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Frontier home, arid landscape, livestock and a recently widowed woman, Marlina, left alone to face a group of bandits at her door. It is not the Wild West of the past, but the Wild East of the present. The bandits tell Marlina that they are doing her a favor by taking advantage of her. "You are lucky," they tell her "if men still find a use for you." Therein begins the robbery, journey, confession and birth. If Marlina can stay calm and keep her wits about her, there is life at the end of the tunnel.

The cultural tapestry of eastern Indonesia, resiliency and determination of local women, ugliness of traditional male privilege and mystery of life, are revealed in this humorous, witty, bold and unique film. While some of the supporting cast are a little shaky with their acting, a few scenes are far-fetched and disjointed, and the dialogue could use added depth, the film is a compelling cocktail of intriguing and unusual characters, pretty scenery and uncommon circumstances. There are occasional scenes of violence and intense action, yet generally the film is easy going and delightfully slow-moving. Seen at the Toronto International Film Festival.

"Marlina" is a wester-slash-road-movie about an independent woman fighting back against male aggressors and seeks redemption or justice for herself. Throughout her journey through the desertlike rural area of Indonesia and its small villages (if you can call them that -- they mostly consist of single houses surrounded by desert and a solitary, dusty road), Marlina encounters a number of women who, if not as violently as Marlina, have in some other ways experienced injustice from men who were not condoned for it.

Not being an Indonesian woman myself, I cannot account for "Marlina"'s accurateness in depicting gender discrimination in the country, but it is probably safe to assume that director Mouly Surya is not particularly interested in providing deep insight the mechanics of sexism. "Marlina" is a feminist film in the same way that Tarantino's "Kill Bill" movies or "Mad Max: Fury Road" are feminist films: They portray strong female characters taking revenge on or otherwise trying to dismantle a chauvinist society that has wronged them. The specifics of the villains' ideology don't matter much -- in one scene near the beginning, one of Marlina's robbers compares her cooking to his sister's and his mother's, inviting the question, how does he treat these women that he apparently has some respect for, if he compares their cooking to that of his potential rape victim? The movie never attempts to answer or expand upon that question or similar ones, as all of the men in the film lack more-dimensional characterisations.

That is not meant to be a criticism of the film, though, as Mouly Surya wisely makes it stylized enough to make it work as a simple genre movie, a revenge tale set in an uncaring and rough world of rapists, thieves, and cowards. When Marlina rides on horseback on the sandy road, with the cut-off head of her rapist under her arms, the film enters almost surreal territory. This is helped by a great Morricone-esque score that, in several of the largely slow-paced scenes, builds tension.

Thankfully, in contrast to the men, most of the women in the film are given much deeper and more well-rounded characters to play. Even the comic relief character, an elderly woman who enters the drama as she is on her way to bring her nephew's wife his dowry, deepens the universe of the film's story (and gets a couple laughs, as well). Novi, a pregnant friend of Marlina's, is probably the most developed of the side characters here, and her arc is a very powerful subplot in the film. And of course, Marlina herself is played very well, too. It's admirable that, even if the movie overall is, by default, black-and-white in its characterisations, Mouly Surya allows her protagonists to show weakness, too, when they are confronted with potential danger and trauma.

The landscapes are beautifully shot, and although I would assume the film is a rather low-budget production, it never looks as cheap as it probably is. That's because the cinematographer has a very good eye for composing their images, and the lack of production value never shows. Another element that greatly deepened the film's impact is the soundtrack. The film is very slow-paced, so framing the shots in a way that invites you to look at them for a couple of seconds longer and laying good music over them that suits the mood of the story was very vital to the film's success, and in my opinion they pulled that off very well, for the most part.

The biggest downside of the film is that the slow pacing doesn't always work out perfectly. Because the story is so simple (and, quite frankly, if you've seen other rape-and-revenge films before, you know how these movies work), there are long stretches of film in which you know exactly where it is going, but it takes the story too long to get there. It's not always equally entertaining. Also, the lack of dimensionality in its storytelling can be a bit boring after a while. However, the high points are so high that I can easily forgive the film for some of its flaws and recommend it almost universally.

The four acts go by pretty fast, which is good. It's like an uncooked Kill Bill as Marlina kills her rapist and the men who he was traveling with who wanted a chance to assault her as well. Then it's a strange slow burn as Marlina attempts a journey to inform the police of what happen, while avoiding another set of men looking for her attackers.

It's one of those flicks that has an interesting story line, that your expecting far more action and drama from, but the filmmakers chose to keep a quiet approach possibly to respect the real situation of sexual assault.

Plus it's done in a different culture other than my own. A contemporary place that co-exist with my place but in so many ways very different than what I know. That really does add to the interesting element of the film.

And I love the pacing of the film. It seems to go slowly but it does not feel like it at all. Perfect!

Absolute great watch!

A indonesian rape/revenge movie in four parts. The males are mindless thugs, and early on you realize marlina is not a push over. The movie is pretty slow moving but as its set in rural indonesia, it reflects the isolation of how it is in those island areas. The policemen scene, pretty much sums up how you deal with indonesian bureauracy in real life. The cinematography is majestic and with accompanying music remind me of 70s spaghetti westerns, in some scenes even felt there were hints of tarantino. Overall, slow paced watchable movie.

This is not movie about forgiveness. The fusion between folk indonesia east and western is very brilliant. The moving picture, the story, the plot is so dark yet beautiful. In remote place in developing country there are so many women like marlina surviving and struggling. This movie is about women empowerment !!

When the Western genre comes out of Indonesia, attention to its similarities becomes a critic's part-time job. Critic Maggie Lee calls Marlina the Murderer in Four Acts a "Satay Western" the way other critics would call a Clint Eastwood western an "oater."

But Leone and Morricone are there with lens and music, landscapes hot and desolate and music just as forlorn. Marlina (Marsha Timothy) alone out there, widowed, and visited by bad guys who want not her money and livestock but also her body.

From that harrowing episode comes a vengeance story different from the usual Western tropes in so many ways. Mostly it is a Western with a female as lead and as tough with a machete as Eastwood with a gun, and just as vengeful.

Marlina together with another feisty female, Novi (Dea Panendra), who is pregnant, places the patriarchal men in vulnerable territory. In fact the customs of Indonesia, Malaysia, and elsewhere are so vigorously male-centered as to make any cultural Westerner cringe. However, that seems to be director Mouly Surya's goal.

Marlina the Murderer in Four Acts will remind you of Tarantino's Kill Bill but without some of his patented irony. In both cases, a violent feminism seems just right given the offenses women have suffered over the centuries.

As in the great spaghetti Westerns, the theme music is haunting and the landscape forbidding. But most of all, the characters are strong and righteous, just the way #MeToo should like it.

Marlina (Marsha Timothy) is a young woman living on a farm in rural Indonesia. As news spreads that she is recently widowed, a gang of seven bandits arrive at her home with the intention of robbing and raping her. Her predicament and its aftermath lead her to meet other interesting characters including Novi (Dea Penendra) who is in a late stage of pregnancy and experiencing marital problems.

Director Mouly Surya (who wrote the film with Rama Adi) seems to be influenced by Quentin Tarantino though, thankfully, with much less violence and darkness. This film has a bizarre mix of humour with conflict and tragedy. Like Tarantino, Surya succeeds in creating a film that is unique, thrilling, and eccentric. Timothy is good as unlikely hero; her sarcastic glances are hilarious. And the stunning photography of beautiful landscapes was truly a treat. - dbamateurcritic.

I enjoyed watching this Indonesian movie! I enjoy good foreign movies, it enhances my appreciation for films from around the world!.

93 minutes and four acts - seems like another Shakespearean Tragedy in four acts? Not at all. It's all about thriving feminism.

Marlina is a village woman, living on basic belongings: a small house, few cattle and a husband who is already dead when the movie opens. Shortly, we witness 7 knaves coming and interested to loot her belongings and then rape her. However, despite being raped by one of them, Markus, she beheads him and kills all of them but two.

She travels for the police station. On the way, she encounters pregnant talkative friend Novi. She repeatedly talks about her jealous husband Umbu . Then the story goes on with its own sweet pace, until the baby is born before the ending credits start showing off - but only after shocking the audience enough.

The movie has dramatic scenerio, dialouges, almost stock characters but an intriguing plot and eye-worming rural beauty. Some actions are absurd, yet so realistic, so abrupt. Acting is superb. The songs and BGM are just apt; catching the note in proper places. Editing is mind blowing, trimmed. Not even trying to feed with burden scenes. Overall, you can not overlook such a piece by Mouly Surya.

This movie got off to a REALLY strong start... then it kinda fizzled into a bunch of events that "just happened" with no real cohesiveness.

Pros: Very strong protagonist. Great lead actress (Marsha Timothy)

Cons: Disappointing supportive characters. Didn't quite flow right... after the first act, everything else was really choppy.

This would've made for a GREAT short film (the first act). I understand where they were going with the last 3 acts... but it was just too all over the place and a lot of it just didn't make a whole lot of sense. Definitely could've been better.

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Well, a bit of death in this almost a docudrama. First, you'll see a dead family member (obviously dead quite a while) sitting on the floor propped against the wall. That is a holdover from historic animistic Christianity where you continue a remembrance by having them around. The smell, obviously, is quite strong especially in the old days of rubbing the body w/leaves, but less so now w/formalin. Mostly found in the Toraja region of Sulawesi, Indonesia. I wonder what the Indonesian Muslim views are this practice? The other storyline is showing an alone rural female standing her ground when faced w/male attackers. She certainly found an interesting way of expressing her MeToo sentiments. Would have liked better clarity in certain parts of the film especially in how it concludes.

Throughout the viewing of this tense thriller, I really wanted to rate it a 10. The general acting was fine. Background music was nice, too. The violence, though not much, would satisfy any gore hound. What kept the movie from being a classic was the continued use of extreme long shots. Sure, I get it. Indonesia is practically a loathsome desert. Do we need to have that drilled into our heads with every scene? What made "Marlina" stand out were the original elements - a Asian babe on horseback toting a machete seeking revenge ala spaghetti western style. How often do you see that? You can practically see the various homages this film pays to its predecessors - "El Topo", "The Good, The Bad, The Ugly", "Man With No Name", etc. Recommended.

Four acts may sound like a lot and for some people the movie may feel very slow. It is indeed slow, so just don't expect any big bangs or a story that will have a Hollywood flair to it. Having said that and mixing into it that there is a certain degree of predictability. Still there is shocking moments and this may not be for the faint of hearted.

It's not like it is very explicit in its violence depiction, but you'll get the idea (no pun intended). Some may have issues with the movie being "feminist". I do not feel there being a negative energy with a strong female lead. Also there is still a lot of bad male characters. Which generally is something I don't like - one sided portrayl, but it does work for this movie. I don't agree with everything in here, but this is more than decent

Its a shame, movie with great cinematography doesnt really have much dialogue. And i was kinda expecting more blood because Marlina brought her sword during the journey.

This movie will serve you an "adventure" of a local widow in her struggle of survival and her attempt to have justice for her. The settings of the story is in Sumba which is shown as vast land of withered meadow where people are strongly bound to unique/unusual norms and cultures.

As an Indonesian myself I am surprised by the environment in the movie. They are really unusual and look really harsh yet they are still relatable in the daily life. I feel that I may had met people who have same characters and witnessed various situations like in the movie.

Marlina the Murderer in Four Acts, directed by Mouly Surya, is a visually arresting and thematically profound film that blends elements of a feminist Western with Indonesian cultural themes. Set against the stark and stunning landscapes of Sumba, the film tells the story of Marlina, a widow who embarks on a quest for justice after a brutal crime. The narrative unfolds in four distinct acts, each exploring themes of empowerment, revenge, and resilience. The slow-burning tension, combined with Surya's masterful direction and the hauntingly beautiful cinematography, creates a deeply atmospheric experience that lingers long after the credits roll. It's a film that not only entertains but also challenges and provokes thought.

Wow! I thought I watched a movie made by the great Yasujiro Ozu and Sergio Leone! A real hidden gem this movie is! Thank you very much to those who made this movie.. even if its in foreign language I still enjoyed every second of it.

The film is highly reminiscent of a spaghetti western with a fun soundtrack and beautiful shots of Marlina riding on horseback with a machete in hand. The director smartly uses the western genre to infuse themes of the "Indonesian frontier", as Marlina leaves the domestic space to seek her revenge.

The film can be a bit slow, which makes the violent scenes feel sudden, but the pace is still enjoyable to follow and helps to maintain suspense. As Marlina beheads her rapist in the first act, the viewer is constantly on the edge of their seat wondering to what extent she will go to satisfy her grievances. Overall, solid revenge film with a refreshing and complex female protagonist.

A tale about justice and the journey of seeking it, this film presents a violent and gruesome story about a woman who murders the men trying to take advantage of her. The stillness and wide angle of the camera, especially in the scenes of violence, create a particularly disturbing viewing experience as you aren't able to escape or hide behind an obstructed view of the action. In a way, this presents the acts of rape and murder almost matter-of-factly. The movie's use of music is also striking, as the same unsettling motif is played whenever the beheaded figure of the man Marlina killed at the beginning of the movie. In my eyes, the film functions both as a comment on the flawed justice system and the difficulty of achieving justice through it as well as empowering women. Marlina takes her justice into her own hands after seeing the dismissiveness of the police station, firm in the belief that she didn't do anything wrong and that her actions are justified by their vengeful and self-defensive quality. Notably, all of the female characters in the film are similarly strong-willed and resolute. Even Topan, a little girl who Marlina meets, says that her mom gave her a boy's name so she would grow up as strong as a boy.

I love this movie very much they make the movie with this kind of cinematography where there is no movie with this kind cinematography in Indonesia Cinema. the story is good enough, but i love the visual so much