Movie Poster
Sutradara: Guillermo del Toro
Produser: Guillermo del Toro/Callum Greene/John Jashni/Thomas Tull
Penulis Naskah: Guillermo del Toro/Matthew Robbins
Pemain: Mia Wasikowska / Tom Hiddleston/Jessica Chastain
Sinematografi: Dan Laustsen
Editing: Bernat Vilaplana
Ilustrasi Musik: Fernando Velasquez
Studio: Legendary Pictures/DDY
Distributor: Universal Pictures
Durasi: 119 menit
Bujet: US$ 55 juta

Horor bertema sejenis terakhir yang dianggap cukup baik adalah Woman in Black (2012) walau sekuelnya memang sangat mengecewakan. Kali ini sineas kawakan del Toro kembali bermain di genrenya, horor, dengan bermodalkan kekuatan aspek mise en scene yang menjadi ciri khas visualnya.

Alkisah Edith adalah seorang gadis belia putri dari pengusaha sukses di Amerika. Edith sejak kecil dihantui oleh arwah ibunya yang memperingatkan untuk waspada terhadap Crimson Peaks. Suatu kali seorang pemuda dari tanah Inggris, menawarkan sang ayah untuk berinvestasi terhadap alat temuannya. Sang ayah menolak namun sang putri jatuh hati pada sang pemuda. Sampai suatu saat Edith dibawa sang kekasih bersama kakak perempuannya yang aneh, ke tanah kelahirannya di sebuah rumah tua yang menyimpan banyak rahasia.

Bicara soal plot mungkin tidak banyak lagi yang ditawarkan. Kisahnya menawarkan begitu banyak celah yang bisa digali lebih orisinil namun sayangnya tidak. Plotnya tidak menawarkan sebuah kejutan berarti sepanjang film, nyaris semuanya terlalu mudah untuk diantisipasi. Lucunya, unsur horor di film ini hanya sebagian tempelan semata, dan tidak berhubungan langsung dengan inti kisahnya. Kisahnya layaknya drama berjalan lurus tanpa ada misteri yang mampu menggugah dan mengusik penonton. Tak jelas pula mengapa arwah sang ibu bersusah payah untuk memperingatkan putrinya padahal sejak awal ini yang ditekankan pada penonton.

Kisah yang konvensional dengan unsur horor yang sama sekali tidak menggigit karena ulah CGI berbanding terbalik dengan pencapaian estetiknya, khususnya dari aspek set interior, yang menjadi kekuatan sang sineas. Nyaris tiap kali dalam semua adegan interior, kamera selalu bergerak tidak menyia-nyiakan semua sudut interior yang tersaji dengan indah. Setting rumah tua tersaji demikian menawan dengan begitu detil namun sayangnya tidak mampu dimanfaatkan dan dieksplorasi maksimal oleh plotnya. Satu poin berbeda terdapat beberapa adegan aksinya yang kelewat sadis khususnya pada sekuen klimaks.

Baca Juga  The Roundup Punishment

Crimson Peaks masih menjadi ciri visual Del Toro yang mengagumkan namun dikecewakan plotnya yang sangat konvensional. Film ini adalah sebuah horor atau lebih tepatnya drama thriller dewasa dengan beberapa adegan brutalnya, serta penampilan memukau dari dua kastingnya, Tom Hiddleston dan Jessica Chastain. Sejak Pan’s Labyrinth, Del Toro sepertinya masih belum mampu membuat terobosan baru dari karya-karyanya yang selalu mengedepankan unsur estetik semata.

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PENILAIAN KAMI
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Artikel SebelumnyaPan
Artikel BerikutnyaBridge of Spies
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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