Tarot adalah film horor supernatural arahan duo sineas Spenser Cohen and Anna Halberg yang juga merupakan debut film feature mereka. Naskah film diadaptasi dari novel horor berjudul Horrorscope karya Nicholas Adams. Film ini dibintangi aktor-aktris muda, sebut saja Harriet Slater, Adain Bradley, Avantika Vandanapu, Wolfgang Novogratz, Humberly González, Larsen Thompson, dan Jacob Batalon. Dengan bermodal bujet USD 8 juta, akankah Tarot mampu menampilkan sesuatu yang segar untuk genrenya?

Enam muda-mudi, Haley (Harriet), Grant (Bradley), Paxton (Batalon), Paige (Vandanapu), Madeline (Gonzales), Lucas (Novograts), dan Elise (Thompson), menyewa sebuah rumah tua di pinggiran untuk merayakan ulang tahun Elise. Tanpa sengaja, mereka menemukan sebuah kartu tarot tua di ruang rubanah. Haley pun membacakan kartu tarot untuk masing-masing rekannya, termasuk dirinya. Sepeninggal dari sana, satu persatu dari mereka pun menjemput ajal dengan cara yang sama dengan pembacaan kartu tarot mereka.

Sebuah premis tipikal untuk film horor kutukan macam ini dengan banyak kelokan plotnya yang tak sulit diantisipasi. Kisah Tarot banyak mengingatkan pada seri Final Destination, di mana kematian mengincar korbannya satu persatu secara urut. Alur plot Tarot mengalir dengan cepat tanpa basa-basi dengan eksekusi brutal unik sesuai pembacaan kartunya. Intensitas ketegangan terjaga baik, hanya saja jump scare demi jump scare disajikan tanpa banyak eksplorasi yang segar. Kadang bahkan terasa terlalu berlama-lama. Sisi misteri juga bukanlah menjadi menu utama sajian horor ini yang cukup disajikan sekilas melalui satu karakter baru dan montage. Ini pun tidak mampu memberikan eksposisi yang memadai untuk filosofi permainan ini, selain sosok antagonisnya.

Tarot adalah satu horor tipikal yang mengedepankan jump scare dan minim cerita. Apa kalian tak lelah dengan horor berantagonis macam ini? Coba hitung saja, berapa banyak film horor yang menampilkan sosok roh pendendam yang mengincar orang-orang yang tak ada relasinya dengan apa yang terjadi dengan dirinya? Terlalu banyak. Film ini bukanlah satu horor thriller yang membekas layaknya seri Final Destination, selain Batalon yang selalu tampil mencuri perhatian. Bahkan satu joke laba-laba pun sempat terlontar. Di luar jump scare dan penampilan Batalon, Tarot tidak memiliki sengatan yang cukup untuk menjadikan satu horor bekelas. Namun, dari sisi komersial rasanya tak sulit untuk dicapai, mengingat bujetnya yang relatif kecil.

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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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