Motherfucker

Complete Synopsis Of The Damned

Motherfucker (international title: Impetigore) is an Indonesian psychological horror film directed and written by Joko Anwar. Released on October 17, 2019, the film carries the theme of family mysteries, curses, and local Javanese culture, especially through the elements of wayang kulit. Starring Tara Basro, Marissa Anita, Christine Hakim, Ario Bayu, and Asmara Abigail, the film combines gore horror with an emotional narrative about the search for identity and a dark legacy. Here is the most complete synopsis Based on the information available.

The beginning of the story: The Life Of Maya and Dini

The story begins with Maya (Tara Basro), a young woman struggling to survive in Jakarta with her best friend, Dini (Marissa Anita). The two worked as Toll Gate cashiers and lived a life of hardship, including repeated failures in a clothing business they had started to improve fortunes. Maya has no family in Jakarta, making Dini the most important figure in her life.

One night, while on duty at the toll gate, Maya tells Dini over the phone about a mysterious driver who often passes by with a sharp look, making her feel uncomfortable. In the middle of the conversation, the driver again appears, carefully observing Maya. After asking a few things, the driver suddenly took a cleaver from his car and attacked Maya. In a panic, Maya manages to escape, but this incident leaves behind trauma and big questions.

Trip to Harjosari Village

After the attack, Maya was informed that she may have inherited from her family in the village of Harjosari, a remote village in East Java. The Big House left by his family can be a capital to start a new life. Although Maya hesitates, Dini insists on going, and the two decide to go to the village. They arrive in Harjosari and find an old house that is empty, creepy, and filled with a mysterious aura. The village itself seemed strange: residents behaved in a closed manner, and many children's graves were scattered around the territory.

In the village, Maya and Dini meet Ratih (Asmara Abigail), a friendly-looking food stall owner. Ratih explained that the old house was once owned by Donowongso, a wealthy landowner as well as a famous puppet master. Donowongso had a child born without skin as a result of a curse, and in order to cure him, he made a pact with the devil. Gruesome rituals involving human sacrifice became part of the village's dark history.

Family mysteries and terrible rituals

Maya begins to investigate her family's legacy and discovers that she is Rahayu, the sole heir to the old house. However, this truth carries a danger. The villagers, led by Ki Saptadi (Ario Bayu), the village chief, and his mother, Nyi Misni (Christine Hakim), a respected and feared old woman, seem to be harboring a dark secret. They suspect Maya and Dini, especially after Dini, in a panic situation, claims to be Rahayu to protect Maya.

Tragedy occurred when Dini was framed by two of Ki Saptadi's servants. He was taken to the forest for a black magic ritual, where he was hung upside down, slashed, and skinned by Nyi Misni. Dini's skin was used to make Shadow Puppets, as part of a ritual to remove a curse that made children in the village born without skin. Maya, who has lost her best friend, begins to realize that the village is caught in a circle of curses related to her family.

Disclosure Of Dark Secrets

Maya tries to find answers by talking to residents, including Ratih, who reveals more about Donowongso. As it turns out, Donowongso is Maya's father, and Nyi Misni is her grandmother. Donowongso, who was also Ki Saptadi's father, was involved in an illicit relationship with Nyi Misni, who was then his courtier. Nyi Misni becomes the mastermind behind gruesome rituals to keep the curse under control, including the sacrifice of human lives.

Maya also discovers that she is part of the curse. His family is connected to a demonic pact Donowongso made, and the villagers believe that Maya's (or Rahayu's) death will end the curse. In her struggle for survival, Maya faces supernatural beings, such as pocong, and the psychological terror of increasingly aggressive villagers. One night, Maya hears the screams of a woman in labor and witnesses the birth of a skinless baby, amplifying the horror she experiences.

Climax and escape

With the help of Ratih, who turns out to have sympathy for Maya, he manages to escape the bonds as the citizens prepare to sacrifice him. Ratih asks Maya to run away, but refuses to participate because he feels his life is no longer meaningful. Maya leaves the village in a vegetable truck, leaving Harjosari full of horror. The villagers rejoice, believing the curse has ended after the last ritual.

Epilogue: the curse that is not over

A year later, the village of Harjosari seemed to be back to normal. A local policeman, who had previously killed a delman puller, was expecting his first child. However, his wife saw the appearance of Nyi Misni in the bathroom mirror and screamed hysterically. When the police arrive, he finds his wife covered in blood, and the newborn baby has been eaten alive by the spirit of Nyi Misni, who is now a curious spirit. The Film ends on a dark note, showing that the curse has not completely disappeared.

Themes and nuances

Motherfucker brings psychological horror built through emotional tension and mystery that unfolds slowly, not just through jumpscare. The Film explores themes of family, sacrifice, and the consequences of past sins. Elements of Javanese culture, such as Shadow Puppets and mystical rituals, add depth to the story, while shots in original locations such as empty old houses and remote villages in Banyuwangi create an authentic and gripping atmosphere. The strong acting of the cast, especially Tara Basro and Christine Hakim, as well as the mature direction of Joko Anwar, make this film one of the best Indonesian horror works, which also won 6 Citra trophies at FFI 2020 and represented Indonesia at the 2021 Oscar Selection.

The Film is available to watch on streaming platforms such as Netflix and remains relevant as a work that combines horror, culture and a strong emotional narrative.