‘Keluarga Super Irit’ (2025) Netflix Movie Review - A Comical, Heartfelt Ride

I have to confess: I walked into Keluarga Super Irit (The Super Frugal Family) expecting a warm-hearted popcorn comedy with a pinch of social commentary, and for much of its runtime, I got exactly that. The film, directed by Danial Rifki, is earnest, witty, and occasionally a little messy, but in a way that feels human, not overreaching.

From the opening sequence, we see the Rahman family in better days: comfortable, spending without deep thought, enjoying small luxuries. The father, played by Dwi Sasono, is an easy presence; he balances dignity with worry as he loses his job, and you can sense the internal turmoil even when lines are soft. The mother (Widi Mulia) is resourceful and quick with a plan. Their children—Dru Prawiro Sasono, among them, are believable, each with their own quirks, fears, and adaptability. The shift in their world is gradual but impactful: first, they downsize, then they cut corners, then they devise what the film calls a “super-saving system.”

That system is the heart of the story. The family invents rules: no frivolous purchases, reuse and repurpose every item, cook at home, and even crowdsource minor chores. At times, these rules produce amusing scenarios: a daughter sneaks out ingredients, a neighbor pokes fun, and the tension between sticking strictly to rules and bending them for living creeps in. One memorable scene involves them hosting a get-together using only leftovers and inventive presentation, part comedy, part social proof of their resolve. Another involves a small crisis when a plumbing issue demands they spend money they tried to avoid. These events test not only their budget but their relationships.

As the film progresses, the emotional stakes deepen. The father wrestles with pride and identity loss; the mother must sometimes carry more than expected; the kids struggle with embarrassment in school, peer pressure, and supporting each other. There’s a subplot where the eldest daughter, ashamed of their tightened circumstances, considers lying to friends. There’s also tension with the extended family, well-intentioned relatives who view their frugal methods as extreme or even odd. These dynamics add weight to what might otherwise be a light comedy.

Cinematographically, the film leans toward bright, warm tones when the family is still “normal,” and slowly shifts toward more muted, natural lighting as their lives shrink and simplify. I liked that the visual style subtly reflected their internal moods; frames feel tighter when tension is high; compositions show them more isolated when conflict enters. The direction is steady, rarely flashy, but effective. The editing occasionally drags—some transitions feel longer than needed, especially in scenes where we follow the family through lists of cost-cutting measures. A few sequences feel repetitive: we see multiple iterations of the same thrift tactic (reusing bottles, rejecting nonessential items) without always advancing plot or character. At times, I felt the film lingered on the thrift gimmicks more than the emotional backbone.

The humor is a strong suit. It doesn’t try to be uproarious, but it lands often. There’s a scene where the father tries to barter in a local shop using awkward logic that makes you cringe in a good way, and another where the kids compete over who can save more money in daily life. I laughed more than once, not big belly laughs, but genuine ones. The tone remains light, even when sadness or frustration surfaces. The script is fairly tight, though some side characters feel underwritten (a neighbor, a coworker, or a relative who drops in and disappears). I wished for a little more background on, say, why the father was so vulnerable to job loss, or more tension in the middle acts, but perhaps the film intentionally didn’t want to lean too heavily.

One of the moments that hit me was near the climax, when the family must decide whether to accept help or step back from their rigid rules. The internal conflict is well portrayed: they are proud, they are stretched, and they are afraid. That moment of loosening the rules, such as allowing one indulgence or accepting a small loan, feels earned. The performances shine there: Sasono carries the emotional weight when he admits his fears; the mother is real when she nearly breaks in frustration. The children’s reactions are raw: some relief, some guilt, some doubt. That emotional thread redeems much of the earlier lightness and binds the film into something more meaningful than a morality tale about saving money.

Still, I have to note a few stumbles. The pacing, as I mentioned, sometimes slows in the middle; there's a stretch where the film feels caught in its own system of thrift instructions. A casual viewer might feel these sequences drag or wonder why we need so many vignettes of budget discipline. Also, occasionally, the film folklore leans toward “everything must be saved or nothing”—the rules become so strict that realism strains. In real life, families might bend more pragmatically, but here the narrative enforces near extremes for dramatic effect. That kind of sharp line makes for tension, but also occasionally reduces subtlety. A minor critique: some of the supporting characters (a friend, a neighbor, a co-worker) are sketched too lightly to matter emotionally; they appear just to serve a gag or moral beat and vanish. I would have preferred a bit more depth in a couple of them.

At the same time, Keluarga Super Irit succeeds more often than it fails. It feels like a film made by people who care about families, about the pressures of modern life, and about making meaningful stories without resorting to melodrama. It balances comedy and heart, lets the characters breathe, and doesn’t force a neatly perfect ending. The final act doesn’t undo all their thrift efforts; rather, it shows a family learning balance, recognizing that saving is necessary, but living should still have joy, kindness, and connection. The emotional payoff is earned, and I found myself caring about how they would rebuild a life that is both frugal and dignified.

In the end, watching Keluarga Super Irit is like being invited into an extended family’s messy but loving living room full of laughter, tension, creative solutions, and the occasional tear. It doesn’t always stick every landing, and sometimes the middle drags, but when it soars emotionally, it soars. For anyone who enjoys family stories with social relevance, who wants to laugh and feel something modest but true, this film is a worthwhile ride. I closed my eyes at times, smiled, and at the end, I stayed with the characters in their world. That, to me, is a good sign.

Final Score- [7/10]
Reviewed by - Anjali Sharma
Follow @AnjaliS54769166 on Twitter
Publisher at Midgard Times