Deep Water (2022)
115 min|Crime, Drama, Mystery|18 Mar 2022
5.5Rating: 5.5 / 10 from 69,441 usersMetascore: 53
A well-to-do husband who allows his wife to have affairs in order to avoid a divorce becomes a prime suspect in the disappearance of her lovers.

Bagi penikmat film erotis era 1980-an, siapa yang tak kenal film-film macam Flashdance, Fatal Attraction, 9½ Weeks, hingga Indecent Proposal dan Unfaithful. Sineas kawakan di balik semuanya adalah Adrian Lyne. Dua puluh tahun berlalu, kini Lyne melakukan come back melalui Deep Water dengan membawa dua nama top, Ben Affleck dan Anna de Armas. Kisah filmnya diadaptasi dari novel karya bertitel sama (1958) karya Patricia Highsmith. Dirilis Amazon Prime Video, mampukan film ini bersaing kualitas dengan film-film sang sineas terdahulu?

Vic (Affleck) bersama Melinda (Armas) dan putrinya, tinggal di sebuah kota kecil di Lousiana. Vic sangat mencintai istrinya yang cantik, namun Melinda memiliki tabiat buruk, suka berselingkuh. Hal ini bahkan dilakukannya terang-terangan di depan Vic dan rekan-rekan mereka. Tarik ulur antara keduanya berlangsung hingga suatu ketika di sebuah pesta, Vic diduga membunuh salah satu pacar Melinda.

Sudah lama sekali sejak saya menonton film-film garapan Lyne, yang saya ingat hanyalah sebuah “mind games” serta pembuktian kesetiaan di antara sepasang tokohnya (istri atau kekasih gelap). Walau kini adegan panasnya tidak seekstrem (baca: seindah) film-film sebelumnya, namun penampilan Anna de Armas, sebagai si istri binal terbilang amat mengesankan. Gesture tubuhnya lebih banyak berbicara ketimbang dialognya sendiri. Armas membuktikan bahwa ia adalah aktris serba bisa. Lalu Afleck? Boleh dibilang ia tidak perlu menguras kemampuan aktingnya, sama buruk dengan perannya sebagai sang ksatria malam.

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Satu kelemahan terbesar film ini adalah kisahnya (naskah). Entah ini loyal dengan novelnya atau tidak, saya memang tidak tahu. Namun dalam adaptasinya kali ini, opsi alur plotnya tidak sulit untuk ditebak. Belum lagi semua hal serba kebetulan yang nyaris mustahil untuk terjadi. Kekuatan plotnya sebenarnya ada pada area abu-abu yang menjadikan sisi misteri terjaga. Tapi kisahnya tidak cukup kuat untuk melakukan ini. Benarkan Vic yang membunuh semua selingkuhan Melinda? Semakin ini ditahan semakin menarik kisahnya. Jika kisahnya seperti yang disajikan, maka kita tak ubahnya melihat satu pasangan “sakit”, yang memiliki seorang putri yang sangat normal.

Deep Water, menandai kembalinya sang sineas spesialis film erotis, namun sayangnya penampilan gemilang Anna de Armas, tidak sepadan dengan naskahnya yang buruk. Mungkin buruk bukan kata yang tepat melainkan sudah tidak pas dengan eranya. Deep Water tidak lain dan tidak bukan hanyalah satu tribute kecil terhadap film-film Lyne pada era kejayaannya. Jika tidak terlalu tinggi ekspektasimu, bisa jadi film ini bisa menghibur di kala sengang. “Godaan” tak terelakkan menjadi tipikal plot kebanyakan film Lyne, namun Deep Water tidak mampu banyak menggoda kita.

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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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