The Pamali story script written by Evelyn Afnila (Family Tak Kasat Mata, 2017) does not only focus the focus of the story on the conflict experienced by the character pair Jaka Sunarya and Rika. In a number of parts, the film's narrative presents flashback scenes of the life of Jaka Sunarya's older sister, Nenden Sunarya (Taskya Namya), who is said to have lost her husband while living in that house in the past and then becomes part of the story about the causes of various mysterious things happening to the couple. Jaka Sunarya and Rika's characters in the present. Prasetyo and Afnila's efforts to flow and balance the telling of two stories originating from two different timelines are quite capable of giving life to Pamali's story, both through the development of conflicts that occur in each character and the technical arrangement of transitions from one story timeline to another.
At the same time, the concept of storytelling conveyed by this film was never able to develop maturely due to the story script written by Afnila being so confused about processing the ideas that had previously been expressed. Trying to provide an allusion to the theme conveyed by the title, the film's storyline presents several characters who violate a number of taboos. However, the timeline of Pamali's story is never able to provide a link as to whether the various mysteries that occur are related to this taboo violation. These culturally nuanced story elements then just disappear without ever being given any meaningful development. The connection between the terror experienced by the characters Jaka Sunarya and Rika and the dark story of their family's past is also weakly developed, which then slowly leads to an equally weak story conclusion.
Prasetyo's direction is also of the quality of a simple horror direction. On many occasions, Prasetyo tends to choose to give a slow story presentation to create an atmospheric horror setting. Without strong story support, the story structure actually makes Pamali limp and empty. Luckily, Prasetyo has a line-up in the acting department who are able to deliver solid performances.
At the same time, the concept of storytelling conveyed by this film was never able to develop maturely due to the story script written by Afnila being so confused about processing the ideas that had previously been expressed. Trying to provide an allusion to the theme conveyed by the title, the film's storyline presents several characters who violate a number of taboos. However, the timeline of Pamali's story is never able to provide a link as to whether the various mysteries that occur are related to this taboo violation. These culturally nuanced story elements then just disappear without ever being given any meaningful development. The connection between the terror experienced by the characters Jaka Sunarya and Rika and the dark story of their family's past is also weakly developed, which then slowly leads to an equally weak story conclusion.
Prasetyo's direction is also of the quality of a simple horror direction. On many occasions, Prasetyo tends to choose to give a slow story presentation to create an atmospheric horror setting. Without strong story support, the story structure actually makes Pamali limp and empty. Luckily, Prasetyo has a line-up in the acting department who are able to deliver solid performances.