Azzam Bilal Chamdy
In a move that underscores the burgeoning global influence of Southeast Asian genre cinema, Barunson E&A—the powerhouse Korean studio behind Bong Joon Ho’s Academy Award-winning masterpiece Parasite—has officially boarded worldwide sales for Satan’s Slaves: Origin (originally titled Pengabdi Setan 3: Origin). The project, spearheaded by visionary Indonesian filmmaker Joko Anwar, marks the latest escalation in a high-stakes partnership that seeks to elevate Indonesian horror from a regional phenomenon to a global cinematic force.
The project is set to be formally introduced to international buyers at the inaugural market of the Toronto International Film Festival (TIFF) this September, signaling a major push for premium, high-concept horror that transcends cultural and linguistic barriers.
The Genesis of the Curse: A Prequel of Unprecedented Scope
While Satan’s Slaves: Origin serves as the third installment in Anwar’s critically acclaimed franchise, it functions as a narrative anchor, delving into the primordial roots of the demonic pact that haunted the characters of the 2017 revival and its 2022 sequel, Communion.
The scope of this production is staggering, marking what Anwar describes as the most ambitious undertaking of his career. Moving away from the claustrophobic domestic settings that defined the earlier entries, Origin adopts a sweeping, historical, and multi-continental narrative. The story finds its chilling inception in the 16th-century "Dancing Plague"—the real-life mass hysteria event recorded in Strasbourg in 1518—before traversing to a desolate, haunted lighthouse on the southern coast of Java during the 17th century.
The production’s technical complexity is equally profound. To maintain historical and geographic authenticity, the film is being produced in seven distinct languages: Indonesian, Alsatian, Portuguese, Javanese, Dutch, Turkish, and Latin. This polyglot approach reflects Anwar’s commitment to grounding supernatural terror in rigorous historical realism, transforming the franchise from a standard "jump-scare" series into a sophisticated, epic horror saga.
Chronology of a Franchise: From 1980 to the Global Stage
To understand the weight of the Satan’s Slaves brand, one must look at its deep roots in Indonesian pop culture. The franchise began with Sisworo Gautama Putra’s 1980 original, a film that became a cornerstone of the Indonesian horror canon.
Decades later, in 2017, Joko Anwar breathed new life into the property with a remake that did more than just modernize a classic; it effectively jump-started the contemporary "golden age" of Indonesian horror. The 2017 film dominated the local box office, proving that high-quality, culturally specific horror could resonate with mass audiences.
The 2022 sequel, Satan’s Slaves: Communion, further shattered records. It became the first Indonesian production to secure an IMAX release, a feat that solidified its status as a premium cinematic event. Currently, Communion stands as one of the six highest-grossing local films in Indonesian history. With Origin targeting a 2027 theatrical release, the production team, including Rapi Films, Come and See Pictures, Sky Media, and Legacy Pictures, is positioning the film to be the definitive chapter of the saga.
Supporting Data: The Power of the Anwar-Barunson Alliance
The collaboration between Joko Anwar and Barunson E&A is not a new development, but rather the formalization of a strategy that has already yielded significant dividends. Their previous collaboration, the horror-comedy Ghost in the Cell, currently holds the No. 2 spot on the Indonesian box office charts for the year.
The success of Ghost in the Cell serves as a case study for the studio’s international expansion model. Following its premiere at the Berlin Film Festival, the film achieved over 3.3 million admissions in Indonesia alone. More importantly, it secured distribution deals across 150 territories, with industry heavyweights like Plaion handling German distribution and Well Go USA securing the rights for North America.
This track record provides a blueprint for Satan’s Slaves: Origin. By leveraging Barunson’s infrastructure, the project is not merely looking for local success; it is being groomed for a wide-scale international release, potentially tapping into the same global appetite for "elevated horror" that propelled films like Exhuma and The Wailing to international acclaim.
Official Perspectives: Building a New Global Standard
The partnership represents a mutual alignment of ambitions. For Barunson E&A, the investment in Indonesian talent is a deliberate move to diversify their portfolio and capture the growing interest in Asian genre storytelling.
Choi Yoonhee, CEO of Barunson E&A, spoke candidly about the evolution of their collaboration with Anwar. "Every time we work with Joko Anwar, the scale gets bigger and the ambition gets sharper," Choi stated. "‘Satan’s Slaves: Origin’ is unlike anything he has made—a story that moves across centuries and continents. It is proof of what we have believed for years: Indonesian filmmakers are telling some of the boldest genre stories in the world right now, and we are proud to help this one reach that audience."
Joko Anwar himself views this project as the culmination of years of narrative world-building. "This film is everything I didn’t know I was building toward—the one that finally answers where the curse came from, why it never stopped, and what it is really after," Anwar remarked. "Longtime fans are going to get the answers they’ve waited years for. Newcomers are going to get the ride of their lives."
Implications for the Future of Asian Cinema
The decision to bring Satan’s Slaves: Origin to the Toronto International Film Festival’s market reflects a shift in how international buyers view Indonesian cinema. For years, the region was considered a peripheral market for genre film. However, the consistent performance of Indonesian horror—characterized by intense emotional stakes, technical craftsmanship, and an unflinching embrace of folklore—has turned the tide.
This project is part of a wider trend for Barunson E&A, which is rapidly consolidating a slate of high-profile Asian genre titles. This includes Banjong Pisanthanakun’s Inherit, the Indonesian zombie thriller Zona Merah: Dead City, and the highly anticipated Korean occult title Stoneborn, from the creative team behind the massive hit Exhuma.
The implications are clear: the barriers between local industry hits and global genre staples are dissolving. By integrating the prestige of a studio like Barunson with the raw, visceral storytelling of directors like Anwar, the industry is creating a new category of "crossover" horror.
As Satan’s Slaves: Origin heads into pre-production, the film stands as a litmus test for the industry. If it succeeds, it will likely open the floodgates for further international co-productions in Southeast Asia. It represents a transition from a time when international studios simply bought the distribution rights to finished films, to a new era where they are actively investing in the inception and creative development of regional stories.
With a 2027 release window, the wait for the answers behind the Satan’s Slaves curse will be long, but for the global film industry, the arrival of Origin is already being watched as a milestone in the globalization of horror. The story of the curse may be rooted in the 16th century, but its impact is undeniably focused on the future of cinema.
Sagoh
Laily UPN
