Also, consider the Indonesian perspective. How does an Indonesian audience relate to this film? Are there cultural nuances in the translation of the apocalypse genre? Maybe touch on globalization of disaster films and local reception.

Conclusion should tie it all together, emphasizing the enduring relevance of apocalyptic stories and their role in reflecting societal fears. Perhaps suggest directions for further research, like the impact of streaming and downloads on film analysis.

Wait, "kiamat" means apocalypse in Indonesian, so maybe the paper should discuss how the Indonesian audience perceives disaster films, especially in the aftermath of 2020-2021. Also, maybe the relevance of a 2009 film in the context of new fears like pandemics or climate change.