Orion and the Dark adalah film animasi fantasi rilisan Netflix yang digarap oleh Sean Charmatz dan ditulis penulis kawakan Charlie Kaufman. Film ini diadaptasi dari buku anak-anak bertitel sama karya Emma Yarlett. Orion diisi suara oleh Jacob Tremblay, Paul Walter Hauser, Angela Bassett, Colin Hanks, Natasia Demetriou, Golda Rosheuvel, serta Ike Barinholtz. Setelah merilis beberapa film animasi berkelas beberapa tahun terakhir, akankah Netflix kini menawarkan sesuatu yang berbeda?

Orion (Tremblay) adalah seorang anak yang memiliki ketakutan berlebihan terhadap segala hal. Satu hal yang paling ia takutkan adalah kegelapan. Suatu malam, sang kegelapan, Dark (Hauser) mendatanginya dan mengajaknya berpetualang untuk melihat dunia malam. Orion juga dikenalkan pada rekan-rekan entitas dunia malam, yakni Sweet Dream (Basset), Noise, Insomnia, Noises, dan Quiet. Malam rupanya tidak seburuk apa yang Orion pikir, tidak hingga sang cahaya, Light (Barinholtz) muncul.

Konsep tentang kegelapan dan cahaya, siang dan malam ini mengingatkan pada film pendek masterpiece produksi Pixar, Day & Night (2010). Sebuah rivalitas antara siang dan malam yang disajikan begitu memikat, ringan, dan penuh makna. Bahwa keduanya memiliki keunikan, saling membutuhkan, dan membawa keharmonisan bagi hidup manusia. Orion and the Dark memiliki subtansi dan pesan cerita yang sama. Hanya saja, film ini dikemas dengan cara yang kompleks dan absurd. Jika kalian sudah mengenal Kaufman yang menulis naskah Adaptation dan Eternal Sunshine of the Spotlessmind ini tentu bisa dimaklumi. Namun bagi saya, rasanya kali ini sedikit berlebihan.

They build a city that block out the stars and they put up faked stars to look at?”. Hmm.. apa bocah cilik sungguh-sungguh bisa membuat dialog seperti ini? Ya mungkin saja, tapi rasanya ini berlebihan. Banyak dialog “cerdas” seperti ini yang muncul dan kita tahu persis ini bukan dialog dari sosok anak cilik berusia sekian. Konsepnya memang unik, namun kemasan dan idenya terlalu absurd dan rumit bagi penonton anak-anak. Untuk penonton berumur, arah plotnya jelas tak sulit untuk dibaca. Poinnya terlalu gamblang. Day & Night sudah melakukannya dengan cara brilian dan berkelas.

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Orion in the Dark mencoba mengangkat tema sederhana dengan cara yang rumit dan berlebihan, khususnya untuk target genrenya. Untuk penonton dewasa, terlebih cinephile, pasti tak sulit memahami kedalaman cerita dengan segala metaforanya. Problem eksistensi yang dihadapi Dark juga dihadapi semua manusia. That’s Life. Orion melalui sang penulis dengan segala reputasinya memilih caranya yang berbeda. Sementara Pixar Studios atau Studio Ghibli dengan film-film “berat”nya, sebut saja Inside Out, Toy Story 4, hingga My Neigboor Totoro memilih cara lebih universal dan tidak mengabaikan target utama penontonnya. Bukankah lebih menarik jika mereka dewasa kelak dan menonton ulang, film-film tersebut rupanya memiliki makna yang lebih dalam dari sewaktu menonton dulu.

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Artikel BerikutnyaI.S.S.
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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