked away to the big city as a child. It turns out her family’s domineering presence in the village is represented by more than just a large house & a fear-inciting name. It also lingers in the form of a vicious curse that torments & disfigures each new generation of the community, so that whatever exploitative evils they committed in the past continue to haunt the present in an active, malicious cycle.
Reductively speaking, Impetigore offers an on-the-surface metaphor about the persistent evils of communal betrayal & inherited wealth. However, the rules & origins of its ghostly curse mutate & self-complicate often enough that it doesn’t feel lazily considered or over-simplified. That’s rare in a modern horror film, where each plot development is typically expected to hold some metaphorical Meaning in a 1:1 allegory. Impetigore’s relationship with Extreme Gore freak-outs is similarly distinctive in the modern horror landscape – walking a difficult balance of being gradually, severely fucked up without rubbing your face in the grotesque details of its cruelty. This is a film that weaponizes your imagination against you for maximum dread, then somehow exceeds the worst-case-scenario imagery you conjure instead of shying away from the discomfort (often by depicting horrific violence against children in particular, it should be said). It’s also a movie that features several traditional Indonesian puppet shows, just in case you’re not already thoroughly entertained.
I very much wish Impetigore weren’t exceptional, that its handsomely executed but appropriately bleak grotesqueries were just another shock-of-the-day horror. As is, it feels like a role model for how well-funded modern horror should look & operate – offering a glimpse of a better, more fucked-up cinematic landscape. It is exceptional, and it should be celebrated as such.