Responding to the current growing popularity of films like Hokum (2026), Backrooms (2026), and Obsession (2025), in this Open Column submission, Agnes Giovanni argues that the horror genre’s shift in focus from supernatural fears to dangerous men foreshadows an even darker (and realistic, yet dire and deeply personal) depiction of misogyny in cinema and real life.
Dalam submisi Open Column ini, M. Haryo Hutomo menafsirkan bagaimana seni yang kritis dalam suatu pameran itu turut diiringi oleh sensitivitas bahwa ia terus-menerus bernegosiasi dengan kekuasaan, selagi menekankan pentingnya kritik demi mengamini nafas seni yang panjang.
In this Open Column submission, Jagardo Gabetorang Damanik jots down the facts that show how disability representation in Indonesia is a lot more urgent now, more so due to political leadership here that continues to be associated with 'ideals' that marginalize those who do not conform.
In this Open Column submission, Early NHS writes the bitter and often overlooked reality behind major-sounding Musik Timur, and how people need to take into account the reality in which Orang Timur face: racism, land dispossession, extractivism, and political marginalization.
Dalam Open Column ini, Muhammad Zaidan menuliskan kemiripan yang ia temukan dari film Edwin yang akan datang, Monster Pabrik Rambut (2026), dengan iklim eksploitatif di lanskap pekerjaan hari ini, dan bagaimana horor yang pelan-pelan menyergap itu kian menjadi nyata selagi durasi film bergulir.
In this Open Column submission, Radit Mahindro contends how a nation's anthem can try tuning itself to its natural waves, winds, and geographic scales as a way to honour reality - a more honest way to 'evoke the sensation of being in Indonesia' and its diverse landscapes.
