We face a black-and-white possibility: either to prohibit the “import” of porn stars in Indonesian non-porn films, or to allow them to come but with no censor at all. Doing both is like carrying water in a leaked bucket. The censorship scissors are too blunt to determine stardom personas.
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.