Revenge stories have captivated audiences for decades. This classic genre that centers on a victim who has suffered abuse or betrayal returning pain in tenfold to those who wronged them. Most stories present revenge as the more satisfying, justified path. However, the Indonesian 2024 horror film ‘Sumala’ explores a different perspective. Unlike films and series such as John Wick or Korea’s ‘The Glory’, where the avenger targets only the perpetrators and spares the innocent, ‘Sumala’ depicts revenge that spills over, harming even those uninvolved.
‘Sumala’ introduces a cast characters: Kumala, the main victim who is a disabled and abused child; Sumala, Kumala’s twin sister and the child of the devil; Soelastri, their mother; Soedijiman, their human father; Aunt Sum, Kumala’s live-in maid and caretaker, and the village children. The film opens with Soedijiman discussing his inheritance with his uncle, who covets his assets and threatens to take Soedijiman’s position and possessions if he continues to fail to produce an heir. The uncle remarks, “If only my wife were like Soelastri…I would have eight children to secure the rights to the land. So whether it is now or later I can take over all of the land that belongs to Hastungkara.” A common belief as the story is set in Semarang, 1947, an era when a wife’s primary role was to bear children for wealthy families, ensuring the continuation of their legacy and protection of their wealth.
This pressure is made more evident when Soedijiman becomes aggressive with Soelastri after a serious conversation, his desperation for a child to secure his fortune overriding all else. His cruel actions, driven by the desire for a child who would secure his status. “I can stand on my own. You just take care of your womb,” he states, reaffirming the urgency and expectation placed upon Soelastri.
In response to this obligation, Soelastri seeks out a witch doctor, leading to a pact with the devil that promises her two children, twins. The conditions are concrete: she must love both children, one normal and one deformed, a child of the devil. After ten years, the deformed child will return to the devil, leaving the family to their supposed happy ending. However, after giving birth, the deformed twin, Sumala, is killed by Soedijiman, leaving Kumala, the “normal” twin, who grows up disabled.
Soedijiman and Soelastri's argument scene
"All kids deserve parents, but not all parents deserve kids."
By 1955, Kumala is crippled and struggles to meet expectations. She endures relentless abuse and impatience from her father, neglect from her mother, and bullying from the village children. Her only comfort comes from Aunt Sum, her patient and loving caretaker. This cycle of abuse causes Kumala’s vulnerability to grow, making her susceptible to Sumala’s influence. Seen when Sumala briefly takes over Kumala, leading her to violently murder the village children who tormented her. When the bodies are discovered alongside Kumala’s doll, the villagers confront Soedijiman and Soelastri, escalating the conflict toward its climax, where Soedijiman and Soelastri are killed.
Parenting plays a definite role in shaping a child’s future. The abuse Kumala suffers at her father’s hands sets her on a destructive path. And according to the National Library of Medicine’s article “Intergenerational effects of childhood maltreatment: A systematic review of the parenting practices of adult survivors of childhood abuse, neglect, and violence,” child maltreatment encompasses “all types of physical and/or emotional ill-treatment, sexual abuse, neglect, negligence and commercial or other exploitation, which results in actual or potential harm to the child’s health, survival, development or dignity in the context of a relationship of responsibility, trust or power.” Kumala’s abuse stunts her development, leaving her vulnerable when Sumala appears, making it easy for her to be influenced and pressured. This pressure leads to the murders, which in turn prompt the villagers to confront Kumala’s parents and discover Sumala’s actions.
The lack of communication between Kumala’s parents is glaringly apparent. Soedijiman abuses Kumala, while Soelastri, though she tries to protect her daughter, mostly stands by as a passive observer. She never takes decisive action to end Kumala’s suffering, and so the root of the murders can also be traced to Soedijiman’s impulsive and cruel decision to kill a baby he deemed unworthy; that he later realizes resulted from a supernatural pact, he expresses regret, suggesting that he might have acted differently had he known: “Then why didn’t you tell me? Why tell me now?”
However, the blame does not rest solely on Kumala’s parents. Communities can create monsters by acting monstrously. The village adults appear only briefly in the film, but their neglect is evident. It translates to them ignoring Kumala’s plight, leaving her at the mercy of their cruel children. Kumala is forced to process her pain and isolation alone. And while Aunt Sum’s love for Kumala is genuine, it cannot compensate for the overwhelming hurt and anger Kumala endures. Her longing for love leaves her vulnerable, impressionable and desperate.
Too Weak to Fight the Evil: Consuming Revenge
Spiritual vulnerability and abuse intensify the desire for revenge. When individuals who yearn for affection experience deep emotional wounds, especially from those they should trust, they may develop a powerful urge to express their pain through retaliation. This dynamic is vividly illustrated during the film’s rising action, when Sumala, Kumala’s murdered twin, first reveals herself to Kumala as her tenth birthday approaches. “I am Sumala… Didn’t your parents tell you? You have a twin?” she asks. “They’re cruel! They killed me because I was ugly!” Sumala’s anger and thirst for vengeance are clear, as is her motivation for reaching out to her sister.
Sumala’s interaction with Kumala is manipulative. “I am your friend. Your best friend,” she assures her. “I love you, Kumala. Sisters don’t hurt each other. We protect each other.” Unable to act directly, Sumala exploits Kumala’s longing for connection, using her to exact violent revenge. After Kumala stabs her abusive father with his own pen, she tells Aunt Sum, “It wasn’t me who was naughty, but Sumala,” confirming that Sumala’s vengeful spirit is driving the violence, fueled by the pain and emptiness left in Kumala. One confirmed to the audience through the movie direction. Seen when Sumala is in control, Kumala's body is not weighed by her conditions.
However, as the story unfolds, it becomes clear that Kumala is not inherently malevolent. She is a sorrowful, impressionable child deprived of the emotional care she desperately needs. The film illustrates that those who seek revenge due to trauma are not necessarily evil. Those who have shown them genuine kindness are often spared, at least until the person is so consumed by anger that all reason and satisfaction are lost. A relief when before she is fully consumed, Kumala tells Aunt Sum to leave because she doesn't want to hurt her. "I want you to leave right now...go far, far away... I don't want harm to come to you."
Ultimately, ‘Sumala’ serves as a cautionary tale about the destructive consequences of revenge. The film exposes the violent cycle that revenge perpetuates, affecting both victim and perpetrator. Initially, vengeance may seem satisfying, but as noted in a Psychology Today article, “The motivation for revenge might be initially fueled by anger, but it is ultimately powered by anticipated satisfaction or enjoyment.” In the film, decades later, innocent children and villagers continue to fall victim to Sumala’s wrath. The satisfaction from retribution quickly turns bittersweet, prompting reflection on whether a different path would have led to a happier outcome. Unlike John Wick or The Glory, where the protagonists find peace after their revenge, ‘Sumala’ forces viewers to confront the aftermath and consider the importance of forgiveness and healing over retaliation.
Citations
XXXTentacion. "Revenge." Spotify. https://open.spotify.com/track/5TXDeTFVRVY7Cvt0Dw4vWW?si=053c7be8d80a46e8
Greene, Carolyn A, et al. “Intergenerational Effects of Childhood Maltreatment: A Systematic Review of the Parenting Practices of Adult Survivors of Childhood Abuse, Neglect, and Violence.” Clinical Psychology Review, U.S. National Library of Medicine, Aug. 2020, pmc.ncbi.nlm.nih.gov/articles/PMC7476782/.
Golden, Bernard. “Seeking Revenge: Its Causes, Impact, and Challenge.” Psychology Today, Psychology Today, 25 Nov. 2023, www.psychologytoday.com/us/blog/overcoming-destructive-anger/202311/seeking-revenge-its-causes-impact-and-challenge?msockid=09392c918465663819ea3863854c67a2.