Italian Premiere | In Competition
Indonesia, 2026, 106’, Indonesian
Directed by: Joko Anwar
Screenplay: Joko Anwar
Cinematography (color): Ical Tanjung
Editing: Joko Anwar
Art Direction: Dennis Sutanto
Music: Aghi Narottama, Tony Merle
Producer: Tia Hasibuan
Cast: Abimana Aryasatya (Anggoro), Endy Arfian (Dimas), Bront Palarae (Jefry)
Date of First Release in Territory: April 16th, 2026
Genre-bender Joko Anwar’s latest horror-comedy is far more than meets the eye. While the visceral gore and jaw-dropping visuals alone make it a must-see, the tightly woven script harmonizes absurd opposites in a deeply satisfying way. Commenting on systemic corruption and deforestation,
Ghost in the Cell proves to be a layered film where heavy social issues can be critical and wildly entertaining all at once.
Anggoro (Abimana Aryasatya) is an inmate in Cell Block C, a pit of constant strife where lowlifes – thieves, conmen, and alike – form gangs and battle for dominance. Though he and his friends try to stay low, Anggoro’s righteous nature frequently puts him in trouble with the merciless guard, Jefri (Bront Palarae).
Air shifts with the appearance of Dimas (Endy Arfian), a young journalist wrongfully convicted of murder. His arrival coincides with a wave of supernatural slaughter, and inmates begin dying in gruesome ways. When one of Anggoro’s crew acquires the ability to see auras, it reveals that those with the darkest aura will be next in line for the guillotine. In order to stay alive, they must keep their auras bright.
Unlike many Southeast Asian horror tropes, the entity in
Ghost in the Cell is never seen. Rather than relying on a traditional ghost, the threat mirrors its victim in appearance. Becoming one’s own nightmare is as scary as it is, but the film doesn’t stop at this psychological distress. The supernatural deaths are merciless, serving the audience a feast of visual atrocities. Further on the topic of visuals, despite the aforementioned gore, the film’s aesthetics are surprisingly reminiscent of Romantic paintings. The dynamic compositions, diverse poses, and intricate choices in color and lighting turn each frame into art. Much like the morbid sculptural displays of the dead, this stylistic choice is another example of an absurd contrast, offering a hauntingly beautiful double frame.
Lightening the mood, as a comedy should, are the film’s quirky detours. To keep their auras green, Anggoro and his gang are forced to learn how to twerk – a surreal and highly unlikely sight in a prison haunted by brutal murderers. Novilham (Magistus Miftah) plays their dance instructor with incredible flair, providing a rare and meaningful representation of the LGBTQ+ community in Indonesian cinema.
While too many foreign pairings like dancing criminals leave us stunned, Anwar weaves in the element of familiarity through pop culture references. Aura lights and brutal deaths remind us of the high-stake “Red Light, Green Light” game in
Squid Game (2021), while the title has a resemblance to the Japanese
Ghost in the Shell franchise. The soundtrack also hits a familiar note, especially
Tonight You Belong to Me – a recognizable tune that is a combination of both cute and creepy. In addition to its appearance in
Birth (2004) and
American Horror Story (2011), the song has seen much popularity over social media. While closing the story, it impactfully leaves the audience with a lingering, unsettling cinema hangover.
All the layers and unlikely pairings in
Ghost in the Cell render it more than a visual spectacle, but also a food for thought – yet another duality. The social criticism is very much on the surface, but it never becomes too heavy or comes at the expense of entertainment. This is a recurring strength of Anwar’s, and his approach only makes his messages more powerful. Take what you will from the feast of ideas, but as for me, I’ll be leaving the room twerking to
Tonight You Belong to Me.
Joko Anwar
Joko Anwar is an Indonesian writer-director known for blending genre cinema with sharp social commentary. Many of his works have premiered at festivals like Venice, Toronto, and Sundance, earning both critical acclaim and major box-office success. He has also directed successful series like Nightmares and Daydreams (2024), which reached the Top 10 in 15 countries, including the U.S. In 2025, he was awarded the Chevalier de l’Ordre des Arts et des Lettres by the French government, shortly before his latest feature, Ghost in the Cell, debuted at the 76th Berlinale.
SELECTED FILMOGRAPHY
2005 – Joni’s Promise
2007 – Kala
2009 – The Forbidden Door
2012 – Modus Anomali
2015 – A Copy of My Mind
2017 – Satan’s Slaves
2019 – Gundala
2019 – Impetigore
2022 – Satan’s Slaves: Communion
2026 – Ghost in the Cell