Putri, Jangan Gentayangan Lagi

Description

The central conflict is that Putri returns to her family after giving birth, then dies shortly afterward, and residents report repeated postmortem appearances that suggest unresolved matters connected to her return. About a year before the main events, Putri left her family after becoming pregnant by her boyfriend. She is located and brought back by her mother, Mak Elli, and her younger sister, Alana. When Putri is found she is unwell following childbirth; the baby, named Raman, accompanies her. Mak Elli demands that Putri and Raman come home to rejoin the household. After Putri comes back to the family residence her health declines and she dies. Once she is gone, neighbors begin making complaints about seeing Putri in public and near the family’s home. Those reports become a recurring element in local life and the film records how they affect both private and communal routines. The narrative shows the chain of events in sequence: the search for Putri, her return with a newborn, the insistence by Mak Elli that the family reunite, Putri’s worsening condition, and then the appearance of unexplained sightings. The screenplay concentrates on concrete actions—who finds her, how her mother insists on return, the presence of the infant Raman—rather than abstract statements about spirit or fate. The cast includes Kawai Labiba, Derry Oktami, M. N. Qomaruddin, and Moh Iqbal Sulaiman. The production was released in 2026. The film alternates scenes of family interaction—arguments, caretaking, decisions about the baby—with sequences documenting residents’ reports and the logistical consequences of those reports for the household and neighborhood. Local complaints escalate into a pattern: multiple witnesses recount seeing Putri, and the film catalogs where and when these sightings occur and how they are recorded by neighbors. Mak Elli and Alana appear in the film as the principal living relatives responsible for Raman; their choices about sheltering the child and responding to neighbors’ accounts are shown in detail. The script keeps to concrete developments instead of summarizing motives. In the middle of the film sighting reports multiply, tensions around Raman’s care become more explicit, and the interactions between the family and the wider community intensify. The narrative documents repeated public sightings, conversations between Mak Elli and Alana about what to do next, and the ways Raman’s presence complicates each decision, setting up the film’s later confrontations without resolving them.