Festival news

Beware of vindictive women! Asian Horror Night is back – and it is to die for

10 October 2017
The Promise, dir. Sopon Sakdapisit, Thailand 2017

Asian cinema takes us to disturbingly dark places – we will dive deep into the vortex of madness, learn about satanic sects and about the secrets of an abandoned skyscraper, which is giving the people of Bangkok a serious chill.

This year, the land of Asian horror is ruled by horrifying heroines – struggling with insanity, craving revenge, coming back from the underworld to harass their startled relatives.

The program of Asian Horror Night includes three chilling titles from directors well-known to Five Flavours audiences – a classic by the unpredictable Shinya Tsukamoto, a dark tale of developers from the Thai horror master, Sopon Sakdapisit, and a satanist superhit by Joko Anwar, which received a record number of Indonesian Academy Awards nominations.

The Asian fear marathon takes place just before Halloween, on Saturday October 28 in Muranów cinema, at 8:30 PM.

Between the screenings, we will invite the audience for refreshments.

Program of the night:

October 28, Saturday, Muranów cinema

  • 08:30 PM - Satan's Slaves, dir. Joko Anwar, Indonesia 2017, 107'
  • 10:20 PM - Scary refreshment
  • 11:00 PM - The Promise, dir. Sopon Sakdapisit, Thailand 2017, 104'
  • 01:00 AM - Kotoko, dir. Shinya Tsukamoto, Japan 2011, 91'

Ticket: 55 PLN, free entrance for Master Pass holders.


Tickets for Asian Horror Night are also available in Muranów cinema.


A former singer, and a beloved mother of four, has been disabled by a strange disease, which causes even her family to approach her with caution. The roots of the disease are just one of the many mysteries circling around this seemingly ordinary, warm family. What other secrets lay hidden in the black records filled with the singer's lyrical music? Why is the father discouraging his children from daily prayers? Who is the person circling around the nearby graveyard at night?

Joko Anwar, the star of Indonesian genre cinema, finally fulfilled his dream – he made a remake of a cult 1976 horror film, known as the scariest Indonesian picture of all times. The new version is set in the retro aesthetics, and just like the original, it doesn’t use digital special effects to invoke fear. The fan nostalgia did not prevent the director from having his own auteur impact on the script – he expanded the source narration, added psychological depth, and enhanced the ghastly atmosphere. The result is a stylish, stuffy horror, which not only lured over a million viewers to cinemas during its premiere weekend, but also received a record thirteen nominations to this year's Indonesian Film Awards.


The year 1997 was the time of a harsh economic crisis in Thailand. Wealthy families of two friends lose everything, and the girls have to say goodbye to the dreams of living together in a luxurious apartment building. They fear they will be separated and decide to take a desperate step, but one of them will hesitate before fulfilling the dramatic promise. The consequences are inevitable. And deadly serious.

Sopon Sakdapisit combines the best traditions of Thai horrors with the plot rooted deep in the history of the country of the past two decades. Similar to the cult "Laddaland," it takes a critical look at the enriching middle class, this time observing the world of developers and profiteers who play with fire and refuse to take responsibility for their mistakes. The core of the film consists of a traditional, dependable, modern-day story of revenge from the underworld with a pinch of 1990s nostalgia. In the razor-sharp frames, the director juxtaposes stylish interiors of the protagonists’ apartment, and the gloomy dread of the unfinished, empty carcass of a skyscraper. Modernity and rationality meets the inexplicable and the uncontrollable. Is there anything harder to suppress than the fury of a betrayed friend?


Kotoko is desperately trying to fit into her various roles – of a mother of a newborn baby, a partner of a loving man, and an independent, adult woman. She is desperate, because her mind is similar to a broken mirror, time and again leading her to the verge of utter insanity. Hallucinations cause a spontaneous, warm person with a vivid imagination to turn into a danger to herself and those around her. Her only consolation is singing, which flows straight from her soul.

Shinya Tsukamoto once again proves that he is the master of non-compromising, original, auteur cinema. Handheld camera, aggressive editing, and the style of narration throw the audiences in deep water, straight into the world of the heroine. Even though we don’t see it through her eyes, we perceive the world the way she does. We accompany Kotoko in living through the horror of a mental disease and the drama of helplessness, from time to time lightened up by the actress' song and a big dose of subtle humor.

The charismatic leading actress, Cocco, is an avant-guard Japanese singer, who appeared on screen in Hirokazu Koreeda's "So I Can Be Alright: Cocco's Endless Journey" (2008). Last year she returned to cinema playing one of the main roles in an extravagant production "A Bride for Rip Van Winkle(dir. Shunji Iwai), which will be screened at this year's Five Flavours.

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