Elang, who lived in the flat, is often haunted by images of bizarre murders involving a killer with a rabbit costume. His efforts to solve the mystery and save the lives of the people he presumed in danger, has in turn trapped him in a downward spiral and he became a suspect himself. In proving his innocence, he will be forced to unveil a horrible and long-buried secret.

A high-security prison under the yoke of a tyrannical warden is rocked by a spate of gruesome murders, with victims’ bodies put on morbidly spectacular display. Who is the perpetrator, and who will be the next prey? Between spontaneous dance-offs and sudden prayers, kinetic fistfights and Kierkegaard invocations, hapless inmates scramble for cover. Overcoming internal gang rivalry, they unite to decipher the motive behind the killings and pacify their invisible, otherworldly enemy. In Ghost in the Cell, Indonesian genre wizard Joko Anwar crafts a gleefully grotesque horror-comedy that is disarming in more ways than one. Featuring a teeming ensemble of goofy characters on the verge of breakdown, the film shuttles nimbly between levity and graphic brutality, producing laughter that often gets stuck in the throat. Making emphatic use of primary colours, Anwar lends his twelfth feature a painterly force, but with cheeky references to ecological plundering and worker exploitation, he also augments it with an irreverent, political edge. Yet this is no “elevated horror”, just pure genre fireworks.

After sparing a girl's life during a massacre, an elite Triad assassin is targeted by an onslaught of murderous gangsters.

2022 film directed by Upi Avianto

Mada rebels against God, because his mother was dead and also lost his love. He is angry and decides to become a backpacker and has a free living. He abandons God, family, and friends. Phisically he finds happiness, but feels empty spiritually.
At this kind of frailty moment, God calls him back through a series of events. Wandering from one country to another, reveals his consciousness one by one, Mada becomes aware that God actually loves and always cares him.

Sancaka has lived on the streets since his parents left him. Living a hard life, Sancaka survives by thinking about his own safety. When the condition of the city gets worse and injustice rages throughout the country, Sancaka must decide whether he continues to live to look after himself or rise to become their oppressed hero.