Dominion of Darkness

Dominion of Darkness

Dominion of Darkness (Kuasa Gelap, 2024), directed by Bobby Prasetyo, is a gripping Indonesian supernatural horror film that delves deep into the psychological and spiritual toll of demonic possession. Departing from the Islamic-centric themes often found in Indonesian horror, the film instead explores Catholic exorcism rituals, presenting a fresh angle within the country’s rapidly growing horror genre. Centered around themes of grief, faith, and trauma, it combines intense emotional performances with spiritual dread.

The story follows Father Thomas, a young priest plagued by personal tragedy following the deaths of his mother and sister. On the verge of abandoning his religious duties, he is called upon to assist Father Rendra, a seasoned exorcist, in performing a dangerous and emotionally charged exorcism on a teenage girl named Kayla. As the priests confront a violent demonic presence, they are forced to reckon with their own inner demons and questions of faith, morality, and salvation.

What makes Dominion of Darkness particularly notable is its cultural fusion. It draws on traditional Catholic rituals—Latin prayers, crucifixes, and sacred rites—while being grounded in an Indonesian setting. This blend of Western religious iconography with Southeast Asian atmosphere creates a unique horror experience that stands apart from more conventional entries in the exorcism subgenre. The film’s oppressive tone, candle-lit interiors, and ritual chambers create an unsettling environment that effectively supports its themes.

The performances are a central strength of the film. Jerome Kurnia gives a powerful portrayal of Father Thomas, capturing a man haunted by grief and uncertainty, while Lukman Sardi, as Father Rendra, exudes quiet strength as a priest who has seen the darkest corners of humanity. Lea Ciarachel plays the possessed girl Kayla with unnerving intensity, portraying both helpless innocence and demonic fury in equal measure. The chemistry between the cast adds authenticity and emotional weight to the film’s supernatural conflict.

Visually, the film leans into classic horror aesthetics—dark rooms, flickering candles, and sudden shadows. The use of silence and ambient sounds heightens the suspense, although at times the musical score is overwhelming and competes with key dialogue. Still, the film manages to sustain tension throughout, especially in scenes where spiritual warfare becomes both literal and psychological.

While Dominion of Darkness has received mixed reviews due to some pacing issues and uneven editing, it is widely praised for its ambition. It marks one of Indonesia’s first major horror efforts to center a Catholic narrative, something rarely seen in Southeast Asian cinema. The story is less focused on physical gore and more invested in emotional horror—what it means to lose faith, to suffer alone, and to battle unseen forces that prey on the mind and soul.

Ultimately, Dominion of Darkness offers a bold take on exorcism horror. It may not reinvent the genre, but it brings a distinctly Indonesian voice to it—one that’s emotional, raw, and spiritually complex. For horror fans looking for something atmospheric, character-driven, and rooted in real-world faith struggles, this film delivers a haunting and memorable experience.