The most astonishing action movie of 2024 has just premiered on Netflix, and hardly anyone knows about it.

From the very first minutes of screening, there is something admirable and exciting about a film that has the audacity to reveal its essence. This is a greater gamble than it may seem at first glance, as the film exposes its soul so early that the viewer can decide whether they are interested before the plot begins to unfold. Many filmmakers choose to avoid this risk, but Timo Tjahjanto, director of The Night Comes For Us, is not among them. In his latest work, The Shadow Strays, the Indonesian filmmaker wastes no time making it clear what viewers can expect.

This new neo-noir action film, available on Netflix since last weekend, is a thriller that spares no effort in showcasing its intensity. In its opening minutes, a pair of ninja assassins known as "shadows" carry out a fierce attack on an isolated stronghold of a criminal clan, creating an atmosphere of blood and adrenaline that is striking from the start. This sequence includes intense samurai duels, a grenade explosion that injures its victims with nails, and a grotesque moment when the head of a dead man hangs almost entirely off his body before falling.

Some might not describe this introduction as a "good moment" in the usual sense of the term. However, those who do should prepare for what could be one of the most impressive action films from a technical standpoint of the year.

The plot follows 13 (Aurora Ribero), a 17-year-old girl who is part of a group of hired assassins trained to lead lives devoid of personal connections. When 13 begins to question the organization's methods in front of her instructor Umbra (Hanna Malasan), she faces an indefinite suspension and an ominous medical regimen while waiting for news in Jakarta. During her stay, she meets Monji (Ali Fikri), a boy whose life falls apart after the murder of his mother, carried out by members of a cruel criminal syndicate linked to the city's political elite. Upon learning that Monji has gone missing, 13 decides to seek out her mother's killers to save him.

This journey forces her to confront bloody confrontations filled with violence while her bosses and supervisors seem to be always lurking, a situation that intensifies the levels of chaos and brutality in the film. It seems difficult to surpass the intense beginning, but Tjahjanto continuously demonstrates his ability to raise the stakes.

Although the plot is not entirely original, it is an amalgamation of various clichés from noir and action cinema. From the assassin who reconsiders his life due to an innocent child figure to the secret organizations revealing even greater corruption, the film embraces these stereotypes with a bold approach. The characters' traits are painted with broad strokes, reflecting the ultra-violence they are willing to unleash.

Aesthetically, The Shadow Strays is filled with neon lights, smog-covered skies, and opaque shadows that seem to infiltrate every scene. Its dedication to pulp crime cinema is felt in every corner, and although its runtime of 144 minutes may feel excessive, action and revenge genre lovers will appreciate the chance to immerse themselves in a universe filled with good-hearted assassins, vulnerable children, and pimps who have come to collect their dues.

The action sequences in the film are striking. The fight choreography and stunts are fluid and dynamic, making full use of every setting in which they unfold. Tjahjanto employs wide and medium-length shots, moving the camera with the same energy as the actors, where every movement of the combatants influences each change of shot, making each cut feel like a reflection of the fight itself.

The director highlights the beauty of the environments in contrast to the brutality of the action. Simple images, such as 13's injured hand sliding along a handrail, reinforce the physical cost that violence has on both the characters and society. The Shadow Strays is, at its essence, a surprisingly brutal work, propelled by a filmmaker who expresses a deep love for violent and B-movie cinema, elevated by his unmatched technical and artistic skill.