Synopsis
After encountering a group of bandits with plans to rape and steal from her, a young widow ventures into the wilderness in search of justice.
2017 ‘Marlina si Pembunuh dalam Empat Babak’ Directed by Mouly Surya
After encountering a group of bandits with plans to rape and steal from her, a young widow ventures into the wilderness in search of justice.
Marsha Timothy Egy Fedly Tumpal Tampubolon Dea Panendra Yoga Pratama Haydar Salishz Yayu Unru Norman R. Akyuwen Ruly Lubis Satrya Ghozali Ayez Kassar Dicky Dewasanto Leriardi Dami Rizky Rahardianto Benedikus Bara Nelson Nandito Rita Matumona Indra Birowo Anggun Priambodo Safira Ahmad Aryanto Bitu Ozzol Ramdan Arawin Pepinte Sapto Soetardjo Virhot Jeffry Nurkhamid Abdul Cholid Abdul Mutalib
Marlina: The Murderer in Four Acts, Marlina, vražedkyně ve čtyřech aktech, Marlina - Die Mörderin in 4 Akten, Μαρλίνα: Η Δολοφόνος Σε Τέσσερις Πράξεις, Marlina, la tueuse en quatre actes, Marlina. Omicida in quattro atti, 살인자 말리나의 4막극, Žudikė Marlina. Keturių veiksmų istorija, Marlina Zbrodnia w czterech aktach, Marlina, Assassina em Quatro Atos, Марлина, убийца в четырех актах, Katil Marlina, 玛琳娜的杀戮四段式, 復仇女萬里殲狼
This spaghetti western by way of Indonesia is a beautiful third feature by Mouly Surya. This film proves she's a strong voice in world cinema with a flare for visually stunning widescreen imagery.
Premiered at Directors Fortnight at Cannes and has had a great fest run. KimStim released it in the States. KimStim is really aquiring some fantastic titles.
The first full-length film from Indonesia to be appeared in Cannes Film Festival in the last 12 years.
Watched on vimeo link.
Somehow achieves the extraordinarily difficult task of being a contemplative fusion of interior visual compositions and static landscape photography, all flawlessly framed with a fucking marvelous musical backdrop -- ingredients of the almost ambient naturalism commonly attributed to the kind of imagistic films that many consider to be of the purely "art" sort, a notion which I strongly oppose -- all the while remaining more engrossing and compelling on a level of interpersonal tension/unease than the majority of (the more overt and noisy) genre films I've seen as of late.
An Indonesian rape and revenge film that somehow feels less exploitative and more grounded than comparable genre-fare. Also, it's not as visually dark and depressing as one might expect from such material but rather glary.
It's definitely a mood-piece because the film relies heavily on its images along Marlina's journey and is therein definitely akin to the western genre, which also applies to the plot, which is pretty straightforward and without too many twists or turns. Some might take away from this that not much happens in the film but I'd rather say that a few specific things happen, which are then presented in an intentionally prolonged fashion, making it almost feel like realtime, whereby the arduous nature of things is accentuated.
I'd very much like to bathe in the score from this film. It's everything great about Western film Ennio Morricone mixed with an Indonesian spirit and the result is simply astonishing to listen to.
With a title like Marlina the Murderer in Four Acts you'd anticipate a Kill Bill knockoff, but what emerges is a feminine reflection on lawless justice. Beautiful desert scenery, small town farms, and a melancholic soundtrack of eastern and western folk-spaghetti sensibilities.
A neo-Western of the empty sunkissed landscapes of Indonesia, a generation through the acceptance of violence (in the sixties, through a facist regime killed off one third of their population) and a representation on clashing modern and stilted morals. In the same way we reflect upon the disintegrating rural towns of America, Mouly looks at the generational impact of how we bring new life into this world while laying in bed with the heartbreaking violence of its past.…
The hidden lives of women. Hidden not out of selfishness, but out of rejection: when they're shared, they're dismissed, or not believed, or belittled. The reality of these lives is frankly and cruelly denied by men (husbands; lovers; brothers; fathers) to whom stories are offered and so, by necessity, they're hidden away.
Trauma and rage hidden behind blank, emotionalness walls. Behind acquiescence and silence. Behind swallowed-down protests, and countless bitten-off retorts.
Hidden away and protected, made available only to the eyes of other women. To those who understand. Those who, with a single word or look, can lighten a load. Can say "I know," and "I understand," and "Me too."
In a physical world constructed of long, empty distances, in…
"Why does he not see my misery?"
Marlina the Murderer in Four Acts is an Indonesian feminist revisionist western that dismantles the typical fantasy underlying the traditional rape-revenge narrative structure. Marlina's assailants don't merely assault her, they talk proudly about other women they've assaulted first, and they even force her to took them dinner before they touch her—they're truly, blatantly evil, so when she (still in the first act, mind you) poisons most of them and beheads their leader, you'd think that she'd find some sort of solace. Nope.
Instead, she wanders around carrying the leader's disembodied head, first fruitlessly going to the cops to report their crime, and then just sitting with a sympathetic little girl, someone who sees…
DAMN... this looks fucking gorgeous. Truly the best Indonesian feminist revenge spaghetti western ever made. i really enjoyed it
When Kill Bill meets Once Upon a Time in The West, but "the west" is replaced with "the east".
Nyoba nonton ulang, ternyata tanpa disangka saya bisa enjoy banget sama film ini layaknya nonton film western-nya Sergio Leone. Ngak cuma itu saja, saya juga sudah bisa mengatakan kalau ini adalah sebuah mahakarya luar biasa karya anak bangsa, dan sudah bisa nge-rate 5 bintang sempurna, yang sebelumnya cuma bisa nge-rate 4 bintang saja.
Intinya, tanpa perlu diragukan lagi kalau film ini adalah salah satu film Indonesia terbaik yang pernah ada. Karena, untuk sekelas film Indonesia, ini bisa dibilang film yang sempurna dari berbagai aspek.
Pertama, dari segi sinematografinya yang super cantik. Dulu, pas pertama kali nonton, karena belum terbiasa sama film…
This movie tells us that somewhere in suburban area in Indonesia, men’s instinct to repress women does not exude only when they live and breathe. Even when the men die their spirits immortalize to prevent women searching for liberation. What a tight squeeze.