For the most part, I'm over zombie movies. While classics like 28 Days Later along with the initial seasons of The Walking Dead were gripping, this category seems largely depleted nowadays. Even the much-awaited 28 Years Later has been gathering dust in my watchlist for months. However, the platform's latest Indonesian horror film, The Elixir, succeeded in defy what I anticipated and proved quite enjoyable.
One of this movie's greatest assets lies in the excellent rhythm. It begins using a striking initial scene in which a calm family gathering is violently interrupted when a van crashes into the seating section. From the wreckage, an extremely zombie-like stranger emerges and begins attacking the partygoers. This intense scene is then succeeded by a flashback, giving viewers to observe the family prior to the tragedy occurred.
In contrast to many undead movies, The Elixir actually allows the audience enough opportunity to get to know the primary personalities prior to the carnage ensues. We meet Nes, a wife and mother with a ex close friend, Karina, has become wed to Nes' father—an obviously uncomfortable dynamic. This has predictably led to a falling out among the two women. We also see Nes' brother, Bang, described as kind-hearted yet socially awkward, and he loves playing video games alongside Nes' young son, Raihan. Nes' husband, Rudi, seems to have lately been unfaithful to her. The family head is Nes' father, the owner of a well-known herbal remedy company called Wani Waras, and who seems focused on only two things: his work and his wife to his daughter's ex-best friend. Needless to say, this family reunion is extremely strained.
I found myself so invested with this household's issues along with their personal conflicts that I nearly overlooked this was a scary movie—which might sound like a negative, yet ultimately paid off. The Elixir spends a considerable amount of the film to showing us the identity of every family member represents, and how they add to the general turmoil. This emphasis on clashing traits enabled the audience to connect to the personalities sufficiently to care about their fate—an uncommon accomplishment for this style that often presents individuals just to kill them off shortly afterwards. The Elixir avoids portraying its characters as flat, expendable casualties for an army of the undead to devour, so it's a genuine surprise when things eventually go wrong.
The opening scenes from the gathering and the multiple family interactions actually evoke the movie Parasite, a story that masquerades as a Korean drama featuring slightly dark humor before taking an abrupt turn toward "holy shit" territory. These introductory moments aren't centered as much on comedy compared to Parasite, but The Elixir still provides sufficient time to immerse in the setting before it gets turned upside down.
The film additionally presents a fairly intriguing reason regarding the origin of the spreading zombification. Instead of a unintended laboratory incident or some sort of biological weapon, the cause for this infectious condition originates in a recent sample from Wani Waras herbal remedies created by her dad. Although we do learn a bit about how it started, it would have been better if the movie had spent additional time explaining how Wani Waras went from a reputable supplier of holistic medicine to producing a deadly elixir which seems to include a highly contagious pathogen. Regardless of the limited context, the effect this condition produces on humans proves utterly disgusting, and I appreciate. The Elixir's undead prove quick, freaky-looking, and, perhaps worst of all, constantly grinning. This represents a bold decision, but it works. The Elixir's physical effects and computer graphics also appear quite realistic, and they're almost certain to provoke a fear of holes.
More impressive than the disgusting scenes are the characters themselves. Of course, there are some instances of dubious choices (like any typical undead film), but generally, Nes and her relatives show themselves inventive and sharp. Additionally, they don't hesitate to kick an undead in the head, pierce it using a farm tool, or hit it on the skull with the nearest blunt instrument they find instead of freezing like prey in headlights as death approaches.
The Elixir doesn't abandon its themes of familial discord once individuals begin transforming to the undead, this proved a welcome authentic subversion from that "We don't get along|"We have issues, but since you nearly died I immediately pardon you for all your mistakes!" trope often seen in end-of-world movies. It's clear, Nes cares for her relatives and values her spouse, Rudi, but it's also clear she's still clinging to bitterness over his betrayal in their relationship. Once the household gets separated, they decide over the phone to meet up at a nearby spot. But when Bang reveals he doesn't know how to get there, Nes expresses a massive level of irritation toward Bang which has obviously been brewing over time. Nes is not flawless, and her family—with all their imperfections—feel realistic and understandable because the film doesn't try to promote the idea that a near-death experience immediately resolves familial strife. This causes those instances when these characters do show appreciation for each other feel far more genuine.
Despite The Elixir's strong efforts to break new ground, the conclusion must be said to be somewhat formulaic. The Elixir doesn't truly presenting some profound insight about family or community, as well. Instead, it's mostly serving up scares. But they're successful frights, and because the film gives each character enough room to develop and doesn't punish them for having flaws, the outcome proves a captivating and enjoyable
A tech strategist with over a decade in AI implementation and digital transformation projects across various industries.
