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Directed by Caleb Ribates

Masculinity, race and boyhood simmer in this stylish slow-cinema debut about a Filipino-Australian father and his six-year-old son, who are navigating a family divorce. Exploring the complexities of family, society and culture that shape young Filipinos, this feature debut from rising filmmaker Caleb Ribates depicts the tender relationship between an immigrant father and his young son as they deal with being abandoned by the boy’s mother. With its evocative black-and-white cinematography, long takes and naturalistic dialogue, Anak follows in the footsteps of slow-cinema masters like Lav Diaz and Apichatpong Weerasethakul, while finding an intimacy and tonal register that is all Ribates’ own.

Anthony Lawang Gabriel Ramos

Director Director

Caleb Ribates

Producers Producers

Matthew Victor Pastor Caleb Ribates Timna Katz

Writer Writer

Editor editor, cinematography cinematography.

Tavis Pinnington

Production Design Production Design

Liam Harrington

Costume Design Costume Design

Claire Giuffre

Primary Language

Spoken languages.

English Tagalog

Releases by Date

07 aug 2022, releases by country.

91 mins   More at TMDb Report this page

Popular reviews

Review by Mike Kennedy ★★★½ 1

Young (22 year old) Filipino/Australian writer/director/editor Caleb Ribates has made a very impressive first feature that charts a marriage breakup and the impact this has on six year old Carlo (Gabriel Ramos) who remains in the care of his father, Harry (Anthony Lawang).

In the Q&A following tonight’s premiere screening, Ribates said that his budget was $7,000, most of which he raised by doing hospitality jobs (and a lot of in-kind support from his VCA friends and Melbourne’s Filipino community) and this bare-bones filmmaking is a real challenge.  An experienced script editor would have been a bonus - there are too many scenes where inconsequential conversations or chit chat take place and do not advance the story line.

On the upside,…

Review by clairegiuffre ★★★★★ 1

Jamie Walsh gives the two most diverse performances of his life

Review by 💖 Shame Daddy 💞 ★★★★½

understands implicitly that empathy is fostered by observation and confidently presents its audience with a series of highly intentional static shots that coalesce into a very moving account of a disrupted childhood. in such a deliberately still movie, a blast of frenetic movement at the end acts as a punch in the gut. shit rules.

Review by megan ★★

i really hate when slow cinema lacks nuance and audiences are not given the opportunity to have poetic extrapolation, what was the point then?

Review by plgzo ★★★★★

there was elements of this film that hit close to home for me personally. Coming from a child of divorce this felt real and raw. shout out to Tavis Pinnington, he is one of a kind.

Review by abby ★★★★

the camera remains deathly still; carlo’s parents divorce and everything comes to a standstill. we often watch through windows, our view obscured in some way, constricted from seeing outside this set frame. 

a flashback to the family playing football together and we are now freed from these restriction. agile and animated, swooping in and out, as playful as the game they’re enjoying together. 

stunning debut film, congrats to everyone involved

Review by alicelaming ★★★★★

This was such a moving film all the way down to the finer details (headphones on when parents are fighting; parallel bathroom/lunch scenes school v work). The long stills really aided in the execution of the story and sit with each scene. Really interesting takes on tackling the culture of socialising vulnerability out of men that’s prevalent today. 

So proud and excited for cinematographer Tavis Pinnington, a success truly deserved.

Review by S. H-T ★★★★★

Absolute bias here but the dude is legit 💕

Review by yumcha ★★★½

I was glad to finally get the opportunity to see this film at the Thornbury Picture House

So much potential in this filmmaker, and DoP. What an epic little kid

Review by Luke Skineki ★★★★★

One of my fav films all year. Quiet, intimate and meditative. Reminded me a little of Edward Yangs experimental films but this film is in its own realm.

Minimalist in a way ive never seen before on screen

Review by tilde watches stuff ✨ ★★★½

a wonderful observational debut with some outstanding black and white cinematography. the camera is never invasive, and keeps the audience at bay as the characters navigate their lives. leaves a little to be desired, but a lovely gem in a australian cinema and showcases the future potential for all involved.

Review by Dana Scott ★★★½

this micro-budget observational film from 21-year-old director caleb ribates shows a lot of promise. following carlo, a filipino child going through his parents divorce and his father, tasked with taking care of him while navigating this time in his own life, ribates does a great job at capturing the complicated, tender, occasionally awkward, always loving dynamic between the two characters. in the scenes between father and son, the film really shines.

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Filipina Overseas Contract Worker is forced to leave her family and take a higher-paying job in a more-prosperous Asian country, unaware of her husband's death. Filipina Overseas Contract Worker is forced to leave her family and take a higher-paying job in a more-prosperous Asian country, unaware of her husband's death. Filipina Overseas Contract Worker is forced to leave her family and take a higher-paying job in a more-prosperous Asian country, unaware of her husband's death.

• Rory B. Quintos
• Raymond Lee
• Vilma Santos
• Claudine Barretto
• 12 User reviews
• 3 wins & 9 nominations

Top cast 42

• (as Sheila Mae)

• Young Carla

• Young Michael

• Mrs. Madrid

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• Production, box office & more at IMDbPro

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Did you know

• Trivia Gabby Concepcion was initially tapped to play the role of Rudy.
• Connections Referenced in Ang pagdadalaga ni Maximo Oliveros (2005)
• Soundtracks Anak Composed and Written by Freddie Aguilar Performed by Sharon Cuneta

User reviews 12

• Aug 2, 2008
• How long is Anak? Powered by Alexa
• May 10, 2000 (Philippines)
• Philippines
• Official Site (Star Cinema)
• Star Cinema
• See more company credits at IMDbPro

Technical specs

• Runtime 2 hours 15 minutes

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A mother of three is torn to pieces when she sees her family falling apart, six years after she left to work as a domestic helper in Hong Kong.

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Anak Reviews

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Reflection in the Movie “Anak” Analysis

The movie explores the relationship between a mother and daughter, highlighting the struggles and sacrifices that parents make for their children’s well-being. The story centers around a communication gap between the two, leading to misunderstandings and tension. The film emphasizes the importance of understanding and supporting one’s parents, especially when they work hard to provide for their family. It also stresses the need for open communication and the willingness to admit mistakes in order to strengthen relationships. Ultimately, the movie conveys the message that family is always there for you, no matter what happens, and that love and respect should be reciprocated between parents and children.

A mother is not a perfect person because nobody’s perfect. She struggles for her family’s happiness and wellness. But as a person, she commits mistakes which are for a reason and has a reason. A child conversely should love and respect his/her parents as a return of what they have given. It is a child who supports the mother and must be the one to understand his/her mother’s sacrifices. This movie focuses on the relationship of a parent and a child who comes across a trial which concerns misunderstanding due to communication gaps between the daughter and the mother. Its moral lesson evolves around the understanding how parents try to make a living for their children. The sacrifices one has to give in order for her children to have a better future and meet their needs. In our country, many have worked overseas hoping to uplift their livelihood and to look for success just like the main character in the movie. Children have to understand all their parent’s hardships.

In the child’s growth, he or she may start to look for guidance and love due to their distance. In this movie, both have to realize their shortcomings and constant communication is a must to avoid these gaps. A parent and a child should have an open communication with each other especially when distance is between them. Distance is not a hindrance to show how you care for your children. The child must also commit her mistakes that friends may leave and dessert you, but no matter what happens, your family will always there right beside you.

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Movie Reviews

Tv/streaming, collections, chaz's journal, great movies, contributors, harold and the purple crayon.

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As someone who venerates Harold and the Purple Crayon , Crockett Johnson ’s 1955 hymn to the power of imagination (I gift every love one's new baby with a copy of the book with a purple crayon taped inside),  the idea of a film adaptation has always filled me with a certain sense of trepidation. This is due to the somewhat uneven track record of past attempts to bring the great works of children’s literature to the screen. Sure, a film like Spike Jonze ’s take on Maurice Sendak’s beloved “ Where the Wild Things Are ” captured the delicate charms of its source material in ways that enchanted viewers both young and old. But for every one of those, there's something like that monstrous live-action version of “The Cat in the Hat,” a movie just as bad as the original Dr. Seuss book was good.

Now “Harold and the Purple Crayon” has arrived in theaters in all its live-action glory. It starts on a surprisingly engaging note: a 2-D animated sequence that recaps Harold’s adventures in the book. The sequence finds a decent approximation of the book’s famous visual style and features narration by Alfred Molina . Unfortunately, that sequence lasts about 90-odd seconds, and the real story kicks in after that. Everything goes straight to ultra-garish Hell via a narrative that feels more like a failed “ Jumanji ” knockoff than anything that the late Johnson’s work could have possibly inspired. Here is a film that pays lip service to the importance of creativity without ever displaying a demonstrable shred of it during its seemingly interminable run time.

After that recap of the original story, we see a now-grown Harold ( Zachary Levi ) still cavorting through his cartoon world along with friends Moose ( Lil Rel Howery ) and Porcupine ( Tanya Reynolds ) and the ever-present voice of the narrator. Then, one day, the narrator’s voice disappears, and Harold decides to use his all-powerful crayon to draw a portal to our world so that the three of them can try to track him down. Alas, the real world proves to be odd and confusing for them, so luckily, Harold and Moose (now in human form, though he occasionally switches back for no apparent reason) end up running into Terri ( Zooey Deschanel ) and Melvin ( Benjamin Bottani ), a mother and middle school-aged son who are still in the dumps since the death of Mel’s dad. For reasons that defy explanation, she allows them to stay the night at her house, where Harold finds Mel to be a kindred spirit — he has an unseen imaginary pet that is equal parts eagle, lion, and alligator — and lets him in on the magical crayon. (Porcupine, for the record, has gotten separated from the others and is off wreaking benign havoc on her own.)

While Terri is off at her job at Ollie’s — an institution shown far more reverence here than Johnson’s book — Mel ends up helping Harold and Moose to find the narrator, leading to any number of wacky slapstick scenes in which they fly through the air in a plane or cause mayhem at the store. They also enlist the aid of Gary (Jermaine Clement), a creepy librarian with the hots for Terri, who is also the author of an unpublishable fantasy novel called “The Glaive of Gagaroh” (allowing the film also to alienate fans of “Krull” to boot). Eventually, Gary reveals to Harold that he is, in fact, a character from a book, which sends Harold, Moose, and Mel off on a trip to Crockett Johnson’s house to finally see him. Although Google helpfully reveals the address, it inexplicably fails to mention the key reason why they could have skipped that trip. Meanwhile, Gary, having seen the crayon’s power first-hand, schemes to acquire it for himself and bring the universe of his book to life. 

Trying to transform Crockett’s 64-page book into a feature-length film would always be a dubious proposition. But even the most pessimistic of minds could have imagined something as dire as this. For starters, Harold himself has been transformed into one of the most annoying screen characters in recent memory thanks to the appallingly clumsy screenplay by David Guion and Michael Handelman that tries to make him into an irrepressible free spirit along the lines of Buddy in “ Elf .” Still, he only manages to make him obnoxious beyond belief. Things aren’t helped much by Levi’s awful performance, which tries for winsome adorableness throughout but which comes across as if a.) Levi had been struck in the head with a board before every take, and b.) that director Carlos Saldanha did enough takes to rival Kubrick before he (and presumably only he) was satisfied. Beyond that, the storyline is choppy, the visuals are utterly blah, the big set-pieces are the usual CGI-happy dreck, the sentimental moments are woefully unearned, and the notion of a film ostensibly celebrating children’s literature utilizing a librarian as the bad guy is infuriating.

Before you send me comments scolding me for not looking at this film through the eyes of a child, based on the available evidence, no one involved with “Harold and the Purple Crayon” had any real interest in engaging younger viewers on any level. Sadly, exploiting the good name of a familiar piece of IP in the hope of scoring a few bucks from families that have already seen “ Inside Out 2 ” and “ Despicable Me 4 ” and are looking for something else to watch seems to have been of more importance to actually living up to the legacy of said IP.

Ultimately, “Harold and the Purple Crayon” is the product of people working under the cynical belief that kids will just accept anything foisted upon them in the name of “family entertainment” as long as it is noisy and colorful. If you genuinely care for your kids, you will give this movie a wide berth and use the ticket money to buy and read Crockett’s original book and its follow-ups. Trust me, they'll thank you for it one day.

Peter Sobczynski

A moderately insightful critic, full-on Swiftie and all-around  bon vivant , Peter Sobczynski, in addition to his work at this site, is also a contributor to The Spool and can be heard weekly discussing new Blu-Ray releases on the Movie Madness podcast on the Now Playing network.

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Film credits.

Harold and the Purple Crayon (2024)

Zachary Levi as Harold

Lil Rel Howery as Moose

Benjamin Bottani as Mel

Jemaine Clement as Gary

Tanya Reynolds as Porcupine

• Carlos Saldanha
• David Guion
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‘Coup!’ Review: Pandemonium in a Pandemic — No, Not That One

In this obvious satire set amid the 1918 influenza, a wealthy, muckraking reporter hires a new chef who disrupts the estate’s hierarchy.

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By Natalia Winkelman

The cook, a thief, a wife and her lover — in “Coup!,” these familiar players rub shoulders not in an elite eatery, but in a seaside manor.

The film, written and directed by Austin Stark and Joseph Schuman, is an energetic satire of pandemic-era bourgeois hypocrisy. Its supposed innovation, though, is to set its quarantine-based rogueries a century before Covid, when another pandemic — the 1918 influenza — spurred familiar waves of business closures, resource shortages and desperate fears of contagion.

It is amid these disasters that we meet the liberal journalist Jay (Billy Magnussen), his wife, Julie (Sarah Gadon), and their two children. The family is sheltering from the disease on their island estate, where domestic personnel tend to the cooking, cleaning and nannying. The help treasure their siloed haven, until Floyd Monk (Peter Sarsgaard), a new chef from the mainland, suggests that the staff deserve better working conditions.

The movie seeks to pit Jay — a narcissist pretending to report from the ravaged mainland while being cosseted by staff — against Monk, a blue-collar worker. “Coup!” exaggerates the men’s difference by making Monk a swashbuckler (his dangly earrings evoke Captain Jack Sparrow) and Jay a pacifist, vegetarian and out-and-out drip.

As Monk lifts the veil enshrouding the estate’s hierarchy, he also emasculates Jay in the eyes of the household. This implication that virility trumps effeteness is, amid an otherwise straightforward comedy, an uncomfortably regressive way to tell the story of how people vie for power in hard times.

Coup! Not rated. Running time: 1 hour 38 minutes. In theaters.

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Book Review: ‘The Future Was Now’ is a brilliant look back at the groundbreaking movie summer of ’82

This cover image released by Flatiron shows “The Future Was Now: Madmen, Maverick, and the Summer Sci-Fi Abducted Hollywood” by Chris Nashawaty. (Flatiron Books via AP)

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The moments are seared into the pop culture pantheon. And our collective consciousness.

A friendly alien taking Henry Thomas’ character Elliott on an airborne bike ride with the full moon as a backdrop in “E.T.” Carol Anne (Heather O’Rourke) in “Poltergeist,” getting out of bed, staring into a pulsating TV screen, turning to her family and warning: “They’re here.” Arnold Schwarzenegger’s titular hero Conan the Barbarian succinctly listing for his compatriots what is best in life: “To crush your enemies. See them driven before you. And hear the lamentation of their women.”

Former Entertainment Weekly film critic Chris Nashawaty walks readers through the significance (and making) of each of the films, as well as five other science fiction/fantasy classics — “Blade Runner,” “Mad Max 2: The Road Warrior,” “Star Trek II: The Wrath of Khan,” “The Thing” and “Tron” — that, incredibly, were released within two months of each other in the summer of 1982.

In the ultra-entertaining and informative “The Future Was Now: Madmen, Mavericks, and the Epic Sci-Fi Summer of 1982,” Nashawaty makes the case that the octet of flicks altered the trajectory, not only of the auteurs at the helm, but of Hollywood filmmaking.

“The summer of 1982 was the moment when sci-fi, fantasy, and splashy blockbusters ripped from the pages of comic books would grow up,” Nashawaty writes. “These films could no longer be nonchalantly dismissed as kids’ stuff.

“They became the harbingers of a new era and eventually the most dominant force in popular entertainment.”

His thesis is solid, sure. But it’s not what makes “The Future Was Now” a great read. The behind-the-scenes intrigue does that.

Nashawaty digs deep into the history of how these groundbreaking films got — and were — made. Perhaps most fascinating is the tale of burgeoning cinema maestro Steven Spielberg leading his young charges through the filming of the now-classic “E.T.” and more or less taking over the production of “Poltergeist,” a much different kind of film that now is considered to be a landmark in the horror genre.

Add in the complex origins of the “Star Trek” and “Mad Max” sequels, plus Ridley Scott’s odyssey in transforming a Philip K. Dick novel into the big-screen cult classic “Blade Runner,” and you’ve got a must-read for any cinephile.

The summer of ’82 paved “the way for our current all-blockbusters-all-the-time era,” Nashawaty writes.

But the real treat is having a front-row seat as the author’s painstaking research and expert recounting bring to life how these silver-screen gems came to be.

AP book reviews: https://apnews.com/hub/book-reviews

Review: ‘Clue: Live on Stage’ reinvigorates the 1985 movie with mindless fun

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Whether you agree with the choice of punctuation in “Clue: Live on Stage!” depends to a large extent on what you think of Jonathan Lynn’s 1985 movie. As someone who never played the board game from which all this madness derives and who found the film to be a waste of its comic ensemble’s glittering capabilities, I would have chosen to affix a question mark to the title.

“Clue: Live on Stage?” is a possibility I would never have thought to ask about, but it’s safe to say the target audience for this commercial romp isn’t a theater critic with Shakespeare and Sondheim yearnings. I’m happy to report that the North American tour production of “Clue: Live on Stage!,” which opened on Wednesday at the Ahmanson Theatre, earns its exclamation point through the breathless exuberance of its physical comedy.

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Review: How funny is ‘The Play That Goes Wrong’? Depends on your appetite for pranks and pratfalls

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Everything about the show is brisk. The dizzying pacing, the litany of hapless jokes, the all-out slapstick and the familiar shtick. Even when the cast members are running in place to simulate a chase, there is a gust of frenzy.

“Clue: Live on Stage!” wisely doesn’t give its audience too much time to consider the fine points of the story. The production, directed by Casey Hushion, proceeds in a comic blur, ideal for theatergoers who have put their brains on a low energy setting for the summer. (If Center Theatre Group’s success with “The Play That Goes Wrong” and “Peter Pan Goes Wrong ” is any gauge, there’s quite a robust appetite for mirthful inanity at this time of year.)

Sandy Rustin, who wrote the play (with additional material by Hunter Foster and Eric Price), closely follows Lynn’s screenplay. There are retouches to the original tale, updates to conform to modern sensibilities and a few winking asides to the audience, but the basic recipe of a whodunit spoof is preserved.

The setting for this mystery is ingeniously established with a picture frame enclosing the image of a gloomy mansion as lightning flashes in the evening sky and rain pelts noisily down. When we move inside, Yvette (Elisabeth Yancey), the flirty French maid, is going through her household paces as Sen. Joseph McCarthy spouts his anticommunist demagoguery on the black-and-white television.

The year is 1954, and McCarthy’s Red Scare has stirred paranoia throughout the land. The dinner guests who have been mysteriously summoned and assigned pseudonyms are understandably anxious. Why have they been invited and, even more curious, why have they come?

Wadsworth (a vigorous Mark Price), the butler in charge of this unconventional gathering, is in no hurry to provide answers. But it is soon revealed that all six guests have a connection to Washington, D.C., and are being blackmailed by their late-arriving host, Mr. Boddy (Alex Syiek), for misdeeds that could imperil their professional or social standing.

Review: ‘Peter Pan Goes Wrong’ is spectacularly clumsy. That’s meant as a compliment

Direct from Broadway, ‘Peter Pan Goes Wrong’ from the British company Mischief, turns J.M. Barrie’s tale into a farcical fiasco.

Aug. 14, 2023

Obtuse Colonel Mustard (John Treacy Egan), accident-prone Mr. Green (John Shartzer), furtive and guilty-looking Mrs. White (Tari Kelly), snooty Mrs. Peacock (Joanna Glushak), sordid and self-satisfied Professor Plum (Jonathan Spivey) and audacious Miss Scarlet (Michelle Elaine), who proudly runs a D.C. escort service, are like lambs being led to slaughter. The only difference is they have been given the murder weapons.

In handing out gift boxes with a candlestick, revolver, rope, lead pipe, wrench and dagger, Mr. Boddy has set in motion a game that by the end will leave the mansion strewn with corpses. Wadsworth presides over the homicidal goings-on like an evil genius, leading the guests on a wild goose chase to solve the mystery of a murder that is only the first of several.

The gags and laugh lines are middling at best and the situation could hardly be called a masterpiece of farcical construction. But there’s an infectious quality to the knockabout antics. The actors themselves transform into living exclamation points as the action accelerates, often to music in sequences that have the appeal of dance numbers. (Composer and music supervisor Michael Holland puts wind in the production’s madcap sails.)

Elaine’s Miss Scarlet is especially amusing when gliding heedlessly from room to room in the creepy old house. (Scenic designer Lee Savage has ingeniously arranged the swiftly shifting puzzle box of spaces.) Shartzer is so spry in his physical comedy that there are moments when he resembles a yoga master.

But as the well-synchronized production careens toward its climax, it’s Price’s Wadsworth who explodes into top farcical gear. With his back to the wall, he flings himself about the stage like a performer desperate to wring every second of his dwindling time in the spotlight. His writhing and flailing, verbally as well as bodily, serve as the 11 o’clock number.

Two ambitious plays by Tom Jacobson on rise of Nazism are unsettling in their timeliness

Tom Jacobson’s new plays ‘The Bauhaus Project’ and ‘Crevasse’ are thrilling in the scope of their ambition. They are also unsettling as America faces its own fascist peril.

July 31, 2024

“Clue: Live on Stage!” does its own version of the movie’s multiple endings that played in different cinemas. By this point, it’s hard to imagine that anyone’s too invested in finding out who’s behind all the nutty mayhem. The point isn’t the plot but the mad precision of the execution. Lighting designer Ryan O’Gara, sound designer Jeff Human, fight director Robert Westley and costume designer Jen Caprio ensure the production’s smooth passage.

I can’t say this is my idea of a theatrical good time, but I appreciated the zany commitment and indefatigable exertion of a company dedicated to the worthy cause of mindless fun.

‘Clue: Live on Stage!’

Where : Ahmanson Theatre, 135 N. Grand Ave., L.A. When : 8 p.m. Tuesdays-Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays. Ends Aug. 25. Tickets : Starting at $35 Info : centertheatregroup.org or (213) 628-2772 Running time : 1 hour, 25 minutes

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Charles McNulty is the theater critic of the Los Angeles Times. He received his doctorate in dramaturgy and dramatic criticism from the Yale School of Drama.

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Penjelasan Ending Film Kabut Berduri, Siapa Anak Kecil di Akhir?

• 02 Aug 24 | 00:08

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Film Kabut Berduri dirilis di Netflix pada Kamis (1/8/2024). Perjalanan mendebarkan Ipda Sanja (Putri Marino) untuk menguak kasus pembunuhan berantai di perbatasan Kalimantan ternyata berakhir terbuka alias open ending .

Menjaga misterinya dari awal hingga akhir, apakah kamu masih bertanya-tanya tentang ending -nya? Berikut secuil penjelasan ending film Kabut Berduri menurut sutradara.

Perhatian, artikel ini mengandung spoiler!

1. Film Kabut Berduri berakhir open ending

Film Kabut Berduri menghadirkan dinamika unik yang memancing penonton untuk menebak-nebak siapa dalang utamanya. Setelah memecahkan satu per satu misteri, Ipda Sanja dan Thomas (Yoga Pratama) akhirnya sampai pada fakta bahwa kasus ini juga menyerempet bisnis ilegal milik atasannya, Panca (Lukman Sardi).

Sanja memang berhasil menemukan pembunuh berantai yang ia cari selama ini. Namun, hal itu tak menjadikan kasus ini selesai. Sejumlah misteri masih belum terpecahkan. Sang pelaku malah berakhir menjadi korban. Lantas, siapa dalang aslinya?

Film ini juga berakhir dengan memilukan. Sanja harus merasakan duka mendalam, karena ditinggal orang terdekat. 

Baca Juga: Review Film Kabut Berduri di Netflix, Badass Sekaligus Bikin Ngilu

2. Sutradara mengonfirmasi karakter yang muncul di akhir

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Sebelum ceritanya benar-benar berakhir, film ini menampilkan lagi adegan flashback dengan latar Pulau Borneo 1972. Dalam adegan tersebut, terlihat seorang anak kecil tampak belakang sedang membersihkan sepatunya yang berlumuran darah di sungai.

Sutradara mengonfirmasi, anak kecil tersebut adalah Bujang kecil. Adegan ini menandai kejadian awal yang membuat kakinya pincang. 

"Iya. Itu Bujang kecil," kata sutradara Edwin dalam konferensi pers film Kabut Berduri di Flix Cinema, Ashta, Jakarta, 11 Juli 2024.

Tentu kemunculan Bujang kecil pada bagian ending memancing rasa penasaran penonton soal kemungkinan film kedua. Sayangnya, tim kreator belum mau memberikan tanggapan. Jadi kita nantikan saja update selanjutnya, ya.

3. Alasan Bujang digambarkan pincang

Sutradara Edwin menjelaskan, Bujang memang sengaja ditampilkan memiliki kaki pincang sebagai bentuk pembangunan karakter, mengingat visualisasi latar belakangnya tidak digali lebih dalam, karena keterbatasan waktu. Dia ingin, meski hanya diperlihatkan lewat gestur dan kondisi fisiknya, penonton bisa langsung mengetahui sekilas latar belakangnya.

"Jadi itu sengaja dilakukan untuk membentuk karakter Bujang ini, karena kan kita gak punya banyak waktu untuk menjelaskan tentang latar belakangnya dia. Jadi kita perlihatkan dari gestur, dari fisik bahwa dia itu siapa. Dia dibawa dari Jawa, luar Kalimantan, oleh tentara untuk bantu-bantu, dan sempat kecelakaan sebagai penunjuk jalan."

Jadi menurut kamu, siapa ya pelaku sebenarnya di Kabut Berduri?

Baca Juga: Siapa Ambong, Sosok Misterius dalam Film Kabut Berduri di Netflix?

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