OFFSTONE JAN EDITION 2025

35 meaning from cultural conventions, and Darda’s portrayal critiques how religious authority can be weaponised to justify oppression. However, the lack of a counter-narrative risks reinforcing negative stereotypes about Islam rather than fostering a nuanced understanding of its teachings. Feminism and Digital Distribution The release of Tuhan, Izinkan Aku Berdosa, on Netflix situates the film within the realm of digital feminism, where technology amplifies discourses on gender equality. Netflix’s global platform enables the film to reach audiences far beyond Indonesia, sparking conversations about the universality of gender struggles in patriarchal societies. Netflix’s description of the film as "a religious college student questions her faith and leads a troubled double life as she struggles with the hypocrisy of those around her" encapsulates its central conflict. Categorised under Indonesian Films, Drama Movies, and Movies Based on Books, the platform highlights its provocative and dark themes, drawing attention to its critique of societal norms. However, as noted by Sarah Banet-Weiser in her exploration of digital feminism, there is often a risk of commodifying feminist ideals, transforming them into marketable narratives that lack substantive impact. This tension is evident in the film's reliance on explicit content to attract viewership, where the pursuit of visibility potentially dilutes the authenticity of its feminist message. Banet-Weiser's work highlights the ambivalence inherent in brand culture, where advocacy and marketability intersect, often to the detriment of more profound feminist objectives. The Paradox of Preaching and Exploitation At its core, Tuhan, Izinkan Aku Berdosa aspires to expose the hypocrisy of patriarchal interpretations of Islam. It portrays Kiran’s resistance to forced marriage and her eventual decision to confront the religious authorities who wronged her as acts of defiance against systemic injustice. Yet, the film’s heavy reliance on visual exploitation undermines its moral authority. For example, Kiran’s transformation from a devout student to a disillusioned individual navigating a hedonistic lifestyle is portrayed through scenes that blend sensuality with violence. While these depictions aim to emphasise the psychological toll of societal oppression, they risk framing Kiran as an object of voyeuristic consumption. In her analysis of postfeminist media culture, Rosalind Gill highlights how such portrayals often reinforce the exploitation they claim to critique. This paradox invites critical reflection: Can a film effectively condemn the exploitation of women while simultaneously perpetuating it? Does the reliance on provocative imagery amplify its intended message, or does it ultimately undermine its credibility?