In the first decade of the new millennium, a minor moral panic arose over a series of graphic horror films released by major studios. The movement was eventually dubbed ‘torture porn’ by critic David Edelstein, who used the term in a 2006 New York Times op-ed that he wrote after seeing Eli Roth’s Hostel Part II (2007), entitled “Now Playing at Your Local Multiplex: Torture Porn” (subtitled “Why has America gone nuts for blood, guts, and sadism?”). The appellation was retroact

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While Putra and Liliek Sudjio, who directed the similarly influential The Queen of Black Magic (Indonesian: Ratu ilmu hitam, 1981), set the template for Indonesian horror in the ‘80s, H. Tjut Djalil quickly established a new baseline for how insane the region’s genre output would become. Little is known about his directorial debut, Benyamin spion 025 (1974), but his second feature, Mystics in Bali (Indonesian: Leák, 1981), is an unhinged, shock-a-minute crowd-pleaser that has

Indonesian genre cinema saw a major boost over the last decade, thanks to streaming distribution models, the efforts of a new crop filmmakers, including Gareth Evans, Timo Tjahjanto, Kimo Stamboel, and Joko Anwar, who brought a new flavor of martial arts action and Southeast Asian horror to international audiences who’d grown tired of the Hong Kong and Japanese influences of the early ‘00s. These films are themselves rooted in a series of films that emerged in Indonesia durin