Marthino Lio
Ajo Kawir
Vengeance Is Mine, All Others Pay Cash
“He fears no death, yet a secret fight rages within”
2021
1h 54m
Director: Edwin
Overview
Ajo Kawir is a fighter who fears nothing, not even death. His raging urge to fight is driven by a secret: his impotence. When he crosses paths with a tough female fighter named Iteung, Ajo gets beaten black and blue, but he also falls head over heels in love. Will Ajo’s path lead him to a happy life with Iteung, and, eventually, his own peace of mind?
Cast
12 people
Reviews
4 min readHe fights because the rest of him will not
I have seen a lot of films about men who cannot stop fighting. Usually the reason is simple. They are angry, or they are afraid, or they are trying to prove something. Vengeance Is Mine, All Others Pay Cash gives us a man who fights because he cannot do the other thing, and the movie hangs on that fact.
Ajo Kawir, played by Marthino Lio, has a reputation for fearlessness. He walks into bar fights as if they were errands. He is also impotent.
Not the usual action-hero numbness, slow to love, shut down. Literal, physical. So the violence becomes compensation.
A way to feel something, anything, when the one thing he is supposed to be able to do as a man is denied him.
The original title, Seperti Dendam Rindu Harus Dibayar Tuntas, translates roughly to "Like Vengeance, Longing Must Be Paid in Full." A mouthful. It also names what the English title ducks.
This story is about debt as much as revenge. Emotional debt, physical debt, the bill that grows when you are told your body should work a certain way and it does not. The English title has pulp-noir swagger.
It sells a straight revenge picture. The Indonesian one is messier. Desire and its absence.
The habit of stuffing the gaps in yourself even when the stuffing only makes the hole deeper.
Edwin, the director, does not treat Ajo's impotence as a punchline or a plot device waiting to be cured. It is the weight under every scene. Every fight, every tender beat, every conversation leans toward it.
Audience Opinions
Broad evidence
Audience 7.0/10
"A stylish, genre-blending Indonesian film that divides audiences with its bold mix of action, comedy, and drama, but earns praise for its visual flair and performances."
Edwin’s *Vengeance Is Mine, All Others Pay Cash* (2021) is an Indonesian film that defies easy categorization, blending action, comedy, and romance into a narrative that viewers describe as both chaotic and compelling. The story follows Ajo (Marthino Lio), a man grappling with impotence who discovers an unexpected outlet for his frustrations through violence, leading to a series of violent and darkly humorous encounters. The film’s original title, *Seperti Dendam Rindu Harus Dibayar Tuntas*, hints at its thematic depth, exploring revenge and longing in a way that resonates with some audiences while alienating others. Audience reactions are polarized. Some viewers appreciate the film’s bold visual style, which draws comparisons to Quentin Tarantino and Indonesian cinema’s gritty, hyper-stylized traditions. The performances, particularly by Marthino Lio and Ladya Cheryl, are frequently cited as standouts, with Lio’s portrayal of Ajo praised for its raw intensity. The film’s pacing and genre shifts, however, leave some viewers frustrated, with complaints about tonal whiplash—oscillating between slapstick comedy and brutal violence without warning. Russian audience reactions on Kinopoisk reflect a similar divide. One viewer described the film as a surreal exploration of impotence as a catalyst for transformation, praising its audacity and poetic undertones. However, others found the film’s narrative too disjointed, with its abrupt shifts in tone and pacing making it difficult to engage with emotionally. The film’s inclusion in prestigious festivals like Locarno is noted as a mark of its ambition, though some question whether its experimental approach fully lands. Despite its flaws, the film is recommended for fans of offbeat, visually striking cinema that isn’t afraid to take risks. latestnetflix.com's view is that Those seeking a straightforward action or comedy may find it too uneven, but viewers open to unconventional storytelling and bold filmmaking techniques are more likely to appreciate its unique charm.
What viewers praise
- Strong performances Marthino Lio and Ladya Cheryl deliver compelling performances, with Lio’s portrayal of Ajo earning particular praise for its intensity and emotional depth.
- Bold visual style The film’s cinematography and direction are frequently highlighted as standout elements, with a hyper-stylized aesthetic that draws comparisons to Quentin Tarantino and Indonesian action cinema.
- Genre-blending ambition The film’s mix of action, comedy, and drama is seen as a refreshing departure from conventional storytelling, appealing to viewers who enjoy experimental cinema.
- Festival recognition Its inclusion in the Locarno Film Festival is noted as a mark of its artistic ambition and international appeal.
Common complaints
- Tonal whiplash The abrupt shifts between comedy and violence frustrate some viewers, who find the film’s tone inconsistent and difficult to follow.
- Pacing issues The narrative is criticized for feeling disjointed, with some scenes dragging while others rush through key plot points.
- Niche appeal The film’s unconventional approach may alienate viewers looking for a more straightforward action or comedy experience.
Recommended for
Fans of offbeat, visually striking cinema Viewers who enjoy genre-blending films with dark humor and action Audiences open to experimental storytelling and bold filmmaking techniques Those interested in Indonesian cinema and its unique stylistic traditions
Buzz & Rumors
Public reportsBehind the Scenes of Vengeance Is Mine, All Others Pay Cash: A Gritty Indonesian Revenge Tale
https://www.youtube.com/watch?v=C5_RjRsZimA
Edwin’s Vengeance Is Mine, All Others Pay Cash (2021) is a visceral blend of drama, action, and dark comedy, adapted from Eka Kurniawan’s 2009 novel Seperti Dendam, Rindu Harus Dibayar Tuntas. Set in rural Java, the film follows Ajo Kawir (Marthino Lio), a man rendered impotent by a childhood trauma, and Iteung (Ladya Cheryl), a woman with a violent streak. Their tangled relationship fuels a story of revenge, desire, and survival. latestnetflix.com's take is that while the film’s raw energy earned it buzz at festivals like TIFF 2021 , behind-the-scenes details remain scarce—but here’s what we know.
From Page to Screen: Adapting Eka Kurniawan’s Novel
The film stays loyal to its source material, a novel known for its brutal honesty and dark humor. Director Edwin, who also co-wrote the screenplay, faced the challenge of translating Kurniawan’s provocative prose into a visual medium. The book’s nonlinear structure and unflinching violence were likely hurdles, but Edwin’s direction leans into the story’s chaotic energy, blending action with moments of absurdist comedy 
.
The adaptation’s fidelity to the novel suggests a deliberate choice to preserve its tone. Kurniawan’s work often explores Indonesia’s social and political undercurrents, and the film’s rural Java setting—depicted with gritty realism—serves as more than just a backdrop. It’s a character in itself, shaping the lives of its protagonists .
Casting Choices: Marthino Lio and Ladya Cheryl as the Leads
Marthino Lio (The Science of Fictions) and Ladya Cheryl (The Seen and Unseen) anchor the film as Ajo Kawir and Iteung, respectively. Their chemistry is electric, balancing tenderness with explosive violence. Lio’s portrayal of Ajo—a man haunted by his past and struggling with his masculinity—is particularly striking, earning praise for its vulnerability .
Cheryl’s Iteung is equally compelling, a woman whose own trauma manifests in unpredictable outbursts. The dynamic between the two leads is the film’s emotional core, and their performances elevate the material beyond a simple revenge tale. Supporting roles from Reza Rahadian (The Raid 2) and Lukman Sardi (The Act of Killing) add depth, though their screen time is limited .
Festival Buzz and Critical Reception
Vengeance Is Mine, All Others Pay Cash premiered at the Toronto International Film Festival (TIFF) in 2021, where it garnered attention for its bold storytelling and stylish execution. Reviews highlighted Edwin’s ability to juggle multiple genres—drama, action, and comedy—without losing focus . The film’s 114-minute runtime flies by, thanks to its relentless pacing and sharp editing .
While the movie didn’t achieve mainstream commercial success, its festival run cemented its status as a cult favorite. Critics praised its unapologetic approach to violence and sexuality, though some noted the tonal shifts might alienate viewers expecting a straightforward revenge thriller .
The Making of a Cult Film: Rumors and Unconfirmed Details
Behind-the-scenes details are thin, but a few tidbits have surfaced:
- International Collaboration: The film was a co-production between Indonesia, Singapore, and Germany, reflecting its ambition to reach a global audience .
- Stylistic Influences: Edwin’s direction draws from Indonesian cinema’s rich tradition of social realism, but the film’s hyper-stylized action sequences also nod to Western and Asian revenge thrillers. Rumor has it that the fight choreography was inspired by classic Hong Kong cinema, though this remains unconfirmed.
- Soundtrack: The film’s score, though not widely discussed, reportedly blends traditional Indonesian instruments with modern electronic beats, mirroring its genre-defying narrative.
Why the Film Stands Out
Vengeance Is Mine, All Others Pay Cash is more than a revenge story—it’s a meditation on trauma, desire, and the cyclical nature of violence. Edwin’s adaptation refuses to soften its edges, delivering a film that’s as unsettling as it is mesmerizing. While it may not have broken box office records, its impact on Indonesian cinema is undeniable, proving that bold, uncompromising storytelling still has a place in modern filmmaking.
For fans of gritty, character-driven dramas, this one’s a must-watch.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.