When Horror Becomes a Way Back to Javanese Culture

KabarJawa.com – The introduction of the film “Danyang Wingit Friday Kliwon” which took place yesterday, November 20 2025 at Jogja City Mall (JCM), was not just a promotional event for a new horror film. Behind the conversations between the cast and crew, there is an anxiety hidden: how Javanese culture, especially the world of puppetry, is starting to be marginalized by the flow of modern entertainment.

The director and producer of this film, Agus Riyanto, is the figure who has spoken the most about this issue. Instead of highlighting production achievements or technical achievements, Agus actually invited the public to look back at the cultural roots that were the foundation of this film’s story.

Reviving the Horror of Tradition, Not Just Scaring

Agus said that this film was built from serious research for one year. He and the playwright, Dirmawan Hatta, collected folklore, oral stories, and studied the Javanese puppetry environment. One of the stories that forms the narrative structure is the story from Gendakan Hamlet, on the slopes of Mount Merbabu, about a sinden who died tragically before his skin was made into a shadow puppet.

However, Agus emphasized that this story was not just horror material, but rather an entry point to re-reading Javanese culture which is full of symbols.

In his view, horror does not have to rely on visual shock. Instead, the most effective fears are often born of something close, something familiar, such as local mythology passed down from generation to generation. From there “Danyang Wingit Friday Kliwon” built its foundation.

Character Conflict as Criticism of Deviating Cultural Values

This film tells the story of Ki Mangun Suroto, a puppeteer who is tempted to study ancient knowledge for the sake of wealth and immortality. This character is not just an antagonist, but an illustration of how cultural values ​​can be distorted when hijacked by personal ambition.

On the other hand, there is Citra, played by Celine Evangelista, a young sinden who has just been recruited to a hermitage and is unknowingly drawn into the world of dark rituals. His journey illustrates how new generations can become trapped when they don’t understand the cultural context they are entering.

Meanwhile, Bara (Fajar Nugra) represents those who are still trying to maintain the purity of traditional values. This silent but alert figure tries to save Citra before Kliwon Friday night, the culmination point of the ritual in the film.

Agus uses the relationship between these three figures as a reflection: culture can be a bridge for inheritance, but it can also become a threat if its original values ​​are distorted.

The Actors Learn to Respect Cultural Elements

In the dialogue session, the actors revealed that their biggest challenge did not lie in tense scenes, but in trying to understand the culture they were playing.

Celine Evangelista, for example, explained that she had to study the role of sinden seriously. For him, playing Citra is not just a matter of acting, but also a form of respect for the profession and traditions that are still maintained in many parts of Java.

Other actors also said that their involvement in this film made them face the world of puppetry which had previously felt foreign. Rituals, gestures in performances, and puppet philosophy are new elements that they need to understand so that the story remains authentic.

Message from the Director: Culture Don’t Stay in Names

At the end of his explanation, Agus conveyed the essence of the entire long process that this film went through:

“Through this work, we want to convey the message not to forget culture. Culture is a legacy left by our ancestors that must be preserved forever.”

This statement is not for promotional purposes only. In the context of the development of local films, this message feels relevant: culture needs to be present not just as decoration, but as a living value in the work.

The Film Has Been Screened and Invites Discussion

“Danyang Wingit Friday Kliwon” will officially appear in cinemas on November 19 2025. Even though it appears as a horror film, his work opens up space for discussion about how traditions can be brought to the big screen without losing meaning.

This film is an attempt to reconcile fear and respect: fear of the mystical, respect for the cultural heritage that forms identity.***