Abang and Adi are undocumented orphans living in present-day Malaysia. While the older brother, a deaf mute, has resigned himself to a life of poverty, his younger sibling burns with indignation. A brutal accident upsets the fragile balance of their relationship.

After dying from a strange illness that she suffered for three years, a mother returns home to pick up her children.

Derrière la peur et le chaos qui se sont emparés du pays se cache un homme : Le Prêcheur. Entouré de sa garde rapprochée aux capacités surnaturelles, et considéré comme un demi-Dieu par ses nombreux adeptes, il étend son influence néfaste jusqu’aux plus hautes sphères de l’Etat. Alors que la population sombre peu à peu dans les ténèbres, un nouveau justicier aux méthodes radicales et capable de maîtriser la foudre, fait son apparition : Red Storm. Forcé de révéler sa vraie nature pour contrecarrer les plans du Prêcheur, il incarne le dernier espoir de l’humanité...

In 1980s Bangkok, a wily thief stages a series of daring heists, baffling the authorities and the public — until one cop sets out to take him down.

A high-security prison under the yoke of a tyrannical warden is rocked by a spate of gruesome murders, with victims’ bodies put on morbidly spectacular display. Who is the perpetrator, and who will be the next prey? Between spontaneous dance-offs and sudden prayers, kinetic fistfights and Kierkegaard invocations, hapless inmates scramble for cover. Overcoming internal gang rivalry, they unite to decipher the motive behind the killings and pacify their invisible, otherworldly enemy. In Ghost in the Cell, Indonesian genre wizard Joko Anwar crafts a gleefully grotesque horror-comedy that is disarming in more ways than one. Featuring a teeming ensemble of goofy characters on the verge of breakdown, the film shuttles nimbly between levity and graphic brutality, producing laughter that often gets stuck in the throat. Making emphatic use of primary colours, Anwar lends his twelfth feature a painterly force, but with cheeky references to ecological plundering and worker exploitation, he also augments it with an irreverent, political edge. Yet this is no “elevated horror”, just pure genre fireworks.