Indonesian exploitation films from the 1980s employed subversive and exploitative techniques to struggle against a dominant order. Produced under the New Order Regime, the films positioned their villains and criminals as symbols of the Suharto government.
The oddness of Beranak dalam Kubur as an Indonesian horror film materializes as a kind of breakthrough—a revision to the previous Indonesian horror films, especially ones heavily embedded with elements of occult.
The feminine grotesque is a central motif in the explosion of Indonesian horror films following the end of the New Order regime (1967-1998). The presentation of female as both monster and victim always implies and is based on the conservative ideology, i.e patriarchal society.
National cinema in Indonesia is called "film nasional", and commonly appears in commentary, scholarship, and discussions of film and the film industry. One of its ambitions is to be "tuan di rumah sendiri" or "master in one’s own house", meaning that Indonesian films should become prolific and popular enough to beat imported films at the box-office.
The period of 1999 to 2004 was a golden period for Indonesian short films. The growth of myriad film communities and cine-clubs, ignited by technological breakthroughs and social upheavals, helped spur the spirit of Indonesian short films. And the Indonesian films in general.