The commercial success of the Marvel Cinematic Universe (MCU) films (and series) impacts the courage of Marvel filmmakers to explore wildly with their superhero figures. The MCU is now starting to expand into a lesser-known superhero (Shang Chi & Eternal) and is going crazy with the multiverse concept. After WandaVision and Loki series that explored new territories, now through their latest series, Moon Knight plays with multiple personalities disorder and in the realm of Egyptian mythology.

Still masterminded by the genius producer Kevin Feige, the Moon Knight series is created by Jeremy Slater and directed alternately by Mohammed Diab, Aaron Moorhead, and Justin Benson. With six episodes, this series has an average duration of 45 minutes and is released every week. This series stars Oscar Isaac, Ethan Hawke, May Calamawy, and senior actor F. Murray Abraham as the voice of Dewa Khonshu. Noted, this series is also part of the 4th phase of the MCU, which began with Black Widow and the WandaVision series. I don’t know where Moon Knight will be involved in the cinematic universe in the future?

Steven Grant (Oscar Isaac) is a museum clerk in London who is polite and refined and knows much about Egyptian mythology. However, he has a mental disorder that often walks in his sleep. Starting from an ancient artefact (scarab), Grant is involved in an adventure that he does not understand with a mysterious man named Arthur Murrow (Hawke). Surprisingly again, Grant turns out to have a dual personality that makes him a super figure. This long journey will change his life forever.

For MCU connoisseurs, Moon Knight is a series whose story is the most complicated, not the film’s dark tone. The duo protagonist, Steven and Marc, take time to fully understand this dual personality because each series only provides a small clue. Not to mention Marc’s relationship with Khonshu, which was somewhat confusing in the first half of the series. Slowly and patiently, everything began to unfold, although the story was still packaged absurdly in some segments. One segment, “mental hospital”, presented brilliantly, became an ideal transition place to bridge between one reality and another. Oh my, this isn’t easy to explain. The Moon Knight series is a superhero’s backstory with all the Egyptian attributes through a protagonist with multiple personalities. Clear? Hope so. There’s no better explanation than watching the series.

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The slightly wild side of the story is inversely proportional to its extraordinary aesthetic achievement. One uses an exotic setting in Cairo, complete with a dessert with all its knick-knacks, which has never been shown in the MCU series. Very captivating cinematography also supports the urban landscape with the high achievement of CGI, which is the standard for MCU films. This is supported by middle eastern music that adorns many scenes and credits, resulting in a different tone from the previous MCU films. However, one technique that has caught the eye is the innovative “jump-cut” technique used when Mark and Steven (and one character) take turns controlling their physical bodies. This is a brilliant jump-cut technique because it has a strong motivation in terms of storytelling, not just a technical style.

Although the series still leaves many questions, Moon Knight is a fresh injection for the MCU through the myths of Egyptian culture with its beautiful setting, impressive cinematography and CGI, innovative jump-cut techniques, and of course, a superhero with multiple personalities disorder. The ending segment raises many questions and its future continuity with the MCU series. Although not as brilliant as WandaVision and Loki, Moon Knight is an exciting series. It takes a lot of energy and focuses on following this series because of the unique storytelling, but the gigantic ending is worth the wait. It is inconceivable that a fantastic figure like Moon Knight will be side by side with other MCU superheroes in the supernatural realm, such as Wanda, Doctor Strange, or Shang-Chi. Perhaps this figure appears in the sequel to Doctor Strange, which premieres tomorrow. Enjoy the series.

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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). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.


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