Film 'Monster Pabrik Rambut' Invites Public to Examine Capitalism's Work System

Director Edwin's latest film, "Monster Pabrik Rambut" (Monster Hair Factory), aims to provoke public reflection on the tenets of capitalism, focusing on the pervasive issue of overwork. Edwin stated that the film serves as an investigation into the system, questioning whether its components need replacement, cleaning, or even a complete revolution.

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I think it's necessary for us to investigate, to question again whether the spare parts need to be replaced, whether the oils need to be changed again, cleaned, or even if necessary, revolutionized or reshaped.

The monstrous figure in the film is a deliberate symbol of the malevolent capitalist. Edwin explained that this monster represents a form of exploitation that needs critical examination, highlighting how individuals, whether exploiting or being exploited, often normalize and accept these conditions. He argues that the current work environment has become inhumane due to the "monsters" within capitalism, citing practices like mandatory overtime and the expectation to respond to work messages outside of official hours.

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The monster is part of what, in my opinion, is a form that needs to be criticized here, everyone who participates, exploits or is exploited, they agree to it, normalize it.

Despite its critical stance on capitalism, Edwin and his team have focused on presenting "Monster Pabrik Rambut" as an entertaining cinematic experience. The production prioritized realism, employing a meticulous approach to allow actors to genuinely experience the pressures faced by their characters. The filmmakers deliberately minimized complex computer-generated imagery, opting instead for a sensory approach where film elements are tangible – visible, audible, and even, metaphorically, smellable.

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Because for us, film is sensory, it can be held, it can be seen, it can be heard, it even has a smell.

Approximately 80-90% of the visual elements were physically created to suit the scenes, utilizing props like miniatures, fake blood, and detailed monster hair. This method, according to executive producer and actor Iqbaal Ramadhan, demanded high dedication from the cast. He noted that practical effects necessitate actors' full presence and genuine reactions to their immediate surroundings, rather than performing against a green screen. This approach proved challenging, as resetting physical details after retakes consumed significant time, leaving no room for pretense and requiring actors to respond authentically to the unfolding situation.

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There is no room for us to pretend as actors. Our bodies must respond to what is happening before our eyes.