In this horror-thriller, a shaman instructs Mila to return a mystical bracelet, the Kawaturih, to the “Dancing Village,” a remote site on the easternmost tip of Java Island. Joined by her cousin, Yuda, and his friends Jito and Arya, Mila arrives on the island only to discover that the village elder has passed away, and that the new guardian, Mbah Buyut, isn’t present. Various strange and eerie events occur while awaiting Mbah Buyut’s return, including Mila being visited by Badarawuhi, a mysterious, mythical being who rules the village. When she decides to return the Kawaturih without the help of Mgah Buyut, Mila threatens the village’s safety, and she must join a ritual to select the new “Dawuh,” a cursed soul forced to dance for the rest of her life.

Kimo Stamboel’s “Dancing Village: The Curse Begins” (Badarawuhi di Desa Penari, 2024) has strains of over-familiarity, especially for those well-acquainted with trends in the horror genre that indicate leanings to occult practices and shaman rituals. These visual practices are simply too broadly padded most of the time, inserted in the narrative without the makers caring to infuse a depth of authenticity. As a result, a lot of the disturbing rites and out-of-body experiences come off as terribly hokey and unconvincing instead of gathering specific rooted textures. Silliness creeps into the narrative, and the plenitude of crowding contrivances starts grating quickly into the film.

Moreover, it doesn’t help that most of the characters are thinly written. The focus swivels to the central plot, and in the pursuit of gearing it into motion, many sequences skate close to being mere puppeteering tools for advancing the narrative agenda. Characterization takes a backseat. There’s a lot of screaming, shrieking, and horrifying discoveries. But the crucial backstory is dispensed with in such a reckless, slipshod, and hasty fashion that the film undercuts its own sober mood.

The film opens in the eponymous ‘Dancing Village’ in 1955. It’s a scene of vigorous dancing. A woman seems to have taken possession of the girls. One of the girls is requested to hurry away and entrusted with taking the box out of the village. At this point, the film doesn’t delve into explaining who the characters are or underline the tension of the circumstances. We will return to this setting later and find out what actually transpired here in detail. The gravity of the situation is, however, unmistakably heavy and intense, with massively high stakes.

The film jumps to 1980. We are transported to eastern Java. Accompanied by her cousin Yuda (Jourdy Pranata) and a friend Arya (Ardit Erwandha), Mila (Maudy Effrosina) is on a quest to a particular village. She has just some sketches as a touchstone and guide. Jito (M. Iqbal Sulaiman) becomes their principal guide. He suggests the village would be in the middle of a forest. They follow his lead. He himself hasn’t been to the village. Somehow, they make their way.

The village’s setting is decidedly remote and isolated. Dense forest cover surrounds it. One could easily be lost in it. As they start enquiring around, they are told the village elder, Putri, has died. When Mila informs she is supposed to return something, a local woman, Ratih ( Claresta Taufan Kusumarina) tells them their best bet would be Buyut ( Diding Boneng). But he is presently away, and it’s not known when he’ll be back. Mila insists on staying for a couple of days and awaits his return. The boys take shelter in the guard post while Ratih allows Mila to lodge in her house.

Ratih has an ailing mother. Mila realizes that Ratih’s mother suffers the same indecipherable illness as hers. What could be the reason behind the dreadfully frightening condition? In fact, it defies medical diagnosis. The doctors couldn’t account for the sickness that overtakes Mila’s mother. So, a shaman had been called. It was he who instructed her to return the bangle stowed away in the box to the village and its rightful owner. Only then could her mother hope for recovery. When Mila shows Ratih the drawings of the place, the latter supposes it looks like Tapak Tilas, a neighboring village, going by the gate sketched in.

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