Introduction
This film, “Mind Marlina the Murderer in Four Acts,” emerges as a compelling film that pushes the boundaries of mainstream cinema, harmonizing diverse cinematic traditions. Marlina is an Indonesian production directed by Mouly Surya, which premiered in 2017 and is noted for its distinctive story and cultural richness (IMDb, 2017). Its setting is the Indonesian archipelago, influenced by local folklore and traditions, reflecting the diversity of the nation’s cultural background. The film revolves around Marlina, a widow who gets involved in a bizarre story of revenge and empowerment (Cheshire, 2018). Here, the film’s treatment of gender-related violence and female strength touches upon universal themes yet retains Indonesian essence. As a notable representative of Transnational Cinema, “Marlina” unveils the intricacies of global filmmaking, leaving restrictive classifications behind and finding viewers worldwide. The cinematography, a key component in this story, is a visual pipeline that provides the Indonesian aesthetics and the effects of storytelling. This essay critically analyses the film “Mind Marlina the Murderer in Four Acts” using transactional cinema by the mode of cinematography
Transnational Cinema
Cultural Hybridity
In this analysis, the form or framework of Transnational Cinema will be used to show how the directorial work “Mind Marlina the Murderer in Four Acts” impresses with the accurate blending of national Indonesian cultural content and international language of cinema. In 2017, when Mouly Surya directed it, the movie focused on striking the delicate balance of preserving indigenous cultural specificity and the ability to support a global audience (Cheshire, 2018). It borrows inspiration from the local folklore and customs to introduce viewers to Indonesian tradition- a rich tapestry. According to Sutandio (2023), this cultural hybridity improves the verisimilitude of the film by plunging the spectator into the specificity of its setting and, at the same time, helps to overcome the cultural barrier, promoting a connection beyond the geographical limits (Sutandio, 2023). The masterpiece results from the subtle marriage of indigenous elements with this global language of cinema.
Globalization and Social Issues
“Marlina” is part of Transnational Cinema as a cinematic framework, which often addresses global issues. The movie touches on modern-day social issues, particularly domestic violence, that women face and the means to empower women (Sutandio, 2023). The film statement makes a powerful statement by portraying the protagonist, Marlina, as a survivor moving through a patriarchal setting. According to Sorrento (2019), this analysis of broader socio-cultural topics also greatly facilitates the film’s international recognition. It becomes a vehicle for cultural debate and a stimulant for talks on common human experiences within different frameworks. Through its response to relevant international themes, “Mind Marlina the Murderer in Four Acts” emerges as the ultimate symbol of the power of Transnational Cinema to promote intercultural appreciation and compassion. Top of Form
Cinematography
Visual Storytelling
The cinematography in “Mind Marlina the Murderer in Four Acts” is much more dynamic as it breaks away from the established limits and becomes an exemplary visual narrative (Sorrento, 2019). Under the direction of Mouly Surya, the film starts with a strikingly visual opening sequence composed of panoramic shots that immediately tell the audience about the story’s tone. The lengthy shots throughout the film are intentional, encouraging viewers to dwell on the story and feel the story deeply (Sorrento, 2019). Manipulation of visual elements by the cinematographer proves to be a significant storytelling tool that guides the audience in a subtle way through Marlina’s transformation of visually appealing yet enveloping language.
Symbolism and Composition
Aesthetically, “Marlina” uses visual symbology and arrangement to refine the richness of the narrative (Rachman & Wahyuningsih, 2021). As an image that repeatedly appears, notably Marlina carrying a severed head, a solid visual symbol emerges that symbolizes her move from victimhood to empowerment. This powerful visual analogy symbolizes her character’s growth and strength. There are layers of meaning added to the story with careful composition such as the chiaroscuro of intense moments. According to Rachman & Wahyuningsih (2021), it encourages viewers to look beneath the literal meaning to interpret and engage on a deeper level. In this way, the cinematography in ‘Mind Marlina the Murder in Four Acts’ becomes an inseparable part of the story, helping in telling the story more and establishing the film as a work of art.
Cultural Aesthetics
The cinematography in ‘Mind Marlina the Murderer in Four Acts‘ explores the complexities of visual narrative but celebrates the rich history of Indonesian culture with exceptional dexterity (Khairunnisa et al., 2022). Under the guidance of Mouly Surya, the film develops into an audiovisual hymn to the cultural symbols of the Indonesian nation. The vibrant hues that adorn the screen, evocative of traditional Indonesian craftsmanship, are rendered by staring carefully, imbuing every frame with a near-painterly character. Using these colors is not simply decorative but consciously commemorates the nation’s cultural legacy. Traditional costumes and carefully ornamented and culturally charged clothing items are crucial to cinematography, acting as markers of identity and culture (Khairunnisa et al., 2022). The stunning Indonesian landscapes, from vast fields to thick forests, are presented as realistic as possible, contributing to the film’s realistic aspect. The cinematographers deftly capture the crossroads of natural beauty and cultural wealth in a manner that impacts not only the story but also the collective memory and identity of the people of Indonesia. With such a detailed focus on cultural aesthetics, Marlina becomes a painting of a film where visual language turns into a means of cultural manifestation and a manifesto (Marasabessy, 2021). The film’s cinematography functions as a connecting point, drawing viewers deeper into Indonesian heritage and helping them appreciate the story’s cultural intricacies.
Conclusion
“Mind Marlina the Murderer in Four Acts” is a a cinematic piece that cannot be put in any category. It combines Transnational Cinema elements, which, in turn, captures the greatest mastery of cinematography. Notably, the success of the film directed by Mouly Surya is the result of its outstanding ability to capture global audiences and maintain the cultural character of Indonesia. The combination of cultural hybridity and visual storytelling alters the nature of viewing, undermining traditional filmmaking standards. The cinematography, focusing on the visual narrative, symbolism, and ritual aesthetics, is the primary supporter of the narrative’s depth and atonement. In the not-so-distant future, when the cinematic landscape changes, “Marlina” will stand as an example of what happens when stories know no boundaries. Moreover, the film is more than a cultural ambassador for Indonesia. Instead, it is a story shared by all humankind. While staying true to the cultural heritage and engaging with global issues, adopting a distinct visual language, “Mind Marlina the Murderer in Four Acts” film demonstrates its ability to transcend cultural boundaries and establish a connection between the people of the world.
References
Cheshire, G. (2018, June 22). Marlina the Murderer in Four Acts movie review (2018) | Roger Ebert. Roger Ebert. https://www.rogerebert.com/reviews/marlina-the-murderer-in-four-acts-2018
IMDb. (2017, November 16). Marlina The Murderer in Four Acts (2017) ⭐ 6.9 | Drama, thriller, Western. https://www.imdb.com/title/tt5923026/
Khairunnisa, I., Zunnun, A. A., & Nurfathiyyah, W. O. (2022). Viewer Acceptance of Cultural Values In The Film of Marlina The Killer In Four Acts. COMMENTATE: Journal of Communication Management, 3(2), 151-164.
Marasabessy, N. (2021). Patriarchy and Women’s Emancipation in Indonesian Film: Marlina the Murderer in Four Acts and Perempuan Berkalung Sorban. MUHARRIK: Jurnal Dakwah Dan Sosial, 4(02), 143-168.
Rachman, R. F., & Wahyuningsih, M. E. (2021, October). Gender Equality in Marlina the Murderer in Four Acts as Seen from Islamic Perspective. In Proceedings of International Conference on Linguistics and Literature (Vol. 1, No. 1, pp. 75-87).
Sorrento, M. (2019). Parting Words: Beyond the ‘Post-Western’: Marlina: A Murderer in Four Acts. Film International, 17(1), 139-139.
Sutandio, A. (2023). The final girls in contemporary Indonesian horror films: reclaiming women’s power. Cogent Arts & Humanities, 10(1), 2186593.
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