This is the kind of movie where every little spoiler reduces the intensity of the viewing experience. Fans of Joko Anwar have long known that his thrillers love to play with genre stereotypes and audience expectations; the best thing is not to write about them so that viewers won't miss out on any of the horror magic that Anwar has spent years honing to perfection. His Modus Anomali (2012) was a minimal tale with a masterful twist, and Satan’s Slaves (2017) was a playful remake of a classic horror story that artfully combined traditional Indonesian mythology with contemporary genre filmmaking. Similarly, what starts out as the seemingly ordinary tale of young Maya (Tara Basro), who works at a toll booth on a semi-abandoned highway, leads us to an unexpected mystery…