OFFSTONE JAN EDITION 2025

33 THE PARADOX OF ISLAMIC PREACHING AND FEMALE REPRESENTATION IN THE FILM “TUHAN, IZINKAN AKU BERDOSA” By: Afgiansyah afgiansyah@mercubuana.ac.id The author is an Indonesian academic and communication practitioner with a Master’s degree in International Communication Management from De Haagse Hogeschool, The Netherlands, and a Bachelor’s degree in Communication Science from Universitas Indonesia. He teaches communication at Universitas Mercu Buana and Universitas Paramadina in Jakarta. The author of Digital Content Production (2024) and Television versus YouTube: Is TV Dying? (2022), he actively researches semiotics, digital media strategies, and communication ethics. ABSTRACT This article examines the paradox in the Indonesian feature film Tuhan, Izinkan Aku Berdosa, which critiques patriarchal interpretations of Islam while visually exploiting women. Using Peirce’s semiotic framework, it analyzes symbols and indices related to religion and gender. The study explores the film's reception, its digital feminism dimensions on Netflix, and the ethical challenges of balancing critique and complicity. Introduction Indonesian cinema has increasingly become a platform to explore pressing social issues, reflecting the complexities of a diverse and predominantly Muslim society. Among these, the film Tuhan, Izinkan Aku Berdosa ( Lord, Let Me Sin ) stands out as a bold narrative that intertwines religion, patriarchy, and women's struggle to navigate societal norms. Directed by Hanung Bramantyo and adapted from the controversial novel Tuhan, Izinkan Aku Menjadi Pelacur! ( Lord, Let Me Be a Prostitute! ) By Muhidin Dahlan, the film portrays the journey of Kiran, a devout Muslim college student whose life spirals into turmoil as she confronts the hypocrisy of her religious community.