INTERNATIONAL JOURNAL OF RESEARCH AND INNOVATION IN SOCIAL SCIENCE (IJRISS)

ISSN No. 2454-6186 | DOI: 10.47772/IJRISS | Volume IX Issue X October 2025

Da’wahApproach in Creative Work:Analysis of Munafik Film 1

Hajar Opir¹, Wan Yusnee Abdullah², Ezatul Emilia Muhammad Arif³, Yusni Mohamad Yusak⁴, Norazmi

Anas^5*, Mohd Erfino Johari⁶

¹Academy of Contemporary Islamic Studies, Universiti Teknologi MARA, Shah Alam, Selangor,

Malaysia

²Department of Islamic Studies, Faculty Education and Social Science, University Selangor, Bestari

Jaya, Selangor, Malaysia

³Faculty of Accountancy and Management, Tunku Abdul Rahman University, Kajang, Selangor,

Malaysia

⁴General Study Department, Nilai Polytechnic, Kompleks Pendidikan Bandar Enstek, Negeri Sembilan,

Malaysia

⁵Academy of Contemporary Islamic Studies, UiTM Perak Branch, Tapah Campus, Tapah Road, Perak,

Malaysia

⁶Center for Islamic, General and Language Studies, Universiti Poly-Tech Malaysia, Kuala Lumpur,

Malaysia

*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.910000706

Received: 02 November 2025; Accepted: 10 November 2025; Published: 21 November 2025

ABSTRACT

This study explores the integration of da’wah (Islamic preaching) in creative works, focusing on the Malaysian

film Munafik 1 directed by Syamsul Yusof, which has successfully combined cinematic artistry with Islamic

teachings. The research addresses a significant gap in da’wah studies, where film as a medium of spiritual

communication has not been systematically analyzed through an established theoretical lens. Using Hasyim

Awang’s Da’wah Approach Theory grounded in aesthetics, morality, and the supremacy of Allah SWT, the

study examines how faith-based messages are represented and internalized through film narrative, character

development, and visual design. Employing qualitative content analysis supported by CAVDIx-pro and

ATLAS.ti 11.0 software, the study analyzes selected scenes of Munafik 1 to identify da’wah elements within

the dimensions of aqeedah (faith), akhlaq (morality), syariah (law), and ibadah (worship). The findings reveal

that the film effectively portrays Islamic values through depictions of faith in Allah, eradication of shirk

(polytheism), the use of ruqyah (spiritual healing), moral conduct, modest dressing, and acts of worship such

as prayer and remembrance of death. These cinematic portrayals encourage viewers to reflect on Islamic

principles while promoting ethical and spiritual awareness. The study concludes that Munafik 1 exemplifies

the potential of film as a contemporary wasilah (medium) for da’wah that transcends entertainment, guiding

audiences toward religious consciousness and moral integrity. By integrating artistic creativity with spiritual

depth, this research highlights how Islamic cinema can serve as an influential educational platform for

cultivating holistic moral development and strengthening the spiritual fabric of Muslim society.

Keywords: Da’wah; Islamic Film; Preaching Approach; Spirituality, Munafik 1

INTRODUCTION

The role of film as a dynamic medium for da’wah (Islamic preaching) is widely acknowledged. It serves as a

powerful platform to communicate and defend Islamic teachings through engaging themes, moral narratives,

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and relatable characters. According to Maulidah and Fatoni (2019), the unique appeal of Islamic-themed films

lies in their ability to attract audiences by integrating spiritual values such as brotherhood and compassion.

Raharjo (2018) adds that a positive film must fulfill four essential criteria including it should be religiously

grounded, inspiring, devoid of immoral or pornographic elements, and aligned with Islamic ethical values.

Film, as Spottiswoode (2022) and Kachka (2021) defines, is a creative visual art that combines narrative,

dialogue, and sound to produce moving images for entertainment and reflection. Ahmad (2011) describes film

as a discursive and intellectual creation that mirrors social culture and harmoniously blends ideas, analysis, and

artistic expression into a coherent story. In Islam, da’wah originates from the Arabic word al-da‘wah, meaning

to call or to invite (Mustafa, 1989; Ibn Manzur, 1968). It refers to the act of inviting people toward faith in

Allah SWT and adherence to Islamic teachings (al-Balbaaki, 2007; al-Qaradhawi, 1978). As a communicative

activity, da’wah involves several elements: the preacher (da‘i), the message (maddah), the method (manhaj),

and the medium (wasilah) (Mohd Zain, 2006). In this regard, film represents a sophisticated form of moral

communication capable of shaping thought, behavior, and spiritual awareness. Opir (2018) asserts that film’s

influence depends on adopting a relevant and holistic da’wah approach. Awang (1997) conceptualized this

approach through three key dimensions in creative work aesthetics (beauty), morality (ethics), and the

supremacy of Allah SWT. These dimensions guide filmmakers in conveying messages that inspire goodness,

prevent wrongdoing, and nurture a spiritually conscious society in accordance with Islamic principles.

LITERATURE REVIEW

Film is an efficient and effective medium of communication. It serves as a vehicle to deliver messages that

encompass hardware, software, presentation methods (userware such as lighting, sound, cinematography), and

performance art (underware involving character portrayals) (Ahmad, 2011). Beyond its entertainment value,

film also functions as an educational platform, leveraging its unique qualities and advantages over other media.

While entertaining, educational elements can be subtly and meaningfully incorporated, allowing for the

conveyance of messages and advice to the audience in a heartfelt manner. Films not only depict creatively

crafted representations of societal life but also have the power to influence thoughts, feelings, and ultimately

shape an individual's behavior towards positive actions rather than negative ones (Aini & S. Suyurno, 2016).

This notion is supported by studies conducted by Abd Razzak et al. (2016), Yahaya et al. (2020), and Wan

Hamat et al. (2013). Furthermore, Ahmad (2011) suggests that movies and dramas are highly effective in

triggering awareness and facilitating conversion.

Influence of Movies on Audiences

Movies can influence the audience that watches them. It can stimulate behavior, shape them, and frame the

thinking of the public.

Character Formation

In the context of educational theory, film is categorized as a medium for conveying messages that encompasses

four key components: hardware, software, presentation method (userware), and performance art (underware)

(Ahmad, 2013). The hardware aspect refers to the physical elements featured in the film, such as settings,

buildings, and environments. The software component is the narrative itself, which conveys a clear message.

The presentation method, or userware, includes elements that enhance the storyline and add meaning, such as

lighting, sound effects, cinematography, semiotics, music, and songs. Lastly, performance art, or underware,

involves the portrayal of solid characters that bring the script to life. When all these elements are effectively

integrated and presented systematically, they have the potential to shape an individual's character or behavior.

Studies have been undertaken to explore the significance of character development portrayed in movies within

society. Research conducted by Yahaya et al. (2014) on 127 secondary school students in the Kulai district,

Johor, involving 92 male and 35 female students, sheds light on this subject. This particular study delves into

the impact of aggressive media on student behavior using a survey approach. The results indicate a notable and

moderate influence of aggressive media content on students. Furthermore, the study reveals

various negative behavioral outcomes such as inclinations towards fighting, threatening, bullying, shouting,

cursing, vandalizing, using inappropriate language, and engaging in illicit activities.

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Tamuri and Ismail (2004) conducted a comparable study focusing on rural teenage communities. Their

research, involving 61 Form 5 students from the Sabak Bernam district categorized as asnaf (poor and needy)

recipients under the Selangor Zakat Center (PZS), revealed a noteworthy negative association between the

students' moral values and their exposure to mass media, particularly television programs featuring dramas and

films. Of particular concern was the average daily television viewing time of 3.08 hours. Similarly, studies by

Sulong and Abdullah (2010) and Wan Hamat et al. (2013) also highlighted a significant link between mass

media, specifically television and entertainment platforms like films, and their adverse impact on moral

conduct. These studies echoed similar conclusions to the earlier research, albeit focusing on a different

demographic - students in higher education institutions.

While the negative influence of films and dramas on behavior cannot be overlooked, it is also important to

acknowledge their potential to instill positive values. This notion is supported by a study conducted by Anuar

and Adzharuddin (2017), which revealed that dramas or films with a strong emphasis on Islamic teachings can

serve as an educational tool for viewers. These media forms have the capacity to shape the characteristics of

individuals and society towards righteousness, while simultaneously providing entertainment. The studies

mentioned above collectively underscore the significant role films play in molding the character of individuals

within society.

Cognitive Aspect

Film is a creative art form that simultaneously catalyzes cognitive growth and development. Robert Kolker and

numerous other scholars view film as a primary medium for transmitting ideologies. Jim Purdy and Peter

Roffman further assert that film essentially validates certain ideological identities. Sigfried Kracauer goes a

step further, arguing that film reflects the collective mentality of a nation more profoundly than any other

artistic medium. The overwhelming dominance of Hollywood films in the international market, accounting for

approximately 80% of global distribution, is a testament to the ideological imperialism prevalent in this

century (Hamzah, 2005). These perspectives underscore the powerful role of film in shaping and disseminating

ideologies on a global scale.

According to Hamzah (2005), a critical analysis of Western films reveals a portrayal of the world that depicts

inferiority, lack of confidence, poverty, evil, promiscuity, undemocratic practices, corruption, dictatorship, and

terrorism. This negative representation of Islam and Muslims has been particularly amplified since the events

of September 11, 2001. In reality, through the medium of Third World Cinema, the West has strategically

planned to flood developing nations with Western films under the guise of media democracy in the era of

globalization. They have actively worked towards enacting new laws that facilitate the easy import and export

of these cultural electronic products. Leveraging their financial strength and control over the global economy

and politics, their goal of promoting Western, secularly oriented films has been successfully achieved (Sarji &

Abd. Karim, 2011). Some Western film directors even go as far as exploiting films with an Islamic veneer, but

in reality, Islam and its followers’ become subjects molded to fit their perspectives. Examples include the

animated film "Aladdin" and the film "Lawrence of Arabia," which are based on values and thoughts from an

American viewpoint. Interestingly, several film directors in Malaysia have also been indirectly influenced by

Western ideology. Starting with the intention of making a paradigm shift and breaking out of traditional molds,

they have looked to the West as a model for their new films. Examples include the films "Perempuan Melayu

Terakhir," "Fenomena," and "Berlari ke Langit" (Hamzah, 2005). This phenomenon underscores the power of

film as a medium for spreading ideology, indirectly shaping the minds of society.

The research conducted by Wahab and Ahmad (2009) validates this assertion, particularly concerning the

impact of films in Malaysia. This study specifically examines three blockbuster films: Senario XX (earning 2.3

million, 2003), Gangster (earning 2.9 million, 2006), and Anak Mami Kembali (earning 2 million, 2006). The

findings of the research reveal a significant correlation between film content and ideology. It demonstrates that

the process of constructing meaning for the audience is deliberately carried out to reinforce the prevailing

ideology and uphold the existing social structure. All three films prominently portray themes of patriarchy and

masculinity through their narratives, messages, and character portrayals. Consequently, film emerges as a

powerful tool in shaping the audience's perspectives and influencing their mindset.

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Affective or Emotional Balance

The carefully crafted elements of a film, such as visuals, story, sound, lighting, color, and form, have the power

to evoke strong emotions in the viewer. This interaction is known as mediated film, where the audience feels

immersed in the cinematic experience as if they are present within the film itself. This state of immersion

allows emotions to be triggered, leading to reactions like crying, sadness, anger, or remorse. Film is a medium

that captures the realities of society and human imagination, manipulating them into believable situations or

events. In essence, film functions as a tool to convey a sense of immediacy and beauty that resonates with the

audience's emotions through specific scenes or episodes (Sarji & Abd. Karim, 2011). The ability of film to

elicit such profound emotional responses underscores its impact on the human psyche.

Emotions play a pivotal role in guiding individuals toward behavioral responses that align with scenes and

messages that deeply resonate with them. Empirical research conducted by Azarian (2009) on 216 international

school students in the vicinity of Kuala Lumpur has established a notable connection between viewing violent

films and the attitudes of students. The study findings reveal a significant level of correlation between

exposure to violent content and the acceptance of violence among students. They openly acknowledge a

tolerance for violence and exhibit a preference for action-packed and violent film genres. This phenomenon is

particularly pronounced when emotions are profoundly influenced to the extent of addiction. It underscores the

influential role of films in shaping individuals who can effectively manage their emotional well-being.

The Importance of Da’wah (Preaching)

There is a significant correlation between films and preaching (Da’wah). Films serve to convey the message of

Islam and have a significant influence on society. Examining the views of Islamic intellectuals regarding films

will broaden understanding of the context of films in the globalized world based on both divine revelation and

rational reasoning. These comments indirectly explain the position of films from an Islamic perspective.

Yusof al-Qaradhawi

Yusuf al-Qaradawi, a prominent contemporary Islamic scholar, is regarded as a reference point for both

Muslims and non-Muslims alike. His views, grounded in rigorous scholarship and independent reasoning

(ijtihad), are characterized by simplicity and depth. Al-Qaradawi's approach respects current realities while

adhering to the principles of divine revelation and rational thought. He successfully harmonizes traditional

Islamic knowledge (ilmu turath) with modern perspectives. Al-Qaradawi's stance on films, dramas, and

performances is one of permissibility. He considers them to be tools or avenues for enjoyment, which are

inherent to human nature as bestowed by Allah. Their legality is halal (permissible) and positive, even

encouraged, due to their profound influence on society. This is because viewers directly engage with scenes

portrayed by actors in specific roles, which shape their thoughts and emotions.

Nevertheless, he emphasizes that this permissibility is contingent upon meeting specific conditions that have

been established. These conditions encompass:

1. The content presented should be devoid of indecency, sinful themes, or anything that contradicts Islamic

beliefs and moral principles. If a film incites individuals to engage in sinful acts, criminal behavior,

promotes superstitions, conveys deviant ideologies, and the like, it falls into the realm of forbidden

(haram). Consequently, viewing, endorsing, producing, or participating in any capacity in such content is

prohibited, as it aligns with the prohibition of aiding in sin and wrongdoing.

2. Watching films should not lead to the neglect of religious obligations, such as performing obligatory

prayers. It is impermissible for any Muslim to disregard mandatory prayers, including the Maghrib prayer

and others.

3. Avoiding interactions and mixing between men and women that can potentially arouse desires, to prevent

temptation and questionable situations, particularly when depicted in cinemas with dimly lit conditions.

Hence, filmmakers like directors and producers have the responsibility to ensure that their cinematic creations

align with religious beliefs, moral principles, and adhere to Shariah standards. This entails maintaining

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consistency in upholding virtuous values in aspects such as dialogue, actors' body language, and the costumes

they employ.

Ahmad al-Sharbasi

al-Sharbasi (1972) perspectives on the permissibility of films and drama are notably inclusive. He posits

that films and drama serve as intricate reflections of life, aiming to showcase vices that should be

avoided while promoting virtuous qualities. However, he underscores the importance of adhering to specific

prerequisites. These prerequisites entail steering clear of scenes that may incite desires, refraining from

displaying private body parts and avoiding subjects that transgress Shariah boundaries. This encompasses

actions that could lead to sexual issues and beliefs that deviate towards polytheism and deviation. Al-Sharbasi

approaches this within the framework of the principles of Sad al-Zaraiʿ in Islamic jurisprudence. Additionally,

he highlights the perspectives of scholars from al-Azhar who assert that films (assuming they equate drama

with film) serve dual purposes:

1. Utilized for positive purposes that contribute to the welfare of the community and the nation.

2. Alternatively, they can become a dangerous weapon that leads to physical and spiritual decline and ruin

Mapping of Da’wah Approaches Based on the Pillars of Da’wah

The effectiveness of Islamic preaching (da’wah) is heavily reliant on several critical elements that serve as the

foundations for its success. These elements can also be referred to as pillars, as without them, da’wah would be

incomplete and unable to achieve its objectives. Islamic scholars hold varying perspectives when it comes to

categorizing the pillars of da’wah.

According to Mahmud (1990), the pillars of da’wah can be divided into three categories: faith (akidah),

worship (ibadah), and morality (akhlak). These constitute the very essence of Islam itself. Yahya (2017), on the

other hand, identifies the pillars of da’wah as the daʿi (preacher), madʿu (target audience), and maudhuʿ (topic

conveyed). Meanwhile, Abd. Karim Zaydan categorizes the pillars of da’wah into four: daʿi,

madʿu, uslub (approach or method), and wasilah (media). This view differs slightly from Afaf Yahya's, as she

includes uslub and wasilah but excludes maudhuʿ as a pillar of dakwah. However, Saʿid Ali Qahtani's

perspective appears to strike a balance between Abd. Karim Zaydan and Afaf Yahya (Ibrahim & Riyadi,

2023).). He asserts that the pillars of dakwah must encompass maudhuʿ and agrees with the other pillars: daʿi,

madʿu, uslub, and wasilah. Nevertheless, he combines uslub and wasilah into a single pillar. Therefore,

according to Saʿid Ali Qahtani, the pillars of da’wah are daʿi, madʿu, maudhuʿ, as well as uslub and wasilah.

Interestingly, Ibrahim and Riyadi (2023) shares a similar view to Saʿid Ali Qahtani but adds manhaj (method

or approach) as one of the pillars of da’wah and differs in the grouping of these pillars. According to Ramadan,

the pillars of da’wah are daʿi, madʿu, maudhuʿ, manhaj, as well as uslub and wasilah.

In addition, some scholars share a similar perspective in categorizing the pillars of da’wah, whether in

sequence or grouping. These include al-Bayanuni, Sulayman Qasim al-ʿAied, and Abd Aziz Mohd Zain, who

assert that the pillars of da’wah are daʿi, madʿu, maudhuʿ, uslub, and wasilah. It is noteworthy that they

exclude manhaj as a pillar of da’wah, as it bears a comparable meaning to uslub, and they

consider uslub and wasilah as distinct pillars. A summary of the discussions by Islamic intellectuals regarding

the pillars of da’wah is presented in the Table 1 below:

Table 1: Pillars of Da’wah According to Islamic Scholars

No Scholars

Pillars of Da’wah

1

2

3

‘Ali ‘Abd. Halim Mahmud Belief (Aqidah), Worship (Ibadah), Morality (Akhlaq)

‘Afaf Yahya

Preacher (Da’i), Target Audience (Mad’u), Topic (Maudhu’)

‘Abdul Karim Zaydan

Preacher (Da’i), Target Audience (Mad’u), Approach (Uslub), Medium

(Wasilah)

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4

5

6

Sa’id Ali Qabtani

Preacher (Da’i), Target Audience (Mad’u), Topic (Maudhu’), Approach

and Medium (Uslub and Wasilah)

Ramadhan Muhammad

‘Ali

Preacher (Da’i), Target Audience (Mad’u), Topic (Maudhu’), Method

(Manhaj), Approach and Medium (Uslub and Wasilah)

Bayanuni, Sulayman

Qasim al- ‘Aled and Ab.

Aziz Mohd Zain

Preacher (Da’i), Target Audience (Mad’u), Topic (Maudhu’), Approach

(Uslub), Medium (Wasilah)

In the context of Islamic preaching (da’wah), these terms can be summarized as follows:

1. Da’i - the conveyer of the message of Islam, preacher, or propagator of the faith.

2. Maduʿ - the target or recipient of da’wah, whether Muslims or non-Muslims.

3. Maudhuʿ - the topic, subject matter, or message of da’wah, which is Islam itself.

4. Manhaj - the path, method, or procedure employed in conducting da’wah.

5. Uslub- the manner, approach, and methodology used in carrying out and delivering dakwah.

6. Wasilah - the medium or channel utilized for effectively conveying the message of da’wah to the target

audience through the application of specific uslub and methodologies.

Based on the preceding discussion, it can be concluded that the essential pillars of da’wah must encompass the

following elements dai, madʿu, maudhuʿ, uslub and wasilah. The concept of manhaj is not considered a

separate pillar, as it is already encompassed within the meaning of uslub, which refers to the method, path, and

approach. When discussing the manhaj of da’wah, it implies the overall approach or methodology of delivering

the da’wah message. Uslub and wasilah, while closely related, are recognized as distinct pillars with the ability

to stand alone. This is because they possess different dimensions that contribute to the achievement of dakwah

goals. Wasilah, as a medium, requires the application of various methods and approaches to effectively carry

out the da’wah. In the context of contemporary mass media, films emerge as one of the mediums or wasilah of

da’wah that can significantly influence the thoughts and behaviors of people. This underscores the importance

of understanding and utilizing the pillars of da’wah in the realm of cinematic storytelling.

METHODS

This research adopts a qualitative methodology involving content analysis to examine the dakwah approach

depicted in films, with the film "Munafik 1" selected as the primary sample. Data analysis is carried out

utilizing the CAVDIx-pro and ATLAS.ti 11.0 methodologies. CAVDIx-pro, which stands for Computer-

Assisted Video Data Index using X program, facilitates the organization of video data information, allowing

for scene retrieval based on time codes. The study utilizes the MPEG Streamclip software version 1.9.2 for this

purpose. On the other hand, the ATLAS.ti software applies the method developed by Strauss and Corbin,

incorporating coding and quotation systems to ensure a systematic and precise analysis of the data (Strauss &

Corbin, 1998)

FINDINGS AND DISCUSSION

The theory of da’wah approach developed by Hasyim Awang is grounded in a religious worldview (cosmos)

that aims to inspire individuals to engage in virtuous acts and refrain from wrongdoing, thereby achieving al-

falah (success in both this world and the hereafter) and earning the pleasure of Allah SWT. Consequently, the

da’wah approach in the film "Munafik 1" is emphasized through efforts to uphold the truth, guide the

community, and disseminate the teachings of Islam across various aspects, including faith (aqeedah), morality

(akhlaq), law (syariat), and worship (ibadah).

Efforts to uphold the truth are integral to the da’wah approach, which involves the dual mandate of enjoining

good and forbidding evil. This means that all positive endeavors are embedded within the behavior of society,

while simultaneously avoiding that which is negative. The two aspects, whether commendable (ma'ruf) or

reprehensible (munkar), are addressed concurrently without neglecting either. Guiding the community is an

effort of islah, or rectification, driven by compassion and care to lead the people toward a life grounded in

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Islamic teachings. This approach seeks to nurture the community and steer them in the right direction.

Furthermore, the propagation of Islamic teachings is a continuous and consistent da’wah action, encompassing

all aspects of human life based on the guidance of the Quran and Sunnah. This sustained effort to disseminate

the principles of Islam is a crucial component of the da’wah approach. Collectively, these elements - upholding

the truth, guiding the community, and propagating Islamic teachings - form the multifaceted nature of da’wah,

which aims to foster a society that embraces the virtues and rejects the vices of the divine directives.

Aqeedah

Eradicating Acts of Polytheism

The analysis of the study revealed scenes illustrating Ustaz Adam's endeavors to eradicate acts of polytheism

carried out by Pak Osman. One scene depicts the worship of a decomposed corpse, symbolizing spiritual

deviation and the abandonement of Tawheed- the oneness of Allah SWT. This observation is further elucidated

in Figure 1 below.

Figure 1: Worship of the Corpse in the bungalow

Figure 1 (duration 01:22:00-01:22:02) illustrates Pak Osman's engagement in polytheistic practices,

collaborating with the accursed devil to seek worldly gains. The ritual involving the worship of animal skulls

and decomposed bodies symbolizes a disregard for human dignity, demonstrating a willingness to heed the

devil's influence. This blatant deviation represents a clear departure from the essence of Aqeedah, which

demands total devotion of Allah SWT alone. Such actions align with one of the major sins, as indicated in a

hadith from Bukhari narrated by Abu Hurairah (RA), as cited below.

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Translation: From Abu Hurairah (RA), from the Prophet Muhammad (SAW), he said: "Avoid the seven

(destructive sins)!" They (the companions) asked, "O Messenger of Allah, what are they?" He (SAW) replied,

"Associating partners with Allah, sorcery, unlawfully taking a life that Allah has forbidden except by right,

consuming usury, consuming the property of orphans, fleeing from the battlefield during warfare, slandering

chaste women who are believers but indiscreet, and those who are free from adultery" (Hadith narrated by al-

Bukhari, Book of Wills, Chapter on the verse of Allah 'Indeed, those who devour the property of orphans

unjustly', Hadith no. 2766. See Ahmad Ibn 'Ali Ibn Muhammad Ibn Hajar al-Asqalani, Fath al-Bari, (Riyadh:

Dar al-Tibah, 2011), Hadith status: Sahih).

Ustaz Adam endeavors to deter this behavior by counseling Pak Osman to retrace his steps to righteousness.

Nevertheless, this counsel triggers anger, prompting Pak Osman to retaliate violently in an attempt to silence

Ustaz Adam's influence. This scenario is portrayed in Figure 2 (duration 01:24:17-01:27:51).

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Figure 2: Pak Osman choking Adam

Belief in Allah SWT

Adam continues to preach to Pak Osman despite recognizing him as the instigator of turmoil in the village. Pak

Osman manipulates sorcery to sow discord among the villagers for his personal benefit and comfort. However,

sorcery constitutes a significant form of shirk (associating partners with Allah) and is explicitly prohibited in

Islam (Salih Abdul Aziz, 2002). This prohibition resonates with the Quranic verse: "Indeed, Allah does not

forgive association with Him, but He forgives what is less than that for whom He wills. And he who associates

others with Allah has certainly gone far astray" (Surah An-Nisa, 4:116).

Despite Pak Osman resorting to the devil's power to eliminate Adam, Adam's unwavering faith in the

supremacy of Allah SWT remained steadfast. This conviction stems from the belief that only Allah SWT's

power surpasses that of all creatures. The final confrontation between them concludes with Pak Osman

meeting a grim fate, struck by lightning. Abu Bakr al-Jassas emphasized that Allah SWT possesses ultimate

power, uncontested by any being (Abu Su’ud, n.d.). His authority is absolute, as stated in the Quran: "Say, [O

Muhammad], 'O Allah, Owner of Sovereignty, You give sovereignty to whom You will and You take

sovereignty away from whom You will'" (Surah Ali 'Imran, 3:36). This sequence is depicted in Figure 3

(timestamp 01:24:17-01:27:51).

Figure 3. The battle between Adam and Pak Osman

Using Ruqyah Versus

This film showcases the Islamic medical approach that incorporates Tib Al-Nabawi, utilizing Quranic verses

referred to as Ruqyah verses. Adam conscientiously administers treatment to Maria and various villagers by

employing Ruqyah verses. This enhances the status of Islamic healing within the community and indirectly

presents a beneficial alternative to contemporary medicine. This scenario is depicted in Figure 4.

Figure 4: Adam reciting the Ruqyah versus

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Figure 4 (duration 01:35:32, 01:03:51 & 01:06:11) depicts Adam and Azman arriving at Maria's residence to

provide treatment. Maria is possessed by a jinn and transforms into a violent character with extraordinary

strength. Adam recites ruqiyyah based on Quranic verses. Eventually, Maria is healed with the permission of

Allah SWT, vomiting nails from her mouth. Sheikh Yusuf Ismail an-Nabhani explains in al-Itqan that Ibn al-

Matin stated ruqiyyah (recitation) with mu'awidzah (verses or prayers for protection) and asma' al-Husna

(beautiful names of Allah) constitutes a spiritual treatment. The emphasis in this context is that healing occurs

solely with the permission of Allah SWT. It is then recommended to follow up with modern treatment (An-

Nabhani, 2010). This is documented in a Sahih hadith which means: "Narrated Musaddad told us Abdul Warits

from Abdul Aziz, he said; 'I and Tsabit visited Anas bin Malik, then Tsabit said; 'O Abu Hamzah, I am

suffering from an illness."So Anas said; 'Would you like me to perform Ruqyah with the Ruqyah of the Prophet

SAW?' He answered; 'Yes.' Anas said; 'Allahumma Rabban Naasi Mudzhibil Basa Isyfii Anta Syaafi la

Syaafiya illa Anta Syifaaan la Yughaadiru Saqama (O Allah, Lord of mankind, the Remover of affliction, heal

for You are the Healer, there is no healing except Your healing, a healing that leaves no trace of illness.'"

(Hadith Bukhari, 5301)

Table 2: Summary of Analytical Coding

Scene

Description

Da’wah Pillah

Islamic Concept

(Aqeedah)

Figure

1

Pak Osman’s corpse

worship

Tawheed (Oneness of Allah)

Purification of faith

Moral steadfastness

Reliance on Allah

Spiritual purification

Figure

2

Adam’s counsel and

confrontation

Amr bil ma’ruf wa nahi ‘anil munkar (Enjoining

good and forbidding evil)

Figure

3

Defeat of Pak Osman

Tawakkul (Trust in Allah)

Figure

4

Adam’s Ruqyah

healing

Shifa’ (Healing by Allah’s will)

Akhlaq

Visiting Graves

Guiding society towards righteousness is a central tenet of the da'wah approach. In this film, some scenes

evoke a profound emotional response from the audience, particularly the sequence depicting a visit to the

graves. This practice is highly recommended in Islam, as it serves to remind believers of the inevitability of

death and prompting (self-reflection) and motivating righteous deeds before returning their souls to the

Creator, Allah SWT. In one such scene, Adam engages in a heartfelt conversation with his son Amir at the

grave of his late mother, who succumbed to injuries sustained in a car accident. This poignant moment is

captured in Figure 5.

Figure 5: Adam and Amir at the Graveyard

Figure 5 (duration 00:07:39-01:27:53) portrays the scene of Adam with his son Amir at the cemetery. Adam

invites Amir to visit his mother's grave, advising him to always remember the inevitability of death. He

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reminds Amir that every living being will ultimately return to their Creator. Despite the sadness of losing his

beloved wife, Adam speaks with polite and respectful language, teaching him to accept loss with sabr

(patience) and rida (contentment). This aligns with the Islamic principle of using good words, as emphasized in

the Hadith of the Prophet Muhammad (SAW), which states: "And whoever believes in Allah and the Last Day,

let him speak good or remain silent" (Bukhari: 6018). This scene highlights Adam's exemplary character,

particularly in his interactions with his child, setting a noble example to emulate.

Advising Friends

Life is a journey filled with trials and tests ordained by Allah SWT. Adam, like all individuals, faces his share

of challenges. Witnessing Adam's persistent sorrow, his loyal friend Azman intervenes, urging Adam to

embrace these trials and encouraging him to resume his normal way of life. Figure 6 and the accompanying

quotation below depict this poignant moment.

Figure 6: Azman visits Adam at home

Figure 6 (duration 00:10:12-01:27:53) showcases the compassionate nature of a friend, embodying admirable

qualities. Azman visits Adam's home with the intention of providing moral support after Adam's wife's passing.

He also counsels Adam not to be consumed by his grief. This caring attitude is highly encouraged in Islam and

is a testament to one's faith in Allah SWT. Azman’s gesture exemplifies akhlaq mahmudah (praiseworthy

character) reflecting the hadith of Prophet Muhammad (SAW) which states: "None of you [truly] believes until

he loves for his brother what he loves for himself" (Bukhari: 13).

Table 3: Summary of Analytical Coding

Scene

Description

Da’wah Pillar (Akhlaq)

Islamic Concept

Adam guiding Amir at the

grave

Figure 5

Moral exemplarity

Akhlaq al-karimah (Good conduct)

Brotherhood and

compassion

Figure 6

Azman consoling Adam

Ukhuwah Islamiyyah, Sabr, Rida

Shari’a

Dressing Modestly to Cover One's Aurah and Avoiding Handshakes with Non-Mahram Individuals

This film showcases the observance of Shari’a regarding women's clothing and gender interaction. It highlights

the positive impact of a Muslim woman who follows Islamic teachings in her conduct and appearance. The

attire does not impede the actresses' performances; rather, it challenges prevailing stereotypes that equate

women’s worth with external appearance or sensuality. Surprisingly, the film was well-received despite all

female actors donning hijab and adhering to Sharia-compliant clothing. The characters Maria and Zeti shine

with their modest attire and exceptional acting skills. Moreover, the absence of scenes depicting handshakes

between non-Mahram individuals adds to the portrayal of adherence to Islamic guidelines.

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Figure 7: Maria and Zeti’s attire

The analysis revealed that all interactions between male and female actors in the film exclude handshakes

between non-Mahram individuals. This practice is exemplified in Figure 7 (duration 01:06:02, 01:16:00-

01:16:49) as illustrated in a specific scene. The scene portrays Zeti and Fadzli at home while Adam tends to

Maria. Similarly, the interaction between Adam and Zeti in the hospital courtyard adheres to Islamic principles

that prioritize upholding the dignity and honor of individuals. This adherence is in line with the hadith of the

Prophet Muhammad (peace be upon him): "By Allah, the hand of the Prophet Muhammad (peace be upon him)

was never touched by a woman (non-Mahram) even in a bai'ah (pledge). They only pledged

verbally" (Bukhari: 4891).

Teaching the Syahadah

The film also features scenes that educate viewers on living by Sharia regulations. This is evident in an early

scene where a road accident leads to a car crash, resulting in the death of Adam's wife, Zulaikha. Beyond

Zulaikha's character wearing modest attire and not being hugged by Adam, this scene instructs the audience on

the importance of doing what is right and essential during times of distress. Adam guides Zulaikha to recite the

Shahada with the complete declaration. This is illustrated in Figure 8 below.

Figure 8: Adam teaches Zulaikha the syahadah

Figure 8 (duration 00:02:08) portrays the critical condition of Zulaikha, who is severely injured due to the

accident. At this moment, Adam teaches his wife, who is in a precarious state, the expression of the Shahada.

Despite her pain, Adam's character reflects faith and unwavering belief in the decree of Allah SWT. This action

sets a positive example for the audience during the approach of death, as it is most virtuous to guide the

recitation of the Shahada. Uttering the two phrases of the Shahada before death is one of the ways to attain a

good end. This is in accordance with the hadith of the Prophet Muhammad, peace be upon him, which states:

"Whoever's last words (before death) are 'Laa Ilaaha Illallaah' (there is no god but Allah), will enter Paradise"

(Abu Daud: 2709).

Table 4: Summary of Analytical Coding

Scene

Description

Da’wah Pillar (Shari’a)

Islamic Concept

Women’s modest attire and avoidance

of physical contact

Upholding moral

boundaries

Haya’ (modesty), Iffah

(chastity)

Figure 7

Adam guiding Zulaikha to recite the

Shahadah

Remembrance and

submission to Allah

Figure 8

Iman, Rida, Zikrullah

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Worshipping

Praying

Prayer (du’a and salah)is the ultimate recourse for humanity to seek solace in Allah SWT, whether it be to

attain blessings, closeness, comfort and strength to endure trials. It is a natural human tendency to turn to

supplication to Allah SWT when faced with challenges. It is both a spiritual necessity and a therapeutic act that

nurtures patience, humility, and hope. In Islam, prayer functions as a means of attaining blessings and

confronting trials with steadfastness. Ibn Qayyim, in his work al-Jawab al-Kafi, stated that prayer is the most

beneficial remedy. It is an adversary to calamities, possessing the power to heal, overcome, prevent, lift, or

alleviate them. Indeed, prayer is the weapon of the believers.

The film’s climactic moment powerfully captures Adam in prayer, expressing deep gratitude to Allah SWT

after triumphing over Pak Osman’s evil with divine aid. In this scene, Adam kneels in humility, seeking

continued guidance to face life’s trials with faith and perseverance. His prayer signifies both shukr

(thankfulness) and tawakkul (reliance on Allah), reflecting the believer’s constant dependence on divine mercy.

This is illustrated in figure 9 below.

Figure 9: Adam prays

Time 01:31:17

Time 01:31:29

Time 01:31:47

Figure 9 (duration 01:31:17-01:31:47) captures a moment where Adam implores Allah SWT for ongoing

guidance in traversing a life fraught with challenges and trials. Every event carries its own wisdom, and

through prayer, it can yield significant benefits and influence unfolding events. This sentiment aligns with a

hadith of the Prophet Muhammad (peace be upon him) which conveys: "Verily, a person may be deprived of

sustenance due to a sin he commits. Nothing repels destiny except supplication." (Narrated by Ibn Majah

(4022), Ahmad (22745))

Table 5: Summary of Analytical Coding

Scene

Description

Da’wah Pillar (Worshipping) Islamic Concept

Adam praying after overcoming

trials

Figure 9

Servitude and reliance on Allah Du‘a, Tawakkul, Shukr

Below is a summarized and integrated version of all sections (Aqidah, Akhlaq, Shari‘a, and Worship)

presented in table form for clarity and cohesion. This table unifies the key cinematic scenes, Islamic principles,

and their da’wah significance.

Table 6: Integrated Summary of Key Cinematic Scenes, Islamic Principles, and Da’wah Significance

Pillar of

Da’wah

Scene Description

(Figure & Duration)

Islamic Principle / Da’wah

Theme / Subtopic

Reference

Significance

Portrays iman as the

foundation of

resilience; teaches

submission and

trust in Allah’s

Adam faces the death

of his wife, remains

patient, and continues

“No calamity

befalls except by

Allah’s permission”

Belief in Allah and

Qadr (Destiny)

Aqidah

(Faith)

to trust Allah’s decree. (Qur’an, 64:11).

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wisdom.

“If you are grateful, Encourages syukur

Adam thanks Allah

I will surely

increase you [in

favor]” (Qur’an,

14:7).

as a form of active

faith, linking

after overcoming

adversity with divine

help.

Gratitude after trials

Visiting Graves

perseverance with

divine reward.

Promotes reflection

on death, filial

respect, and

“And whoever

Adam and son Amir

visit the late mother’s

grave and reflect on

mortality (Fig. 5,

believes in Allah

and the Last Day,

let him speak good

or remain silent.”

(Bukhari: 6018).

virtuous

communication—

central to moral

upbringing.

00:07:39–01:27:53).

Akhlaq

(Character)

“None of you truly

Azman visits Adam to believes until he

Illustrates ukhuwah

Islamiyyah

comfort and advise

him after loss (Fig. 6,

00:10:12–01:27:53).

loves for his brother (brotherhood) and

what he loves for compassionate

himself.” (Bukhari: correction as moral

Advising Friends

13).

da’wah.

“The Prophet’s

hand was never

touched by a

woman (non-

mahram), even in

pledge.” (Bukhari:

4891).

Models modesty

and moral

boundaries;

Female characters wear

hijab; no physical

contact between non-

mahram (Fig. 7,

01:06:02; 01:16:00–

01:16:49).

Dressing Modestly /

Avoiding

Handshakes

counters stereotypes

about women’s

capacity and piety

in film.

Demonstrates

husnul khatimah

(good ending);

encourages guiding

others in moments

of death.

Shari‘a

(Islamic

Practice)

“Whoever’s last

words are ‘Laa

Ilaaha Illallaah’ will

enter Paradise.”

(Abu Daud: 2709).

Adam teaches dying

wife to recite the

Shahadah (Fig. 8,

00:02:08).

Teaching the

Shahadah

Highlights prayer as

the believer’s

weapon and key to

divine aid;

reinforces spiritual

dependence on

Allah.

Adam prays after

conflict resolution,

showing humility and

gratitude (Fig. 9,

“Nothing repels

destiny except

supplication.” (Ibn

Majah: 4022).

Praying and

Supplication

Worship

(ʿIbadah)

01:31:17–01:31:47).

The film seamlessly integrates Aqeedah, Akhlaq, and Shari‘a through emotionally resonant scenes that depict

faith, moral conduct, and Islamic law in practice. Each scene functions as da’wah bil hal (teaching by example)

offering not only entertainment but moral and spiritual guidance grounded in Islamic values.

CONCLUSION

The film "Munafik" directed by Syamsul Yusof aims to raise awareness within society about the true essence

of religion. The filmmaker has successfully crafted a narrative that is rich in content, resonating deeply with

the audience. The approach to da'wah (Islamic propagation) in "Munafik", based on Hasyim Awang's theory, is

highly significant in terms of faith, morality, Shariah, and worship. This film has a positive influence on the

audience's development, particularly in the cognitive, affective, and emotional domains.

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