Table of Contents

Acknowledgement.............................................................007
Festival Organizer & Staff.................................................009
Message From Festival Founder...................................... 011
Message From Festival President.................................... 013
Message From Festival Director....................................... 015
Message From Festival Curator....................................... 018
Message From Program Director.....................................021
Festival Jury Member........................................................023
Awards................................................................................032
Opening Film......................................................................033
Closing Film.......................................................................035
Main Competition..............................................................038
Light of Asia.......................................................................054
Indonesian Screen Awards...............................................071
Asian Perspectives............................................................086
Asian Perspectives Shorts............................................... 109
Indonesian Film Showcase............................................... 137
Layar Indonesiana............................................................. 149
Layar Komunitas................................................................ 162
JFA Showcase.................................................................... 177
Retrospective : Gunawan Maryanto................................. 185
Classic................................................................................ 191
Public Lecture.................................................................... 196
Special Screening .............................................................207
Schedule............................................................................. 211
Ticketing Info..................................................................... 213
Festival Maps..................................................................... 215
Acknowlegdements
Sri Sultan Hamengkubuwono X - Gubernur Daerah Istimewa Yogyakarta
Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia
Nadiem Makarim, B.A., M.B.A. - Menteri Pendidikan dan Kebudayaan
Dr. Hilmar Farid - Direktur Jenderal Kebudayaan
Ahmad Mahendra, S.Sos - Direktur Perfilman, Musik dan Media
Pemerintah Daerah Istimewa Yogyakarta
Dinas Kebudayaan (Kundha Kabudayan) Daerah Istimewa Yogyakarta
Dian Lakshmi Pratiwi, S.S.,M.A - Kepala Dinas Kebudayaan (Kundha
Kabudayan) Daerah Istimewa Yogyakarta
Dra. Y Eni Lestari Rahayu - Kepala Bidang Pemeliharaan dan
Pengembangan Adat Tradisi, Lembaga Budaya, dan Seni Dinas
Kebudayaan (Kundha Kabudayan) Daerah Istimewa Yogyakarta
Dra. Purwiati - Kepala Seksi Seni Dinas Kebudayaan (Kundha Kabudayan)
Daerah Istimewa Yogyakarta
Lembaga Sensor Film Republik Indonesia
Rommy Fibri Hardiyanto - Ketua Lembaga Sensor Film
Klik Film
Cinema XXI
M-Tix
TIX.ID
Indonesian Film Directors Club (IFDC)
Indonesian Cinematographers Society (ICS)
Asosiasi Produser FIlm Indonesia (APROFI)
Rumah Aktor Indonesia (RAI)
Penulis Indonesia untuk Layar Lebar (PILAR)
Grand Kangen Hotel Yogyakarta
Screenplay
Viu
Fourcolours Films
Ravacana Films
Tempuran Space
Frederica
Pandu Pradana
Nujul Kristanto
Dewinta Hutagaol

007
Fani Simatupang Robert Ronny
Deni Deri Handojo
Agung Haryanto Emilka
Santi Aristi Putri Tesadesrada Ryza
Hariyani
Celerina Judisari
Sunaryo
Gunadi Dendi Reynando
Kamila Andini Angga Dwimas Sasongko
Wregas Bhanuteja Hanung Bramantyo
Apichatpong Weerasethakul Shanty Harmayn
John Badalu Chand Parwez Servia
David Ehrlich Gita Fara
Nawapol Thamrongrattanarit Yosep Anggi Noen
Tintin Wulia Silvia Indah Rini
Lorna Tee Kennanemi Kayon
Thaiddhi Wahyu Agung Prasetyo
Dr. Bijukumar Damodaran Elena Rosmeisara
Lee Chatametikool Vanis
Elvert Bañares Jennifer Papas
Ho Thanh Thao Sofhy Pratiwi
Gulnara Abikeyev Ridla An-Nur
Chalida Uamumrungjit Wiwid Setya
Patrick Campos Maryoto
Linda Gozali Budi
Verdi Sulaiman Suvanto
Faozan Rizal Teguh
Paul Agusta Eko
Agung Sentausa Hery
Perdana Kartawiyudha Jeniva
Rifqi Fauzi Calista
Yazied Syafaat Tyas
Ahmad Aditya Haryana
Wahyu Utami Nasrib
Tri Wahyudi Rudi
Meiske Taurisia Sambudi
Muhammad Zaidy Nur
Agustiya Herdwiyanto
Yulia Evina Bhara

008
Festival Organizer
& Staff
Founder Program Putu Bayuwestra
Garin Nugroho Manager Online Lircahya Muhamad
Assistant Gumilang
Festival
Ismi Anindita L. C. Tulus Wijayanto
President Manalu
Budi Irawanto Office & Finance Muhammad Farhan
Festival Curator Manager Febriyanto
Philip Cheah Bernadeta Liony
Hanif Panji Prasetya
Festival Director Office & Finance Nabila Rahmadhani
Ifa Isfansyah Assistants Sulaimah
Alam Alghifari Revansyah Bagas
Executive Saraswati Nur Ramadhani
Director Diwangkara
Ajish Dibyo Riyadh Syihabuddin
Merchandise Yudha Purnama
Program Director Coordinator Dzaki Ghufron Fauzan
Alexander Matius Mahar Subangun
Yosef Bergas
Programmers Merchandise Rosarianto
Theo Maulana Officer
Yustinus Kristianto Marketing
Sesarini
Gorivana Ageza Inggritha Bonita
Venue Manager Marketing Team
Festival Manager Vindra
Intan Nadya Maulida Muhammad Ikhlas
Community
Jury Coordinator Forum Ticketing
Z Mulja-Salih Coordinator Coordinator
Agathia Yagra
Traffic Team Arief Akhmad Yani
Permana
Julias Galuh K
Atha Ramadhana Screening
Coordinator Ticketing Team
Luthfiyya Dyah
Gashendo Farhan
Rhainaratri M. Andre Kurniawan
Screening Team Content Manager
Special Program
Natasha Kuswanto
Manager Billy Yanto
Dwi Susanti Mohammad Afifuddin
Muhammad Refa
Avicena

009
Publicist Team Documentation Bumper Artist
Arfa Pongki Chief Yosep Anggi Noen
Abdiel Brain Imankasih
Greetagesti Maria Trailer
Farah Bella Rizqia Documentation Billy Yanto
Nurreza Team Bumper Editor
Muhammad Revi Al
Designer Chief Billy Yanto
Stherya Priyahita Ghifari Zuhri Rifqi
Hervaputra Marko Hertomo
Translator:
Abduh Wafi
Designer Team Servis Bahasa
Website Ika Wulandari
Aquiliana Sekar Robert Stitson
Tri Adi Pangestu
Developer
Agyl Cantika Indah Lestari
Catalogue
Designer Artwork Artist
Juan Aldisya Sirin Farid Stevy
Aqib Daffa’ Abdu
Rahman

010
 Message From Festival Founder
GARIN NUGROHO
Festival Founder
Kegigihan
Sinema Gerilya
The Tenacity of Guerilla Cinema
I T
stilah sinema gerilya muncul begitu saja dari
Seno Gumira Ajidarma, seorang kritikus film
era tahun 1980 -85, ketika saya masih menjadi
mahasiswa film IKJ (Institut Kesenian Jakarta). Saat
itu, mahasiswa IKJ aktif membuat film pendek serta
melakukan kerja sinema ngamen, yakni berkeliling
dengan membawa film-film mahasiswa dengan
format 16 mm dan 8 mm. Salah satu yang harus
mendapat catatan sendiri adalah film-film pendek
karya Gatot Prakosa. Saya masih teringat, memutar
dan mendiskusikan film di Jogja, di pinggir Kali
Code, di tempat Romo Mangun yang menjadi
rumah singgah anak jalanan. Diskusi cukup hanya
dengan selembar tikar, bahkan mengingat listrik
tidak mencukupi untuk proyektor, maka mencantol
dari tiang listrik. Bisa diduga, diskusi dengan
Romo Mangun dan kawan-kawan menjadi sebuah
ruang dialog yang mengasyikkan. Saya juga masih
teringat, ketika awal mendirikan JAFF, berkantor di
rumah yang tidak memiliki telepon. Alhasil, setiap
selesai rapat seluruh team JAFF menghilang
sebentar untuk ke warnet, mengakses segala
sesuatunya berkaitan dengan pelaksanaan JAFF.
Bahkan, sesungguhnya JAFF didirikan di saat
gempa dan meletusnya gunung Merapi, sehingga
Jogja menjadi kota dengan ruang publik yang
nyaris mati. JAFF dijalankan dalam situasi keraguan
membangun aktivitas di ruang publik di tengah
bencana. Segalanya adalah soal kegigihan dalam
kerja bergaya gerilya. Jika kemudian kita menengok
karya-karya terbaik film Indonesia yang mampu
menembus sirkuit international, maka terbaca
segalanya dijalankan dengan kegigihan serba
bergerilya dalam situasi serba krisis. Simaklah
film-film karya sineas dari Jogja dan berbagai
daerah, mulai dari cara mereka mencari dana
dan berproduksi hingga membangun jaringan.
Di tengah Pandemi, JAFF 2001 terus dijalankan
dengan cara-cara serba bergerilya serta situasi
krisis. Banyak sekali pertanyaan, mengapa JAFF
tidak membangun dirinya sebagai festival glamour?
Saya selalu menjawab dengan canda: “JAFF
didatangi oleh anak-anak muda penuh antusias,
011
he term guerilla cinema came about from
Seno Gumira Ajidarma, a film critic during
the years of 1980-85 when I was still a film
student at IKJ (Institut Kesenian Jakarta, Institute
of the Arts Jakarta). Back in those days, IKJ
students were actively involved in making short
films and “busking” their cinematic works, where
they travelled carrying student films in a 16mm and
8mm formats. One of the most notable works from
this activity are the short films of Gatot Prakosa. I
recounted memories of screening and discussing
films in Jogja, along the banks of Code River, where
Romo Mangun has become a stopover for young
vagrants. Our discussions would take place in a
humble mat, with the projector hanging from an
electric pole to make up for the electricity shortage.
It is expected that the discussions at Romo Mangun
with my friends have created a space for exciting
dialogues to take place. I still remember fondly too,
during JAFF’s early days, we were housed in a place
without telephones. Thus, after every meeting, all
JAFF team members would disappear and flock to
internet cafes in order to access anything remotely
associated with JAFF’s operations. In truth, JAFF
itself was established during the earthquake and
Merapi eruption, such that Jogja has become a
city with a public space that was under threat of
extinction. JAFF was held in the midst of uncertainty
in hosting activities at a public space, particularly
when the city was in the throes of disaster. To sum
up its inception, JAFF is the product of tenacity
in a guerilla way of working. If we were to look at
the best works of Indonesian cinema which had
successfully penetrated the international circuit, it is
obvious that most of them were made with tenacity
under the duress of a crisis. I invite you to review
the cinematic works from Jogja and other regions
– from the way they pooled funds to the production
process where they established networks. In the
midst of a pandemic, the operations in JAFF 2021
are characterized with numerous guerilla methods
during a crisis. Numerous questions have been
raised as to why JAFF refused to establish itself
anak-anak muda yang tinggal di kost-kostan yang
mengenakan baju santai kadang belum mandi atau
mereka yang tengah mencari sesuatu yang bahkan
mereka sendiri belum bisa menjawab. Namun
JAFF juga didatangai pembuat film yang ingin
bertemu dan berbagi dengan penonton muda yang
serba ingin tahu bukan untuk menghadiri sebuah
pesta. Atau, programer festival international yang
ingin berbagi program dengan anak-anak muda
penuh antusias. Tentu saja, ini sebuah dunia yang
jauh dari glamour. Akan tetapi, jika ditanyakan,
kebahagiaan dengan adanya JAFF? Jawaban
saya sederhana: “Ia menggerakkan anak-anak
muda yang gigih bergerilya meniti dirinya di
dunia film, menggerakkan sebuah kota menjadi
oasis kegigihan para gerilyawan film yang bekerja
dengan cara masing-masing yang sering tak
terbayangkan menggerakkan anak –anak muda
dengan beragam akses informasi dunai film lokal
dan internasional dengan terbuka “ Jika kemudian,
film-film baru Indonesia banyak premiere di
JAFF sebagai salah satu tolok ukur kesuksesan.
Sesungguhnya, anak-anak muda pecinta JAFF
tidaklah banyak orang-orang Jogja asli, melainkan
anak-anak muda yang berkuliah atau beraktivitas
di Jogja dan berasal dari berbagai daerah di
Indonesia. Bisa diduga, ketika mereka mencintai
sebuah film, mereka akan menyebarluaskan
dengan HP-nya ke berbagai wilayah Indonesia.
Inilah para influencer gerilyawan yang gigih tanpa
bayaran. Oleh karena itu, ketika JAFF edisi ke-16,
mengangkat tema ‘Tenacity’ alias ‘kegigihan,’ saya
mengucapkan kepada penyelenggara dan pecinta
JAFF: “Selamat datang para tamu, para gerilyawan
film, bergembira dan menciptalah serta tumbuhkan
jaringan dalam kegigihan dengan keunikan cara
bergerilya masing-masing.
012
as a glamorous festival. I have always jokingly
responded to this question with a: “JAFF is attended
by enthusiastic youths, youths who live in humble
dormitories with casual clothing – sometimes
not having showered, or in the middle of seeking
something that they have not been able to answer.
At the same time, JAFF is attended by filmmakers
who wish to meet and share their insights with
the young audience whose curiosity is limitless,
instead of a lavish party. Or, JAFF is attended by
international festival programmers who want to
share their programs to enthusiastic youths. Of
course, this is a world far from glamour, although
if I were asked on the happiness created by JAFF,
my answer would be simple. JAFF drives tenacious
youths who would undertake the guerrilla mission of
establishing themselves in the film world, mobilizing
a city into an oasis for the tenacity of film guerillas
whose works are often not imagined to move
youths with numerous informational accesses to
the local and international film scenes.” Inevitably,
the fact that numerous Indonesian films have
debuted and premiered in JAFF have become a
measure of success. Frankly speaking, the youths
who love JAFF are composed of cinephiles from
various regions in the country who would spread
its influence with their smartphones to other regions
in Indonesia. These are the works of tenacious,
guerilla influencers – albeit unpaid. Hence, the 16th
year of JAFF features the theme of tenacity, which
has become a recurring motif in our operations. To
the organizers and JAFF lovers: “Welcome visitors,
guerilla filmmakers, let us happily celebrate and
create tenaciously with our unique guerilla methods.
 Message From Festival President
BUDI IRAWANTO
Festival President
Merawat
Kegigihan Kita
Maintaining Our Tenacity
H W
ampir dua tahun, pandemi COVID-19
telah membentuk cara kita berinteraksi,
berkomunikasi serta hidup di tengah dunia
yang kian rentan. Lebih dari itu, pandemi sejatinya
bisa dilihat sebagai batu ujian yang menakar
ketahanan kita tatkala berhadapan dengan krisis
nan tak kunjung usai dari jagat kontemporer yang
kita diami ini. Sementara aksi vaksinansi massal
digelar di seluruh penjuru dunia untuk mencegah
persebaran virus, varian baru COVID-19 terus saja
bermunculan di pelbagai belahan dunia. Dalam
konteks Asia, masyarakat sungguh menderita
karena pandemi yang ditunjukkan lewat jumlah
korban, kemerosotan ekonomi, layanan publik
yang yang terganggu dan seterusnya. Yang tak
kalah gawatnya, pandemi telah memperdalam
kesenjangan ekonomi dan kemiskinan di sejumlah
negara Asia. Tak pelak, sinema mesti berhadapan
dan beradaptasi dengan pandemi yang telah
mengubah cara produksi, distribusi, eksibisi dan
konsumsi film. Umpamanya, platform digital untuk
menonton film kian popular dan gampang diakses,
terutama ketika pemerintah memberlakukan
pembatasan fisik dan sosial. Biaya produksi film
pun membengkak karena keharusan melakukan
sejumlah tes untuk mendeteksi virus korona agar
sesuai dengan protokol kesehatan paling mutakhir.
Terlepas dari pelbagai rintangan yang diusung oleh
pandemi, para pembuat film Asia terus gigih dan
mampu memproduksi film berbobot dengan terus
melakukan pembaruan dan penyesuaian kreatif
di tengah kondisi yang tak menentu. Tidaklah
mengejutkan, jika tahun ini Jogja-NETPAC Asian
Film Festival (JAFF) mengusung tema ‘Tenacity.’
Dalam maknanya yang sederhana, ‘tenacity’ bisa
dipahami sebagai keteguhan untuk terus mencipta
di tengah tantangan yang menghadang. ‘Tenacity’
bak cahaya di ujung terowongan yang menjaga
energi kita untuk terus berlari hingga mencapai
garis finis di bawah kegelapan dan halangan yang
tak tampak. Dieja secara lain, ‘tenacity’ adalah
stamina yang disuntikkan oleh motivasi kita. Sejak
tahun 2006, kami terus menggelar JAFF tanpa
013
ithin nearly two years, the Covid-19
pandemic has shaped the way we interact,
communicate and live our fate in the volatile
world. Moreover, the pandemic can be understood
as a litmus test for our resilience in dealing with
the perpetual crisis of our contemporary world.
While there are massive vaccination programmes
across the globe to curb the spread of virus, the
new variants of COVID-19 continue to emerge
in many parts of the world. In the Asian context,
people have greatly suffered from the pandemic as
indicated by the number of victims, economic loss,
the troubled public services and the like. Moreover,
the pandemic has deepened the economic gap
and poverty in some Asian countries. Cinema has to
unavoidably embrace and adapt to the pandemic
which has transformed the mode of film production,
distribution, exhibition and consumption. For
instance, the digital platform for film streaming is
becoming increasingly popular and convenient,
particularly when social and physical distancing
measures are being imposed by the government.
The costs of production have increased due to the
requirement of COVID-19 detection tests (PCR,
antigen, etc.) in order to comply with updated health
protocols. Despite the numerous obstacles posed
by the pandemic, Asian filmmakers have persisted
and managed to produce diverse range of quality
films by innovating and adapting creatively to
these uncertain conditions. Not surprisingly, this
year’s Jogja-NETPAC Asian Film Festival (JAFF)
decided to celebrate the theme of ‘Tenacity’. In its
barest essence, ‘tenacity’ can be understood as
the determination to continue creating despite the
challenges that may come. Tenacity is the light at the
end of the tunnel that sustain our energy to continue
running headfirst to the finishing line, despite the
darkness and unseen obstructions. In other words,
tenacity is the stamina that our motivation feeds
on. Since 2006, we continue to organize JAFF
without interruption despite the struggles we were
forced to reckon with from various natural disasters
and the pandemic. We firmly believe that Asian
terputus di tengah perjuangan kami menghadapi
berbagai bencana alam dan pandemi. Kami
berkeyakinan bahwa sinema Asia mesti
dipromosikan, didesiminasikan, dan diapreasiasi
oleh orang Asia agar mereka beroleh pemahaman
yang lebih baik tentang budaya dan identitas Asia.
Tentu saja, ini bukanlah sentimen etnosentris tanpa
tedeng aling-aling dalam melihat sinema, alih-
alih sebentuk kesadaran atas posisi kita di dunia
ini serta penghormatan terhadap akar sejarah
kita yang pelan-pelan digerus oleh massifnya
pemasaran dan distribusi film global. Sementara
itu, dalam ranah yang lebih luas, ‘tenacity’ bisa
dipahami sebagai semangat kegigihan dari
sinema Asia dalam mengatasi pelbagai persoalan
serta merumuskan respon yang inovatif dalam
menjawab tantangan. Lebih dari itu, ‘tenacity’
merupakan kapasitas sinema Asia yang mampu
menunjukkan bahwa visi alternatif itu mungkin di
tengah situasi yang pelik dan tak pernah kita duga
sebelumnya. Bukti kegigihan pembuat film Asia
itu bisa disimak dari jumlah film yang didaftarkan
ke JAFF tahun ini. Ada sekitar lebih dari 450 film
yang didaftarkan dan berasal lebih dari 30 negara.
Kami berharap JAFF tahun ini menawarkan cukup
ruang bagi penonton untuk mengapresiasi film-
film Asia yang secara gigih diproduksi pada tahun
sebelumnya di bawah kondisi yang sulit. Di tengah
krisis yang tak berkesudahan ini, dukungan tanpa
putus dari pembuat film, penonton dan mitra
telah menjadikan JAFF tetap berpengharapan
dan optimis memandang pertumbuhan dan masa
depan sinema Asia.
014
cinema should be promoted, disseminated and
appreciated by people in Asia in order to gain
a better understanding of the multitude of Asian
culture and identity. Of course, this is not a blatant
ethnocentric sentiment in viewing cinema but an
awareness of our position in the world and respect
for our historical root, which have been gradually
eroded from the massive marketing and distribution
of global, and often, western film corporations. In
the broader context, ‘tenacity’ can be understood
as a spirit of determination and persistence of Asian
cinema in resolving diverse problems and seeking
an innovative response to those challenges.
Moreover, we can interpret ‘tenacity’ as a capacity
of Asian cinema to show that an alternative vision
is always possible in the midst of difficult situations
which are no precedence before. The evidence of
the tenacity of Asian cinema can be seen in the
number of film submission in JAFF this year. There
are more than 450 submissions from more than 30
countries across Asia. We hope that JAFF offers
sufficient space for the audience to appreciate the
works of Asian filmmakers who have tenaciously
produced their films under difficult conditions in the
previous years. In a time of unprecedented crisis,
the unfailing support of filmmakers, audiences and
our partners alike have sustained JAFF to remain
hopeful and optimistic on the development and
future of Asian cinema.
 Message From Festival Director
IFA ISFANSYAH
Festival Director
Waktunya Mempertahankan
Teritori Kita
It’s time to defend our territory
Di saat krisis terjadi, hal terpenting yang harus kita
lakukan adalah menjaga dan mempertahankan
wilayah kita. Untuk itu, tanpa ragu JAFF tahun ini
berfokus pada kebangkitan Sinema Indonesia yang
juga merupakan bagian penting dari Sinema Asia
Tenggara. Sinema Indonesia sedang menjadi pusat
perhatian beberapa waktu belakangan ini. Sejumlah
film membawa pulang ke tanah air piala-piala
bergengsi di beberapa Festival Film Internasional
dan tidak sedikit film-film yang diproduksi di era
pandemi sudah mulai muncul di bioskop akhir
tahun ini. Untuk itulah kami memilih TENACITY
sebagai tema festival tahun ini. Tenacity berarti
kegigihan untuk terus melakukan sesuatu apa pun
kondisinya. Kata ‘Tenacity’ memiliki kedekatan
makna dengan ‘determination’ dan ‘persistence’
yang relevan dengan bagaimana kita beradaptasi
dan menjalani hidup sehari-hari di bawah kondisi
‘new normal’ saat ini. Kemenangan film-film bercita
rasa Asia seperti Parasite, Nomadland dan Minari
di ajang Academy Awards adalah buah dari
kegigihan sutradara Asia dan para pemainnya yang
terus menghasilkan karya terbaik, meskipun dalam
hal ini publik Amerika sebenarnya agak terlambat
mengetahui kekuatan ini. Lima belas tahun
perjalanan JAFF telah membentuk akar budaya
menonton yang kuat. Fondasi dari penonton garis
keras inilah yang akan mempertahankan sinema di
Indonesia. Di catatan saya saat pelaksanaan festival
edisi ke-13, saya melontarkan banyak pertanyaan
dari perspektif pembuat film. Pertanyaan tentang
Seberapa jauh kita membela sinema? Seberapa
banyak pembuat film yang masih menggunakan
sinema untuk membela suara-suara yang tidak
terdengar? Dan apakah suara itu benar-benar
bisa terdengar di antara riuhnya sistem distribusi
seperti sekarang ini? Adakah yang masih memberi
ruang untuk film-film yang memperlihatkan orang-
orang yang tidak pernah terlihat? Di saat krisis
terjadi seperti sekarang ini dan sinema berada di
titik terendahnya, ternyata hal yang paling dasar
yang harus dilakukan untuk membela sinema
adalah dengan menonton sinema itu sendiri.
015
In times of crisis, the most important thing we must
do is protect and defend our territory. For this
reason, this year’s JAFF is without a doubt focusing
on the revival of Indonesian Cinema, which is also
an important part of Southeast Asian Cinema.
Indonesian cinema has become the center of
attention in recent times. A number of films brought
home prestigious trophies at several International
Film Festivals and numerous films produced
throughout the pandemic era have begun to appear
in theaters towards the end of this year. That’s why
we chose TENACITY as the theme of this year’s
festival. Tenacity means persistence to keep doing
something no matter the circumstances. The word
‘Tenacity’ is close in meaning with ‘determination’
and ‘persistence’ which are relevant to how we
adapt and live our daily lives under the current
‘new normal’ conditions. The victory of Asian films
such as Parasite, Nomadland and Minari at the
Academy Awards is the fruit of the persistence of
Asian directors and their actors who continue to
produce amazing work, although in this case the
American public is actually a bit late in learning
about its brilliance. Fifteen years of JAFF’s journey
have established strong roots in the viewing culture.
It is this foundation of hardcore film fans that will
sustain cinema in Indonesia. In my notes from the
13th edition of the festival, I asked a lot of questions
from a filmmaker’s Perspectives. The question of
how much are we defending cinema? How many
filmmakers still use cinema to defend voices that
are not heard? And can that voice really be heard
amidst the noise of the distribution system as it
is today? Does anyone still make room for films
showing people who have never been seen? In
times of crisis like this when cinema is at its lowest
point, it turns out that the most basic thing we
can do to defend cinema is to watch it. It is very
important that we take a stand as the audience,
whoever we are. Every year JAFF improves in
terms of its implementation. This year the focus
is on keeping the implementation team more
effective. So far, JAFF has always been based on
Penting sekali kita mengambil posisi sebagai
penonton, siapa pun kita. Setiap tahunnya JAFF
selalu berbenah dari segi pelaksanaan. Tahun ini
berfokus untuk menjaga tim pelaksana agar lebih
efektif. Selama ini JAFF selalu berbasis pada
tim pelaksana yang besar dan sebagian besar
adalah volunteer. Pandemi menuntut kita untuk
melakukan pembatasan-pembatasan. Tahun ini
adalah tahun pertama Alexander Matius sebagai
Program Director JAFF, perubahan ini tentunya
akan berpengaruh pada film-film seleksi JAFF
yang tentunya mempunyai perspektif berbeda dan
kami yakin akan disambut oleh penonton dengan
antusias. Festival Manager baru kami, Intan
Nadya Maulida, juga membawa nama-nama baru,
anak-anak muda, energi-energi baru yang selalu
dibutuhkan oleh JAFF. Venue adalah bagian utama
dari sebuah festival. Tahun ini kita kembali ke venue
utama seperti pada saat festival terakhir sebelum
pandemi, Empire XXI Yogyakarta. Festival film yang
pada hakikatnya adalah pertemuan-pertemuan
kami rasa sangat efektif di venue ini, didukung oleh
fasilitas teknis agar sebuah film bisa diapresiasi
di kualitas terbaiknya. Klik Film yang tahun lalu
mampu melebarkan penonton JAFF melalui
pemutaran online tetap kami lakukan di tahun ini.
Pengalaman program online tahun lalu melebarkan
segmen penonton JAFF. Tahun-tahun sebelumnya
penyelenggaraan tatap muka JAFF yang rata-rata
berjumlah 12.000 admission, tahun lalu terdapat
22.000 admission yang mengakses program online
kami. Sepuluh tahun lebih penyelenggaraan JAFF
sudah membentuk kelompok penonton yang tidak
bisa hadir langsung ke Jogja tetapi tetap menjadi
bagian dari penyelenggaraan festival. Walaupun
tahun ini kami mulai menyelenggarakan aktivitas
menonton dengan tetap menjaga ketat aturan
yang berlaku tentang protokol kesehatan. Kami
mengambil kebijakan untuk tidak mengundang
tamu festival, tapi kami menerima tamu yang
datang untuk mengikuti festival. Kebangkitan tahun
ini juga ditandai dengan kembalinya program
kompetisi tetapi tetap dengan sistem penjurian
online. Untuk itu aktivitas menonton untuk layar
komunitas dimulai, tapi tidak ada program untuk
forum komunitas yang setiap tahunnya dipenuhi
oleh berbagai komunitas di penjuru Indonesia.
Dari awal saya percaya bahwa film-fIlm berkualitas
akan muncul di masa-masa krisis. Tahun ini film
yang diproduksi di masa pandemi mulai release.
Film closing tahun ini, Cinta Pertama, Kedua dan
Ketiga karya Gina S. Noer adalah film pertama
yang memberanikan berproduksi di masa pandemi,
juga mempunyai cerita dengan setting pandemi.
Film-film generasi baru perfilman Indonesia mulai
bermunculan dengan film panjang pertamanya,
generasi yang berproses dan bertumbuh bersama
JAFF: Akhirat: A Love Story (Jason Iskandar),
Photocopier (Wregas Bhanuteja), Aum! (Bambank
Ipoenk) dan juga Just Mom (film kedua dari
Jeihan Angga). Aum! menjadi film spesial di JAFF
karena film tersebut adalah cerita sukses pertama
dari program project market kami, Jogja Future
Project. Tak lupa hormat kami untuk pembuat film
016
a large implementation team and most of them are
volunteers. The pandemic has required us to make
restrictions. This year is Alexander Matius’ first
year as Program Director of JAFF, this change will
certainly affect the selection of JAFF films which, of
course, will showcase different Perspectivess and
we are certain will be enthusiastically welcomed
by the audiences. Our new Festival Manager, Intan
Nadya Maulida, has also brought in new names,
young people, with new energy that JAFF will
always need. The venue is one of the main parts
of a festival. This year we will return to the same
main venue as the last JAFF before the pandemic,
Empire XXI Yogyakarta. Film festival events, which
are essentially gatherings, we feel are very effective
in this venue, supported by high standard technical
facilities that enable films to be appreciated in the
way they were intended. Klik Film, which last year
was able to widen JAFF’s audience through online
screenings, are also still collaborating this year. Last
year’s online program experience expanded JAFF’s
audience segment. In previous years, JAFF’s face-
to-face implementation had an average of 12,000
admissions, last year there were 22,000 admissions
by people who accessed our online program. For
more than ten years, JAFF has built its audience
so there will always be some who may not be able
to come to Jogja in person but can still be part of
the festival. This year we have started to organize
screenings while maintaining strict rules regarding
health protocols. We have chosen to make it our
policy not to invite festival guests, but instead we
welcome guests who are able to come to take
part in the festival. This year’s revival will also be
marked by the return of the competition program
whilst keeping an online judging system. For this
reason, viewing activities for community screenings
have been started, but there won’t be a program
for community forums which are usually filled by
various communities throughout Indonesia. From
the beginning I believed that quality films would
emerge in times of crisis. This year, films produced
during the pandemic began to be released. This
year’s closing film, Cinta Pertama, Kedua dan
Ketiga by Gina S. Noer is the first film that was
brave enough to go ahead with production during
the pandemic, and also has a story set during
the pandemic. A new generation of Indonesian
filmmakers have come forward with their first
feature-length films, the generation that emerged
and grew with JAFF: Akhirat: A Love Story (Jason
Iskandar), Photocopier (Wregas Bhanuteja), Aum!
(Bambank Ipoenk) and also Just Mom (the second
film by Jeihan Angga). AUM! is a special film for
JAFF because it was the first success story of our
project market program, Jogja Future Project. Not
to forget our respect for Indonesian filmmakers who
always make JAFF the home of their work, such as
Waiting for Mother (Richard Oh), Tris (Djenar Maesa
Ayu) and Pages (Paul Agusta). JAFF is able to be
so consistent in no small part thanks to our partners
who provide invaluable support year on year. Thank
you to the Ministry of Education, Culture, Research
and Technology, the Directorate of Film, Music and
Indonesia yang selalu menempatkan JAFF sebagai New Media, Yogyakarta Culture Service, MLDSPOT,
rumah dari karya-karya mereka: Menunggu Bunda Empire XXI, Klik Film and all Indonesian film
(Richard Oh), Tris (Djenar Maesa Ayu), Pages producers who choose JAFF as a space to promote
(Paul Agusta). Konsistensi JAFF tentu saja tidak their work. What I imagined this year would happen,
lepas dari dukungan-dukungan partner yang has happened. JAFF has been realized with the
juga senantiasa selalu mendukung JAFF setiap support of the Indonesian film industry, support
tahunnya. Terima kasih kepada Kementerian from the government, support from filmmakers and
Pendidikan, Kebudayaan, Riset dan Teknologi also support from the audience. It is these mutually
Direktorat Perfilman Musik dan Media Baru, Dinas supportive forces that will protect our cinema,
Kebudayaan Yogyakarta, MLDSPOT, Empire XXI, because no one else will take care of our cinema
Klik Film dan semua produser film Indonesia yang but ourselves. While maintaining health protocols,
memilih JAFF sebagai ruang untuk mempromosikan let’s come together to show our persistence in
karya mereka. Apa yang saya bayangkan tahun reviving Indonesian Cinema, Southeast Asian
ini terjadi, JAFF terlaksana dari dukungan pelaku Cinema and Asian Cinema!
perfilman Indonesia. Dukungan dari pemerintah,
dukungan dari pembuat film dan juga dukungan
dari penonton. Kekuatan-kekuatan saling
mendukung inilah yang akan menjaga sinema kita,
karena tidak ada orang lain yang akan menjaga
sinema kita selain kita sendiri. Dengan tetap
menjaga protokol kesehatan, mari bertemu untuk
menunjukkan kegigihan kita untuk membangkitkan
Sinema Indonesia, Sinema Asia Tenggara, Sinema
Asia!

017
 Message From Festival Curator
PHILIP CHEAH
Festival Curator
Every Joke
is a Tiny Revolution
Setiap Lelucon adalah Revolusi Kecil
T I
ahun 1992, George Orwell bertugas sebagai
Polisi Kerajaan Inggris selama lima tahun
sebelum memulai karirnya sebagai penulis
dua novel nubuat politik - Animal Farm (1945) dan
Nineteen Eighty-Four (1949). Sekarang, buku-buku
ini tidak hanya banyak dibaca di seluruh dunia,
tetapi juga membekas di hati rakyat negara di mana
Orwell pernah menjadi seorang polisi, Burma!
Malahan, kaum intelektual Burma merasa bahwa
dua buku itu tentang mereka. Asumsi itu menjadi
sangat masuk akal jika Anda mempertimbangkan
persamaannya, bahwa dua buku tentang negara
totaliter, kontrol politik dan penindasan pemikiran
dan kehendak bebas ini, serupa dengan gambaran
keadaan Burma ketika militer mengambil alih
kekuasaan pada tahun 1962. Ini juga akan
mengingatkan Anda kepada pembunuhan
sewenang-wenang para pengunjuk rasa di jalanan
sejak bulan Februari tahun ini ketika militer merebut
kendali lagi setelah terpilihnya Aung San Suu Kyi
secara demokratis pada tahun 2015. Sejak bulan
April, lebih dari 1.000 demonstran tewas dalam
demonstrasi menentang militer. Tapi sebentar, saya
ingatkan dulu, pembaca yang budiman, bahwa
ini adalah pesan program festival film dan satu-
satunya alasan saya menulis semuanya di atas
adalah akhirnya saya berkunjung ke Myanmar
(ya, nama Burma dan Myanmar terus-menerus
bertumpang tindih, karena ini biasanya merujuk
pada dua penguasa politik – Inggris di masa
lalu dan diktator militer di masa sekarang) untuk
pertama kalinya tahun 2019, menghadiri Festival
Film Wathann ke-9. Dalam rangka merayakan 10
tahun festival dan 100 tahun sinema Burma, saya
menyusun program film Burma untuk Griffith Film
School, Australia pada tahun 2020. Ada dua film
terpilih dalam program JAFF ini yang perlu ditonton.
Yang pertama adalah The Man with the Beard”
(2020) karya Aung Min, tentang seorang seniman
yang berperan dalam suatu film baru sebagai orang
Rohingya. Aktornya sendiri adalah orang Rakhine,
etnis yang sedang berkonflik dengan isu Rohingya,
lalu seolah hendak menabur garam pada luka,
018
n 1922, George Orwell was a British Imperial
Police Officer in Burma for five years before he
began his famous career as the novelist of two
politically prophetic books – Animal Farm (1945)
and Nineteen Eighty-Four (1949). Today, these
books are not only well-read all over the world, but
they are especially cherished by the people of the
country that Orwell was policeman in – Burma! As
a matter of fact, the Burmese intelligentsia feel that
the books are about them. That becomes entirely
plausible when you consider the parallels, that these
books about totalitarian states, political control
and the suppression of free thinking and free will,
match the picture of Burma when the military seized
control of power in 1962. It also reminds you of the
wanton killing of protestors on the streets since
February this year when the military seized control
again after the democratic election of Aung San
Suu Kyi in 2015. Since April, over 1,000 protestors
have been killed in the demonstrations against
the military. But may I remind you, dear reader,
that this is a film festival programme message
and the only reason for the above, is that I finally
visited Myanmar (yes, the reference to Burma and
Myanmar constantly overlap, as they normally refer
to the two political masters – the British in the past
and the military dictators in the present) for the first
time in 2019 to attend the 9th Wathann Film Festival.
To celebrate the festival’s 10th anniversary and
Burmese cinema’s 100th anniversary, I worked on
a Burma film programme for the Griffith Film School,
Australia, in 2020. There are two key films to see
that are selected in this JAFF programme. The
first is Aung Min’s The Man with the Beard (2020),
about an artist who has a role in a new film as a
Rohingya. The actor himself is a Rakhine, an ethnic
who is in conflict with the issue of the Rohingyas,
and to add insult to injury, the condition for the
offered role is that he must have a beard. To live
with the beard, that everyone recognises as a sign
of a Muslim, brings with it untold new challenges.
As Aung Min said: “The Man with the Beard began
in 2017 when I was writing a script set in Rakhine
syarat untuk memainkan peran yang ditawarkan
adalah dia harus menumbuhkan jenggot. Memiliki
jenggot yang diakui sebagai ciri-ciri orang Muslim,
membawa serta berbagai tantangan baru yang
tak terhingga. Seperti yang dikatakan Aung Min:
Perjalanan “The Man with the Beard” dimulai pada
tahun 2017 ketika saya sedang menulis naskah
bertempat di negara bagian Rakhine. Lalu, perang
pecah di wilayah itu, dan kami membuang ide
untuk memproduksi filmnya disana. Aktor Thadi-
Htar yang orang Rakhin sendiri, salah satu rekan
tim kami dari Ten Men (Kolektif Film) sedang
menumbuhkan jenggot. Saya mendapatkan ide
ini dari jenggotnya. Meskipun kami belum punya
naskah tentang Jenggot, kami mengikuti Thadi
Htar ke mana saja, memfilemkannya ketika sedang
beraktivitas. Setelah beberapa hari lamanya, kami
mendapat ide kasar tentang akan seperti apa
ceritanya nanti. Kami keluar dan merekam setiap
kali ada kesempatan. Kami merenungkan idenya
ketika tidak sedang syuting. Kami memasak
bersama, makan bersama, para krunya bahkan
pindah dan tinggal di rumah saya selama durasi
proses syuting. Ini berlangsung selama 10 bulan.”
Catatan Editor; Film ini terpilih dan diundang
namun karena kendala keadaan, menjadi tidak
tersedia untuk JAFF) Film yang kedua adalah karya
Lamin Oo yang berjudul Three Strangers (2020),
tentang pasangan lesbian di sebuah desa yang
mengadopsi seorang anak laki-laki. Seperti yang
dikatakan sutradaranya: “Saya bertemu Gwa To
dan Soe Soe tahun 2015”. Waktu itu saya sedang
syuting sebuah film pendek di dekat desa mereka.
Saya pikir sangat menarik ketika melihat pasangan
lesbian tinggal bersama di sebuah desa kecil yang
terpencil di negara bagian Rakhine, salah satu
tempat termiskin di Myanmar. Yang saya rasakan
waktu itu hanya sebatas rasa penasaran. Namun
beberapa bulan kemudian, saya mengetahui
kalau mereka memiliki seorang anak asuh laki-laki
— Phoe Htoo. Ketika topik proses adopsi Phoe
Htoo muncul, mata mereka menyala, lalu dengan
antusiasnya bercerita kepada saya seluruh kisah
mereka dalam sekali duduk. Mereka tidak kaya.
Mereka harus bekerja keras setiap hari untuk
bertahan hidup. Namun, mereka memiliki cinta yang
melimpah untuk anak yang bukan anak biologis
mereka ini. Saya sangat tersentuh oleh cinta
mereka kepada si anak dan keberanian mereka
untuk membangun keluarga kecilnya.Baik Aung
Min maupun Lamin Oo mewakili gelombang baru
di perfileman Burma. Aung Min mendirikan kolektif
film Ten men pada tahun 2013, dan saat ini menjadi
pembimbing para pembuat film muda, sedangkan
Lamin Oo juga mendirikan Tagu films tahun
2013, yang terdiri dari kuartet pembuat film yang
menggasak genre film apa pun yang menarik minat
mereka. Festival film pertama Myanmar, Wathann,
diinisiasi oleh sepasang suami dan istri, Thaiddhi
dan Thu Thu Shein pada tahun 2011, dengan itu
mereka memberikan platform untuk kemunculan
sinema baru. Referensi film lain yang mengingatkan
kekejaman Myanmar baru-baru ini adalah Can’t
Get You Out of My Head (2021) karya Adam Curtis
019
state. Then the war broke out in the area, and we
abandoned the idea of filming there. Actor Thadi-
Htar, a Rakhine himself, one of my teammates from
Ten Men (Film Collective) was growing a beard.
I got the idea looking at his beard. Even then we
didn’t have a script for Beard, we followed Thadi-
Htar to places, filming him doing his things. After
several days on end, we got the rough idea of how
the story would be. We go out and film when the
opportunity presents. We ponder on ideas while
not filming. We cooked together, ate together, the
crew even moved into my house for the duration
of the filming process. We did that for 10 months.”
(Editor’s Note: This film was selected and invited but
due to circumstances, it was not available for JAFF.)
The second is Lamin Oo’s Three Strangers (2020),
about a lesbian couple in a village who adopt a
son. As the director said: “I met Gwa To and Soe
Soe in 2015. I was shooting a short film near their
village. At the time, I thought it was interesting to
see a lesbian couple living together in such a small
and remote village in Rakhine state, which is one of
the poorest places in Myanmar. It was nothing more
than a moment of curiosity. But a few months later,
I found out they had an adopted son — Phoe Htoo.
As soon as the subject of Phoe Htoo’s adoption
came up, their eyes lit up and they enthusiastically
told me their entire story in one sitting. They are not
rich. They have to work hard every day, to put food
on the table. Yet, they have an abundance of love
for this child who is not their biological son. I was
deeply touched by their love for this child and their
courage to build this little family.” Both Aung Min
and Lamin Oo represent the new wave of Burmese
film. The former started his Ten Men film collective
in 2013 and currently mentors young filmmakers,
while the latter’s Tagu Films, also starting in 2013,
consists of a filmmaking quartet who tackle any
film genre that interests them. Myanmar’s first film
festival, Wathann, was started by husband and wife
team, Thaiddhi and Thu Thu Shein respectively in
2011, and they have provided the platform for the
new cinema to emerge. The other film reference
recalling the recent Myanmar atrocity is Adam
Curtis’ Can’t Get You Out of My Head (2021) that
discusses cultural and political history since the
end of the British empire leading up to today’s
hollow present, where world leadership is not only
uninspiring but bleak. His key point that explains the
title of his documentary, is that, as Orwell predicted,
we are now living in a world of near-complete
electronic surveillance. And that pretty much
explains Covid-19, if you take the conspiracy point
of view, because this illness legitimises every state’s
implementation of surveillance in the service of
patient-tracking. But mass surveillance had already
arrived in China in the last decade through millions
of cameras and the co-opting of mobile apps. In the
West, marketing (and perhaps political) surveillance
emerged through Google, but Covid-19, completes
the job. We truly can’t get them out of our heads. But
are all exits blocked? Once again, history makes
our case clear. You can completely track people or
use algorithms to predict their behaviour but the X
yang membahas sejarah budaya dan politik sejak factor is always there. Some unseen anomaly will
berakhirnya kerajaan Inggris hingga masa kini yang always exist to turn the system against itself. Plus
hampa, di mana kepemimpinan di dunia ini tidak Orwell did give us a way out of totalitarianism when
hanya membosankan tapi juga suram. Poin kunci he wrote: “Every joke is a tiny revolution.”
yang menjelaskan judul film dokumenternya, adalah
seperti yang sudah diprediksi Orwell, kita sekarang
hidup di dunia pengawasan elektronik yang hampir
menyeluruh. Gagasan itu cukup untuk memaparkan
Covid-19, jika dilihat dari sudut pandang konspirasi,
karena penyakit ini melegitimasi pelaksanaan
pengawasan yang dilakukan oleh setiap negara
untuk kebutuhan layanan pelacakan pasien.
Akan tetapi, pengawasan massal sudah hadir di
China 1 dekade terakhir melalui jutaan kamera
dan kerja sama dengan aplikasi seluler. Di Barat,
penerapan pengawasan untuk tujuan pemasaran
(dan mungkin politik) muncul melalui Google,
tetapi Covid-19, menyempurnakan usaha ini. Kita
tidak bisa benar-benar membuangnya dari pikiran.
Namun apakah semua jalan keluar sudah ditutup?
Sekali lagi, sejarah membuat permasalahan kita ini
menjadi jelas. Anda bisa saja benar-benar melacak
seseorang atau menggunakan alogaritma untuk
memprediksi perilaku mereka namun faktor X
selalu hadir Beberapa anomali yang tak kasat mata
akan selalu ada untuk membelokkan sistem agar
melawan dirinya sendiri. Plus, Orwel menunjukkan
jalan keluar dari totaliterisme ketika ia menulis:
“Semua Lelucon adalah Revolusi Kecil.”

020
 Message From Program Director
ALEXANDER MATIUS
Program Director
Menyambut
Adaptasi Lama
Welcoming Old Adaptation
F F
estival sebagai sebuah ritual tahunan
adalah aktivitas yang sangat mengandalkan
pertemuan secara fisik. Layaknya sebuah
perayaan, banyak orang hadir, melupakan sejenak
kesehariannya untuk berfokus kepada aktivitas
tertentu dan berinteraksi satu dengan yang
lainnya. Pandemi membuat kita kembali bertanya
apakah sebuah festival dapat dirayakan tanpa
perlu kehadiran fisik? Apakah ruang virtual dapat
menggantikan kebersamaan dan semaraknya
sebuah festival? Kondisi pandemi kemudian
mau tidak mau membuat beberapa festival
mencoba untuk beradaptasi dengan keadaan
dan kenyataan. Perayaan dilakukan dengan ruang
daring. Festival film pun demikian. Di tengah tingkat
kewaspadaan yang tinggi, ruang putar fisik ditutup
sehingga pemutaran, termasuk festival, beralih ke
dalam kanal-kanal digital. Beberapa tetap setia
untuk tutup karena percaya bahwa sinema dan
kegiatannya adalah bentuk yang sakral dan tidak
dapat diganggu gugat. Tahun ini, 2021, adalah
tahun yang mempunyai bekal pengalaman dari
kondisi awal pandemi. Beberapa festival film
dunia kembali mengadakan pemutaran fisik atau
menggabungkan fisik dan online. Manajemen
pengelolaan penonton dibentuk menyesuaikan
protokol kesehatan. Satu garis bawah tebal yang
harus disepakati bersama adalah keselamatan
penonton adalah hal yang paling utama dalam
sebuah perhelatan. Film-film, yang bahkan mau
tidak mau harus tertunda penayangannya, akhirnya
mendapat kesempatan untuk rilis perdana,
bertemu langsung dengan penontonnya Jogja-
NETPAC Asian Film Festival (JAFF) juga (akhirnya)
hadir kembali ke pemutaran fisik setelah tahun
lalu melakukannya dengan sangat terbatas.
Pemutaran secara online pun tetap dilakukan guna
menyebarkan semaraknya sinema Asia ke kawan-
kawan yang belum dapat hadir. Secara komposisi
tim program, tidak banyak pengubahan untuk
membawa konsistensi program JAFF sekaligus
tidak menutup kemungkinan untuk semakin
eksplorasi dengan tetap menjadikan JAFF sebagai
021
estival as an annual ritual is an activity
which relies heavily on in person meeting.
Like questions, many people are present,
overlooking their daily life momentarily to focus on
certain activities and interact with each other. The
pandemic leads us to ask again, can a festival be
celebrated without physical presence? Are virtual
room sessions replacing the togetherness and the
festivity of a festival? The conditions during the
pandemic made several festivals, willingly or not,
attempt to adapt to the situation and circumstances.
Celebrations were carried out in online rooms.
Festivals also followed the same path. In an
atmosphere of high vigilance, screening spaces
were closed, so film screenings, including festivals,
moved towards digital channels. Some remained
loyal to the format and shut the whole event
altogether, convinced that cinema and its activities
are something sacred and cannot be argued
with. This year, 2021, carries with it a wealth of
experience from the initial period of the pandemic.
Several international film festivals returned to
physical screenings or combined physical and
online events. Audience management was adapted
according to health protocols. One thick bottom line
that must be agreed upon is that the audience’s
safety is the most important thing at any event.
Films, which screenings had to be postponed
willingly or not, finally have the opportunity to
premiere, and meet in person with their audience.
Jogja-NETPAC Asian Film Festival (JAFF) as well,
is (finally) coming back to physical screenings after
last year’s edition was only carried out on a very
limited scale. Online screenings were carried out to
spread the festivity of Asian Cinema to friends who
were unable to come. Looking at the composition
of the programming team, not many changes were
made in order to maintain the consistency of the
JAFF program, while not ruling out the possibility
of further exploration by consistently making JAFF
a home for Indonesian and Asia-Pacific films. The
focus of JAFF 16 is to make the festival become
a place for everyone who loves film, not limited to
rumah bagi film Indonesia juga Asia-Pasifik. Fokus
edisi ke-16 JAFF adalah menjadikan JAFF sebagai
tempat bagi semua orang yang mencintai film, tidak
terkotakan oleh satu dua kelompok saja. Tahun
ini, kami menggabungkan kompetisi untuk film
panjang dalam satu kompetisi walau secara jumlah
apresiasi sama dengan tahun-tahun sebelumnya.
Fakta menarik bahwa secara tidak sengaja sekitar
setengah dari nominator merupakan film panjang
perdana mereka. Kompetisi film pendek, Light of
Asia, menghadirkan 12 nominator dari 7 negara.
Indonesia Screen Awards juga kembali hadir,
namun kali ini kami memberikan perwakilan dari
beberapa asosiasi pekerja pembuatan film untuk
menjadi juri. Dari bagian non kompetisi, ada
banyak sekali film yang menjadi bagian dari JAFF
tahun ini. Kami membaginya dalam beberapa
bagian. Classics tentu saja menjadi program yang
penting meski secara jumlah tidak terlalu banyak,
namun keberlanjutan pengenalan arsip film Asia-
Pasifik adalah hal yang perlu dan diharapkan terus
berlanjut sehingga paling tidak kesempatan untuk
menonton film dalam format yang sama sepanjang
waktu terus dijaga. Kami juga memberi ruang
untuk teman-teman dari Jogja Film Academy dan
beberapa komunitas pembuat film di Indonesia
lewat Layar Komunitas untuk unjuk gigi atas
karya mereka. Ada program spesial juga dari VIU
Pitching Forum dan pemutaran film pendek dari
kawan-kawan yang terpilih dalam kompetisi film
pendek yang diadakan oleh Kemendikbudristek
(Kementerian Pendidikan, Kebudayaan, Riset dan
Teknologi). Kami juga mengenang kawan kami
Gunawan Maryanto lewat dua pemutaran filmnya
dimana dia berperan dengan sangat luar biasa
sebagai pemeran utama. Beberapa film Indonesia
juga mendapat tempat khusus dalam JAFF kali
ini, termasuk 2 film pendek dan 1 film panjang
debutan dari para aktor yang kemudian berpindah
kursi di balik layar. Pada Asian Perspectivess, kami
menghadirkan banyak film pendek dan panjang,
termasuk dua film dari Ryusuke Hamaguchi: Drive
My Car dan Wheel of Fortune and Fantasy, In Front
of Your Face dari Hong Sangsoo dan Memoria
dari Apichatpong Weerasethakul. Kami juga
dengan senang membuka dan menutup festival
ini dengan karya dari Asghar Farhadi (A Hero) dan
Gina S. Noer (Cinta Pertama, Kedua dan Ketiga).
Akhir kata, kami berterima kasih kepada semua
pihak yang mendukung JAFF ke-16. Tanpa kalian
mungkin JAFF belum tentu akan terwujud. Tahun
ini kita beradaptasi kembali dengan rutinitas yang
dulu pernah kita lakukan. Bagi yang hadir ke
pemutaran secara langsung, tetap patuhi protokol
kesehatan dan selamat bertemu kembali dengan
melepas rutinitas harian, pengaturan jadwal,
bertemu dengan kawan-kawan, menukarkan tiket,
menonton di ruang gelap dan berdiskusi selepas
pemutaran. Mari kita jawab tahun ini apakah kita
dapat bersilaturahmi lewat sinema dengan penuh
sukacita dan rasa tanggung jawab satu sama lain.
022
one or two groups. This year, we have assembled
the feature films competitions into one competition
even though the number of Awards remains the
same as in previous years. It’s interesting to note
that about half of the nominees happen to be first
time feature-length film directors. The short film
competition, Light of Asia, presents 12 nominees
from 7 countries. The Indonesia Screen Awards are
also back, but this time presenting representatives
of several film industry associations to serve as the
jury. The non-competition sections also include a
wealth of new films that will also become a vital part
of this year’s JAFF. We divided them into several
sections. Classics is most certainly an important
program, albeit not very big in number, although
the continued introduction of the Asia Pacific film
archive is an important milestone and hopefully
can be maintained so the chance to watch films
in their original format can be enjoyed by future
generations. We are also providing a space for
our fellows from Jogja Film Academy and several
film maker communities in Indonesia with the
Layar Komunitas program so that they can show
off their work. There’s also a special program from
VIU Pitching Forum and short films screening from
selected participants of the Kemendikbudristek
(Ministry of Education, Culture, Research and
Technology) short film competition. In memory of
our friend Gunawan Maryanto, two films will be
shown in which he played an extraordinary role as
the main character. Several Indonesian films also
have special place in this year’s JAFF including 2
short films and 1 directorial debut feature film from
actors who have switched roles to work behind
the camera. In Asian Perspectivess, we present
many short and feature films, including two films
from Ryusuke Hamaguchi: “Drive My Car” and
“Wheel of Fortune and Fantasy”, “In Front of Your
Face” from Hong Sangsoo and “Memoria” from
Apichatpong Weerasethakul. We are also pleased
to open and close the festival with Asghar Farhadi’s
“A Hero” and Gina S. Noer’s “Cinta Pertama, Kedua
dan Ketiga”. Lastly, we are grateful to all parties
who have supported the 16th JAFF. Without you,
perhaps JAFF wouldn’t come to life. This year,
we are adapting back into the regular routine. For
everyone who comes to the live screenings, please
follow health protocols and see you soon, let go of
your daily routines, set your schedules, meet with
your friends, exchange tickets, watch movies in
dark rooms and join after screening discussions.
Let’s make this year an answer to whether we can
stay in touch through cinema, with joy and a sense
of responsibility for each other.
 Festival Jury Member
Hanoman Awards
Lorna Tee
Lorna Tee is a film producer and curator, dividing her time between Asia
© Gerhard Kassner / Berlinale

and Europe. She has worked for Focus Films (Hong Kong), Variety (USA),
Irresistible Films (Hong Kong/ Japan), and also with film festivals like
Berlinale and CinemAsia Film Festival. She produced the inaugural Asian
Film Awards in 2007. She is the co-founder and was the Head of Festival
Management for the International Film Festival & Awards Macao until 2020.
Selected filmography includes The Beautiful Washing Machine, Rain Dogs,
Crazy Stone, My Mother is a Bellydancer, The Shoe Fairy, At the End of
Daybreak, Lover’s Discourse, Come Rain, Come Shine, Postcards from the
Zoo and Mrs K. She is produces with her Malaysian production company
Paperheart, and with Amsterdam-based company, An Original Picture.
She mentors and lectures with film training programmes/ labs, primarily
with emerging filmmakers, plus supports various international film institutions and film funds in multiple
capacities. She is currently the year-round programming consultant for Cinematheque Passion in Macau.
She has been invited to jury at various film festivals including London, Tokyo, Semaine de la Critique Cannes,
Sarajevo, Durban, Sydney and many more.
Lorna Tee adalah produser dan kurator film yang membagi waktunya di Asia dan Eropa. Ia pernah bekerja
untuk Focus Films (Hong Kong), Variety (USA), Irresistible Films (Hong Kong/ Jepang), dan festival film
seperti Berlinale dan CinemaAsia Film Festival. Ia mencetuskan Asian Film Awards yang pertama di tahun
2007. Ia adalah salah satu pendiri dan Kepala Manajemen Festival untuk International Film Festival &
Awards Macao hingga 2020. Riwayat Filmografi pilihannya termasuk “The Beautiful Washing Machine”,
“Rain Dogs”, “Crazy Stone”, “My Mother is a Bellydancer”, “The Shoe Fairy”, “At the End of Daybreak”,
“Lover’s Discourse”, “Come Rain”, “Come Shine”, “Postcards from the Zoo” dan “Mrs K”.Ia memproduksi
film-film tersebut dibawah naungan rumah produksi dari Malaysia miliknya yang bernama Paperheart, dan
dengan rumah produksi dari Amsterdam yang bernama An Original Picture. Ia membimbing dan mengajar
perkuliahan di program / laboratorium pelatihan film, terutama bersama pembuat film pendatang baru, ia
juga mendukung berbagai lembaga film internasional dan mendanai film dalam berbagai kapasitas. Ia saat
ini menjadi Konsultan Program untuk Cinematheque Passion di Makau. Ia pernah diundang menjadi juri di
berbagai festival film termasuk London, Tokyo, Semaine de la Critique Cannes, Sarajevo, Durban, Sydney
dan masih banyak lagi.

Thaiddhi
Thaiddhi is a Filmmaker, Producer, and also Film Programmer. He
studies Filmmaking at FAMU in the Czech Republic for 3 years master’s
degree program in Cinema and Digital Media. He co-founded Wathann
Film Festival in 2011 and working as a Programmer for the festival.
In 2013 he founded Third Floor Film Production to produce Myanmar
Independent short films and documentary films. He produced a short
film Cobalt Blue (2019) by Aung Phyoe which was selected for the Pardi
di Domani International Competition at 72nd Locarno Film Festival. He
also worked as a Cinematographer in the recent film Money Has Four
Legs (2020) by Maung Sun, which premiered at New Currents (Busan
International Film Festival 2020).

Thaiddhi adalah Pembuat Film, Produser, dan juga Programmer Film.

Ia menempuh pendidikan Pembuatan Film di FAMU di Republik Ceko
selama 3 tahun dan membawa pulang gelar master jurusan Cinema and Digital Media. Dia ikut mendirikan
Wathann Film Festival pada 2011 dan bekerja sebagai Programmer untuk festival tersebut. Pada tahun
2013 ia mendirikan Third Floor Film Production untuk mewadahi kegiatan produksi film pendek dan film

023
dokumenter independent di Myanmar. Dia adalah produser dari film pendek “Cobalt Blue” (2019) arahan
Aung Phyoe yang terpilih untuk Pardi di Domani International Competition di Locarno Film Festival ke-72. Ia
juga bekerja sebagai Sinematografer dalam film terbaru “Money Has Four Legs” (2020) karya Maung Sun,
yang diputar perdana di program New Currents (Busan International Film Festival 2020).

Bijukumar Damodaran
Dr.Biju (Bijukumar Damodaran) is a three-time India’s national Awards
winning filmmaker. He is considered one of the most important
contemporary voices in Indian cinema. His first film “Saira” was screened
at the Cannes film festival in 2007 under “Cinema of the world “section.
Biju’s films have been screened at many international film festivals
and won numerous Awards. The festivals include Cannes, Montreal,
Shanghai, Telluride, Cairo, Iran (Fajr), Jogja Indonesia, Eurasia Almaty,
Jeonju, Tallinn, Oporto, Dhaka, IFFK, and IFFI. His film “Trees under the
sun” premiered at the Shanghai International film festival 2019 and won
the Outstanding Artistic Achievement Awards. He has been invited as a
member of the jury in many well-known film festivals across the world. He
was worked as a jury member for India’s National Film Awards 2012 and
India’s Oscar selection committee 2015
Dr.Biju (Bijukumar Damodaran) adalah pembuat film yang memenangkan penghargaan nasional India tiga
kali. Dia dianggap sebagai salah satu suara kontemporer terpenting dalam sinema India. Film pertamanya
“Saira” diputar di Cannes film festival 2007 di bagian “Cinema of the world”. Film Biju telah diputar di
banyak festival film internasional dan memenangkan banyak penghargaan antara lain Cannes, Montreal,
Shanghai, Telluride, Kairo, Iran (Fajr), Jogja Indonesia, Eurasia Almaty, Jeonju, Tallinn, Oporto, Dhaka, IFFK,
dan IFFI. Filmnya “Trees Under The Sun” tayang perdana di Shanghai International film festival 2019 dan
memenangkan penghargaan Outstanding Artistic Achievement. Ia ditunjuk sebagai juri di India’s National
Film Awards 2012 dan komite pemilihan Oscar dari India.

024
 Festival Jury Member
Blencong Awards
Lee Chatametikool
Lee Chatametikool is an Awards-winning film editor, director and post
producer. Starting with ‘Blissfully Yours’ in 2002, he has edited over
30 feature films and shorts for many leading Southeast Asian directors
including Apichatpong Weerasethakul, Aditya Assarat, Anocha
Suwichakornpong, Boo Jun Feng and Kirsten Tan. His work has
screened in all major film festivals including Cannes, Venice, Berlin and
Sundance. He won Best Editor at the Asian Film Awards three times:
in 2007 with Apichatpong’s “Syndromes and a Century”, in 2010 with
Malaysia’s “Karaoke”, and in 2017 with Singaporean Boo Joon Feng’s
“Apprentice”. His directing debut, “Concrete Clouds’’, premiered in 2013
Busan Film Festival New Currents Competition, and went on to compete
in Rotterdam, Shanghai, Taipei, and Edinburgh. It was Awardsed Best
Film and Best Director by the Thai National Film Association Awards, Thai
Film Director’s Association, Khom Chud Luek Awards, Bioscope Film
Awards, and Starpics Thai Film Awards. He currently runs White Light
Post, Thailand’s leading post-production house for feature-film editing,
colour grading and finishing.
Lee Chatameikool adalah editor, sutradara, dan post-produser film pemenang penghargaan. Diawali
dengan dengan film ‘Blissfully Yours’ pada tahun 2002, hingga sekarang, ia telah mengedit lebih dari 30
film layar lebar dan film pendek untuk banyak sutradara terkemuka Asia Tenggara termasuk Apichatpong
Weerasethakul, Aditya Assarat, Anocha Suwichakornpong, Boo Jun Feng dan Kirsten Tan. Karyanya telah
diputar di semua festival film besar termasuk Cannes, Venice, Berlin dan Sundance Ia tiga kali memenangkan
Best Editor di Asian Film Awards, pertama pada tahun 2007 dengan “Syndromes and a Century” arahan
Apichatpong, tahun 2010 dengan film dari Malaysia yang berjudul “Karaoke”, dan pada tahun 2017
dengan “Apprentice” arahan Boo Joon Feng, sutradara dari Singapura. Debut penyutradaraannya,
“Concrete Clouds”, diputar perdana pada 2013 Busan Film Festival New Currents Competition. Setelah
itu berkompetisi di Rotterdam, Shanghai, Taipei, dan Edinburgh. Film tersebut dianugerahi Best Film dan
Best Director oleh the Thai National Film Association Awards, Thai Film Director’s Association, Khom Chud
Luek Awards, Bioscope Film Awards, dan Starpics Thai Film Awards. Saat ini ia memimpin White Light Post,
rumah pasca produksi untuk pengeditan, colour grading dan finishing film panjang terkemuka di Thailand.

Elvert Bañares
Elvert Bañares is an Awards-winning independent Filmmaker, Multi
Disciplinary Artist, Film Producer and Educator. His films were
exhibited & screened in five continents, 30 countries and more than
75 international festivals. He was Festival Director and Programmer
of the 1st & 2nd ASEAN Film Festival; and the pioneering festivals
- eKsperim[E]nto Festival of Film & New Media (1999-2005) and
CineKasimanwa: Western Visayas Film Festival. He was the first
Regional Manager of Cinemalaya in Visayas (2019); Founder of
Western Visayas Film Grants Program & Education Showcase, the
first and only film grants based in the Philippine regions; Programmer
for Cinema Rehiyon 13 (2021); and currently Festival Director of
Bakunawa Young Cinema and Sine Halaga Film Festival. During the
pandemic period, he has won Best Screenplay at Cyber Shorts: AVR
Film Festival (USA) and Special Mention Awards at One Reeler Film
Competition (USA) for his film “Dreams Aren’t Made by the Wind” while
his micro-film “Ang May Akda: Ikatlong Yugto” (The Author: Chapter
Three) won Extreme Scream Awards at Berlin Flash Film Festival 2021
and Best in Category (Get To The Point) in Copenhagen WebFest
2021. He is a two-time Urian Awards Nominee, one of the top Awards
in the Philippines given by the Manunuri, a Philippine film critics group.

025
Elvert Bañares adalah Pembuat Film independen pemenang penghargaan, seniman multidisiplin, Produser
Film dan Pendidik. Film-filmnya dipamerkan & diputar di lima benua, 30 negara dan lebih dari 75 festival
internasional. Dia adalah Direktur Festival dan Programmer ASEAN Film Festival ke 1 & 2; dan festival-festival
yang mempeloporinya - eKsperim[E]nto Festival of Film & New Media (1999-2005) dan CineKasimanwa:
Western Visayas Film Festival. Ia adalah Manajer Regional Cinemalaya pertama di Visayas (2019); Pendiri
Western Visayas Film Grants Program & Education Showcase, program hibah film pertama dan satu-satunya
di wilayah Filipina; Programmer untuk Cinema Rehiyon 13 (2021); dan saat ini merupakan Festival Director
of Bakunawa Young Cinema dan Sine Halaga Film Festival. Selama masa pandemi, ia telah memenangkan
Best Screenplay di Cyber Shorts: AVR Film Festival (USA) dan Special Mention Award di One Reeler Film
Competition (USA) untuk filmnya “Dreams Aren’t Made by the Wind” sementara film mikronya “Ang May
Akda: Ikatlong Yugto” (Penulis: Bab Tiga) memenangkan Extreme Scream Award di Berlin Flash Film Festival
2021 dan Best in Category (Get To The Point) di Copenhagen WebFest 2021. Ia dua kalo dinominasikan
untuk menerima Urian Awards, salah satu penghargaan tertinggi di Filipina yang diberikan oleh Manunuri,
sebuah kelompok kritikus film Filipina.

Ho Thanh Thao
Ho Thanh Thao was born in 1995, base in Hanoi, Vietnam. Her first short
documentary was shot when she was 14, it won the Golden Lotus for best
short documentary at Golden Lotus Bud (Vietnam). She is one of young
filmmakers studying at The Centre for Assistance and Development of
Movie Talents. She also attended directing class mentored by Tran Anh
Hung at Autumn Meeting. Her first short fiction, Ephemera, was officially
selected at Singapore International Film Festival (2017) and presented at
many international cinema events.
Ho Thanh Thao lahir pada tahun 1995 dan tinggal di Hanoi, Vietnam. Ia
membuat film dokumenter pendek pertamanya saat berusia 14 tahun.
Film tersebut memenangkan Golden Lotus untuk film dokumenter pendek
terbaik di Golden Lotus Bud (Vietnam). Ia adalah salah satu pembuat film
muda yang belajar di The Center for Assistance and Development of Movie
Talents. Ia juga mengikuti kelas penyutradaraan yang dibimbing oleh Tran
Anh Hung di Autumn Meeting. Film fiksi pendek pertamanya, “Ephemera”,
terpilih untuk diputar di Singapore International Film Festival (2017) dan
diputar di berbagai acara sinema internasional.

026
 Festival Jury Member
NETPAC Awards
Chalida Uabumrungjit
Chalida Uabumrungjit graduated in film from Thammasat University
and film archiving from University of East Anglia,UK. She is one of the
founding members of Thai Short Film and Video Festival which she has
served as Festival Director since 1997. She was involved in making
a number of experimental films and documentaries. She is also one
of the selection committee of AND (Asian Network of Documentary)
from 2006-2018 .Since 2013, she is one of the Executive Committee of
FIAF(International Federation of Film Archives). Currently she serves
as the Director of the Film Archive, Thailand.
Chalida Uabumrungjit menamatkan pendidikan jurusan Film di
Thammasat University dan Pengarsipan Film dari University of East
Anglia, Inggris. Ia adalah salah satu anggota pendiri Thai Short
Film and Video Festival yang menjabat sebagai Sutradara Festival sejak 1997. Dia pernah terlibat dalam
pembuatan sejumlah film eksperimental dan dokumenter. Ia juga menjadi salah satu panitia seleksi AND
(Asian Network of Documentary) dari 2006-2018. Sejak 2013, ia menjadi salah satu Executive Committee
FIAF (International Federation of Film Archives). Saat ini ia menjabat sebagai Direktur Film Archive Thailand.

Gulnara Abikeyeva
Dr. Gulnara Abikeyeva is a film critic from Kazakhstan, the author of several
books about films and the cinema process. The second book Cinema of
Central Asia: 1990-2001 was Awardsed by «White Elephant» Awards of
Gild of film critics of Russia as the best book about cinema of the year
published in CIS. The book Nation-Building in Kazakhstan and other Central
Asian States, and How This Process is Reflected in Cinematography’
(2006) was Awardsed the national prize «Kulager» in 2007. In 2013, she
had three international publications: Cinema in Central Asia. Rewriting
Cultural Histories (Great Britain), co-edited by Michael Rouland and Birgit
Beumers, The Unknown New Wave of Central Asian Cinema (South Korea),
co-edited by Kim Ji-Seok and Mahmalbaf’s Film House (Russia). She is a
member of FIPRESCI, NETPAC and APSA film Academy. In 2016, she was
Awardsed by French L’Ordre des Arts et des Lettres.
Dr. Gulnara Abikeyeva adalah seorang kritikus film dari Kazakhstan yang
juga menulis beberapa buku tentang film dan proses perfilman. Buku
keduanya, Cinema of Central Asia: 1990-2001 dianugerahi penghargaan “White Elephant” dari serikat kritikus
film Rusia sebagai buku terbaik tentang sinema tahun itu yang diterbitkan di CIS. Buku Nation-Building in
Kazakhstan and other Central Asian States, and How This Process Re Reflected in Cinematography’ (2006)
dianugerahi penghargaan nasional “Kulager” pada tahun 2007. Pada tahun 2013, ia menerbitkan tiga
publikasi internasional: Cinema in Central Asia. Rewriting Cultural Histories (Inggris Raya), diedit bersama
Michael Rouland dan Birgit Beumers, The Unknown New Wave of Central Asian Cinema (Korea Selatan),
diedit bersama Kim Ji-Seok dan Rumah Film Mahmalbaf (Rusia). Ia adalah anggota dari FIPRESCI, NETPAC
dan APSA film Academy. Pada tahun 2016 ia menerima penghargaan French L’Ordre des Arts et des Lettres.

027
 Patrick Campos
An Associate Professor at the University of the Philippines Film
Institute where he recently served as Director, Patrick F. Campos is
a film scholar, programmer, and critic. He is the author of The End of
National Cinema: Filipino Film at the Turn of the Century (2016), co-
author of Scenes Reclaimed (2020), and editor of Pelikula: A Journal
of Philippine Cinema. He has edited journal special issues, including
“Southeast Asian Horror Cinemas” for Plaridel, “The Politics of Religion
in Southeast Asian Cinemas” for Situations, and “Contemporary
Philippine Cinema” for Art Archive. Along with regional cinema
specialists, he co-organizes the biennial Association of Southeast
Asian Cinemas Conference. He has programmed for Guanajuato
International Film Festival, Image Forum Tokyo, Minikino, and Cinema
Rehiyon, among others, and programs the annual Tingin ASEAN Film
Festival in Manila. www.patrickcampos.com

Adalah seorang Associate Professor di University of the Philippines Film Institute di mana dia baru-baru
ini menjabat sebagai Direktur, Patrick F. Campos adalah seorang sarjana film, programmer, dan kritikus.
Ia adalah penulis “The End of National Cinema: Filipino Film at the Turn of the Century” (2016), satal satu
penulis “Scenes Reclaimed” (2020), dan editor “Pelikula: A Journal of Philippine Cinema”. Ia mengedit
banyak jurnal edisi khusus, termasuk “Southeast Asian Horror Cinemas” untuk Plaridel, “The Politics of
Religion in Southeast Asian Cinemas” untuk Situations, dan “Contemporary Philippine Cinema” untuk Art
Archive. Bersama dengan para spesialis sinema regional, ia bersama-sama menyelenggarakan Association
of Southeast Asian Cinemas Conference. Ia pernah menyusun program untuk Guanajuato International Film
Festival, Image Forum Tokyo, Minikino, dan Cinema Rehiyon, dan akan menyusun program untuk Tingin
ASEAN Film Festival yang diselenggarakan setiap tahun di Manila.

028
 Festival Jury Member
Indonesian Screen Awards
Linda Gozali
(Asosiasi Produser FIlm Indonesia)
Linda Gozali is a film producer of MAGMA Entertainment. After spending
25 years in the Capital Markets, Linda teamed up with her brother,
Charles Gozali, to expand MAGMA Entertainment in pursuant of her
overdue passion as a film producer. She follows in the footsteps of her
father and founder of Garuda Film, the legendary, Hendrick Gozali. In
the second half of 2016, Indonesia began to come into the limelight
by simultaneously exerting lucrative box office growth and expanding
its local content market share. Linda recognized this opportunity to
recapitalize IP content from Garuda Film as well as MAGMA’s very own
by forming up partnerships and collaborations across Asia in pursuit
of global achievements, financial harvest and respectable recognition.
Linda’s dedication to grow her IP-based projects was recognized by
Motion Picture Association (MPA) as Linda was the recipient of 2019
Asia-Pacific Copyright Educator (ACE) Award which traditionally granted
during CineAsia event. In the year 2020, Linda and Charles proved that the show must go on, bravely daring
themselves to produce a culturally loaded romcom featuring Indonesian music phenomenon, Didi Kempot,
the titled film, “Sobat Ambyar (aka “The Heartbreak Club”) despite challenging year of Covid-19. By January
2021, “Sobat Ambyar” was successfully featured as the first Indonesian movie released worldwide on Netflix.
And just before 2020 concluded, MAGMA kicked off “QODRAT”, as a new breed of Indonesian supernatural
fantasy, while preparing the upcoming productions: an Indonesian female superhero movie “Srikandi” as an
initial to a bigger franchise, as well as a remake of MAGMA’S renowned Cinematic IP “Perempuan Dalam
Pasungan/A Woman Shackled”, which won The 1981 Best Picture in the FFI (Indonesian Film Festival) as
well as “Buah Terlarang/The Fobidden Fruit” - one of Indonesia’s highest grossing movie in 1979. Finally,
MAGMA gears up for an international collaboration with a respected Korean producer, Mr. Choi Yoon, the
former Director of Busan Film Commission. This would be for an action flick based on the real one stop
criminal activities in Medan - North Sumatra titled “Kampung Kubur/The Graveyard Zone”.
Linda Gozali adalah produser film dari MAGMA Entertainment. Setelah menghabiskan 25 tahun di Pasar
Modal, Linda bekerja sama dengan saudaranya, Charles Gozali, untuk mengembangkan MAGMA
Entertainment sesuai dengan hasratnya yang tertunda untuk menjadi produser film. Dia mengikuti jejak
ayahnya, pendiri Garuda Film, Hendrick Gozali yang legendaris. Selama pertengahan hingga akhir tahun
2016, Indonesia mulai menjadi pusat perhatian dengan secara bersamaan memanen banyak box office
yang menguntungkan secara finansial dan memperluas pangsa pasar konten lokalnya. Linda mengambil
kesempatan ini untuk rekapitalisasi konten IP dari Garuda Film serta MAGMA sendiri dengan membentuk
kemitraan dan kolaborasi di seluruh Asia untuk mengejar pencapaian global, panen finansial dan
pengakuan yang terhormat. Dedikasi Linda untuk mengembangkan proyek berbasis IP-nya mendapat
pengakuan dari Motion Picture Association (MPA) karena Linda adalah penerima Penghargaan 2019 Asia-
Pacific Copyright Educator (ACE) Award yang dianugerahkan di acara CineAsia. Di tahun 2020 ini, Linda
dan Charles membuktikan tekad “the show must go on”, dengan beraninya ia membuat romcom budaya
yang menampilkan fenomena musik Indonesia, Didi Kempot, dengan film berjudul “Sobat Ambyar (“The
Heartbreak Club”) meskipun menghadapi banyak tantangan dari Covid-19. Pada Januari 2021, “Sobat
Ambyar” berhasil menjadi film Indonesia pertama yang dirilis di seluruh dunia di Netflix. Dan sebelum tahun
2020 berakhir, MAGMA memulai film “Qodrat”, sebagai generasi baru film fantasi supernatural Indonesia,
sambil mempersiapkan produksi berikutnya: film superhero wanita Indonesia “Srikandi’’ sebagai awal
untuk waralaba yang lebih besar, serta remake dari IP Sinematik MAGMA yang terkenal, “Perempuan
Dalam Pasungan (A Woman Shackled”), yang memenangkan Film Terbaik tahun 1981 di FFI (Festival Film
Indonesia) serta “Buah Terlarang/The Forbidden Fruit” - salah satu film terlaris di Indonesia pada tahun 1979.
Akhirnya, MAGMA bersiap untuk kolaborasi internasional dengan produser Korea yang disegani, Choi Yoon,
mantan Direktur Busan Film Commission. Film ini akan menjadi film action yang dibuat berdasarkan kegiatan
organisasi kriminal yang benar-benar terjadi di Medan - Sumatera Utara yang berjudul “Kampung Kubur/
The Graveyard Zone’’.

029
 Faozan Rizal, I.C.S
(Indonesian Cinematography Society)
Faozan Rizal better known as Pao, was born in Tegal, Central Java in
1973. Since he was young, he has been interested in art and literature.
Departing from there, he decided to expand his interest in film – by
studying cinematography at the Faculty of Film and Television – Jakarta
Institute of The Arts. During his time as a cinematographer, he has received
many Awards from the Piala Citra as Best Cinematographer for the film
Salawaku (2016). Apart from making fiction films, he also makes time for
documentaries, especially about the art of dance.
Faozan Rizal atau lebih dikenal dengan panggilan Pao, lahir di Tegal, Jawa
Tengah pada tahun 1973. Sejak kecil, dirinya telah tertarik pada dunia seni
dan kesusastraan. Berawal dari hal tersebut-lah, ia memutuskan untuk memperluas ranah ketertarikannya
ke dunia film – dengan studi sinematografi di Fakultas Film dan Televisi – Institut Kesenian Jakarta. Selama
ia menjadi sinematografer, ia mendapatkan sejumlah nominasi Piala Citra sebagai Penata Sinematografi
Terbaik, melalui film Salawaku (2016)-lah kategori tersebut berhasil diraihnya. Selain bergelut di pembuatan
film fiksi, ia kerap meluangkan waktunya dalam pembuatan film dokumenter. Khususnya seputar seni tari.

Verdi Solaiman
(Rumah Aktor Indonesia)
After completing his studies and graduating with a Bachelor degree in Fine
Arts, Verdi continued to work and later founded an advertising company
in Chicago, United States. After spending 10 years there, Verdi returned
to Indonesia and continued his career as a creative director for feature
films promotion and marketing at Sinemart Pictures. Verdi accidentally
fell in love with acting in 2004. He studied acting at Sakti Actor Studio. At
“Sakti Actor Studio” led by Eka D. Sitorus. He also continued his studies
at the International Workshop by Margie Haber by Margie Haber Studio,
Los Angeles. In his 15+ year career in the film industry, Verdi Solaiman had
been involved in more than 60 national and international films such as: “The
Raid”, “Message Man”, “Java Heat”, “Foxtrot Six”, “Suzzanna: Bernapas
Dalam Kubur”. “, “HBO: Halfworlds” and “27 Steps of May”. Which earned
him more than 10 nominations from various Awards including FFI, FFB,
IMMA, Piala Maya and ASEAN Int’l Film Festival Awards. Verdi is the Deputy
Setelah menuntaskan kuliahnya lalu lulus dengan gelar Bachelor of Fine Arts, Verdi lanjut bekerja dan
kemudian mendirikan perusahaan di bidang Advertising di Chicago, Amerika Serikat. Setelah 10 tahun
disana, Verdi pulang ke Indonesia dan meneruskan karirnya sebagai creative director untuk promosi dan
marketing film-film layar lebar di Sinemart Pictures. Verdi secara tidak sengaja jatuh cinta dengan akting
pada tahun 2004. Dia menekuni seni peran di sekolah akting Sakti Aktor Studio. Di “Sakti Aktor Studio”
bimbingan Eka D. Sitorus dan juga meneruskan studinya melalui International Workshop by Margie Haber
dari Margie Haber Studio Los Angeles. Dalam kurun waktu 15+ tahun berkarir di dunia film Verdi Solaiman
telah terlibat lebih dari 60 judul film nasional maupun internasional seperti: “The Raid”, “Message Man”,
“Java Heat”, “Foxtrot Six”, “Suzzanna: Bernapas Dalam Kubur”, “HBO: Halfworlds” dan “27 Steps of May”.
Yang mengantarnya mengantungi lebih dari 10 nominasi dari berbagai ajang penghargaan termasuk FFI,
FFB, IMMA, Piala Maya dan ASEAN Int’l Film Festival Awards. Verdi merupakan Wakil Ketua dari asosiasi
seni peran Rumah Aktor Indonesia (RAI), yang didirikan oleh Lukman Sardi (Ketua) dan 50+ teman-teman
aktor lainnya. Sebagai salah satu misi regenerasi aktor dari RAI, aktor, Verdi memulai “5 Hari Kelas Akting
Online Intensif” yang diadakan hampir setiap bulan selama setahun terakhir ini dan telah melatih lebih dari
100 aktor-aktor muda baik yang berpengalaman seperti Gigi Cherybelle, Ammar Zoni, Giorgino Abraham,
Jihane Almeira, Wafda Saifan, Bryan Domani, Adinda Thomas etc dan juga aktor-aktor pemula.

030
 Agung Sentausa
(Indonesian Film Directors Club)
An architecture graduate who made a leap into film in 1999. In more than 20
years in the industry, Agung was involved in many national and international
feature films, music videos, commercials, documentaries productions as
well as filmmaking workshops. His directorial debut: Garadi, was screened
at many international film festivals. Road to Eid, a film script, written by him,
won an invitation only pitching forum ; was purchased and scheduled to be
produced by 21st Century Fox.
Agung is Chairman of Film Financing Facilitation of the Indonesian Film
Agency and Co-Founder of the Akatara Program: Film Business Forum and
Project Market. Currently, Agung is paving the way for Kayun Films and
Salaka.Credu, initiatives to accelerate the film ecosystem development in
Indonesia.
Lulusan arsitektur yang lompat ke dunia film pada tahun 1999. Lebih dari 20 tahun di industri, Agung
terlibat dalam banyak produksi film layar lebar, video musik, iklan, dokumenter, lokakarya pembuatan
film skala nasional dan internasional. Film debutnya sebagai sutradara: Garasi, diputar di banyak festival
film internasional. Road to Ied, sebuah cerita untuk film, ditulis olehnya, memenangkan pitching dengan
undangan; dibeli dan direncanakan akan diproduksi oleh 21st Century Fox. Agung menjadi pengurus
Badan Perfilman Indonesia sebagai Ketua Fasilitasi Pembiayaan Film dan menjadi Co-Founder dari Program
Akatara: Film Business Forum dan Project Market. Sekarang Agung sedang merintis usaha Kayun Films dan
Salaka.Credu sebagai entitas yang mengakselerasi ekosistem film di Indonesia.

Perdana Kartawiyudha
(Penulis Indonesia untuk Layar Lebar)
Perdana Kartawiyudha is a full-time lecturer at the Film Department,
Universitas Multimedia Nusantara (UMN), Indonesia. While teaching,
he continues to make films, collaborating with film professionals, fellow
lecturers, and students. These films have traveled the world and won several
Awards. He is also the founder and director of Serunya, a film company and
screenwriting agency, founded in 2007. Perdana has become a member
of the Indonesian Feature Film Screenwriter Association (PILAR) since its
establishment in 2013.
Perdana Kartawiyudha adalah dosen tetap di Program Studi Film,
Universitas Multimedia Nusantara (UMN). Sambil berbagi ilmu di kampus,
dia aktif membuat film bersama para profesional, rekan sesama dosen, dan
mahasiswa. Film-film tersebut telah beredar ke berbagai penjuru dunia dan
memenangkan sejumlah penghargaan. Perdana juga pendiri dan direktur
dari Serunya, sebuah perusahaan film dan agensi penulisan skenario yang
berdiri sejak tahun 2007. Sejak tahun 2013, Perdana menjadi anggota dari
asosiasi Penulis Indonesia untuk Layar Lebar (PILAR).

031
 Awards

Golden Hanoman Awards

Diberikan kepada Film Asia Terbaik pertama melalui penjurian dalam program Main Competition
The Golden Hanoman Awards is given to the winner of Best Asian Film
from the Main Competition Program.

Silver Hanoman Awards

Diberikan kepada Film Asia Terbaik kedua melalui penjurian
dalam program Main Competition
The Second-Best Asian Film from the Main Competition program will receive the Silver Hanoman Awards

NETPAC Awards
Diberikan oleh Network for the Promotion of Asia Pacific Cinema (NETPAC) sebagai bentuk apresiasi
terhadap karya sutradara Asia untuk karya film pertama dan kedua yang memberikan kontribusi sinematik
yang dinilai penting bagi gerakan sinema baru Asia.

A first or second film by Asian director who shows important contributions to the new Asian cinema movement
will get the NETPAC Award from Network for the Promotion of Asian Cinema (NETPAC).

Blencong Awards
Penghargaan yang diberikan juri bagi film pendek Asia terbaik dari program Light of Asia. Tahun ini, kami
menggunakan perspektif baru dengan berbagai latar belakang untuk menentukan film terbaik.

The Best Asian Short Film from the Light of Asia program will receive the Blencong Awards by judges.
This year, we will corporate new perspectives by involving people from different backgrounds in choosing
the best short film.

JAFF Indonesian Screen Awards

Penghargaan ini dipersembahkan untuk film panjang Indonesia dari para sutradara mapan serta talenta
muda yang tengah naik daun--mereka yang menjadi masa depan sinema Indonesia. Film terpilih
adalah karya dengan negara asal produksi Indonesia. Film-film tersebut berkompetisi dalam nominasi
Film Terbaik, Sutradara Terbaik, Penulis Naskah Terbaik, Pemeran Terbaik, dan Sinematografi Terbaik.

The Awards are dedicated to Indonesian Features by the already established directors and upcoming
young talents who hold the future of Indonesian Cinematic Movement. Films which are originally produced
in Indonesia are all eligible to be nominated as the Best Film, Best Director, Best Scriptwriter, Best Actors,
and Best Cinematography.

032
033
 XXI 1-5 | SAT 27 NOV | 18:00
XXI 2 | THU 02 DEC | 17:45

OPENING
FILM.
A HERO
127 Minutes | 2021 | Iran | Fiction

Synopsis
Unable to pay his debt, Rahim has to go to prison. During a two-day leave, he tries to convince his creditor
to withdraw his complaint against the payment of part of the sum. But things don’t go as planned .
Tidak dapat membayar hutangnya, Rahim harus masuk penjara. Selama cuti dua hari, ia mencoba
INDONESIAN PREMIERE

meyakinkan krediturnya untuk menarik pengaduannya terkait pembayaran sebagian dari jumlah hutangnya.
Tetapi hal-hal tidak berjalan seperti yang direncanakan

Director | Asghar Farhadi

Iranian writer-director Asghar Farhadi came to international prominence
with A Separation (2011), winner of the Oscar® for Best Foreign Language
Film and the Golden Bear and Prize of the Ecumenical Jury at the Berlin
International Film Festival. His other films include The Past (2013), winner
of the Prize of the Ecumenical Jury at the Cannes Film Festival; The
Salesman (2016), another Best Foreign Language Film Oscar winner; and
Everybody Knows (2018).
Penulis-sutradara Iran Asghar Farhadi menjadi terkenal di kancah
internasional dengan film “A Separation” (2011), yang menjadi pemenang
oscar kategori Best Foreign Language Film and the Golden Bear dan
Prize of the Ecumenical Jury di the Berlin International Film Festival. Film-
filmnya yang lain termasuk “The Past” (2013), pemenang Penghargaan
Ecumenical Jury di the Cannes Film Festival; “The Salesman” (2016),
pemenang Oscar kategori Best Foreign Language ; dan “Everybody
Knows” (2018).

Notable Achievements
Grand Prix, Cannes Film Festival 2021
Achievement in Directing, Asia Pacific Screen Award 2021
Toronto International Film Festival 2021

Contact : festival@memento-films.com

034
035
 XXI 1-5 | SAT 04 DES | 18:00

CLOSING CINTA PERTAMA,

FILM. KEDUA DAN KETIGA
111 Minutes | 2021 | Indonesia | Fiction

Synopsis
Raja & Asia have the same responsibility, taking care of their remaining parents. Raja (Angga Yunanda)
wishes to live independently like both of his siblings, while Asia (Putri Marino) has decided to devote her life
for her mother who sacrificed everything for her. Then, Dewa (Slamet Radardjo Djarot) & Linda (Ira Wibowo),
started to grow feelings for each other. Raja is happy about that, Asia is doubtful. When Raja convinces Asia
that their parents belong together, on the other hand, Raja and Asia slowly fall for each other. Perhaps life is
WORLD PREMIERE

random, but there will always be something dancing and lighting a fire in our heart if we choose to celebrate
it. This is a story of brave people who keep moving and living.
Raja & Asia punya kesamaan tanggung jawab, mengurus kedua orang tua tunggal mereka masing-masing.
Bila Raja (Angga Yunanda) ingin hidup mandiri seperti kedua kakaknya, Asia (Putri Marino) sudah memilih
untuk berbakti pada ibunya yang ia rasa telah mengorbankan segalanya untuk dirinya. Lalu, Dewa (Slamet
Radardjo Djarot) & Linda (Ira Wibowo), orangtua mereka, mulai menyatukan hati. Raja senang, Asia ragu.
Pada saat Raja meyakinkan Asia kalau kedua orangtua mereka cocok bersama,Raja & Asia perlahan justru
jatuh cinta. Hidup mungkin tak menentu, tetapi selalu ada yang terus menari dan menyala di hati saat kita
memilih merayakan kehidupan. Ini kisah mereka yang berani terus bergerak dan hidup

Director | Gina S. Noer

Gina S. Noer is an Awards-winning and box-office Indonesian filmmaker,
writer, and creativepreneur. Her career as a filmmaker includes as
screenwriter, producer, and director. She is also the Co-Founder and Head
of IP Initiative of Wahana Kreator Nusantara. Her directorial debut was
‘TWO BLUE STRIPES’ (2019) which managed to become a box office with
an audience of more than 2.5 million, has been screened commercially
in ASEAN countries, and won several Awards including Best Film, Best
Director, and Best Script in ISA-JAFF 2019.
Gina S. Noer adalah pembuat film, penulis, dan creativepreneur Indonesia
pemenang penghargaan dan box-office. Karirnya sebagai pembuat film
meliputi berbagai posisi seperti penulis skenario, produser, dan sutradara.
Ia juga Co-Founder dan Head of IP Initiative Wahana Kreator Nusantara.
Debut penyutradaraanya ‘Two Blue Stripe’ (2019) berhasil menjadi box
office dengan penonton lebih dari 2,5 juta, telah diputar secara komersial di negara-negara ASEAN, dan
memenangkan beberapa penghargaan termasuk Film Terbaik, Sutradara Terbaik, dan Naskah Terbaik di
ISA-JAFF 2019.

Contact : chandparwez@gmail.com

036
038
Main Competition Notes
ALEXANDER MATIUS & GORIVANA AGEZA
Pandemi dan Wajah
Kemanusiaan Kita
P T
andemi telah berlangsung selama nyaris
dua tahun. Perubahan dunia yang drastis
dan tiba-tiba seakan memaksa kita untuk
mempertanyakan berbagai hal yang tadinya kita
terima dan jalani begitu saja. Kita mulai memikirkan
ulang eksistensi dan perjalanan hidup kita sebagai
manusia. Di saat bersamaan, berarti sudah
sejauh itu pula kita beradaptasi dengan pandemi.
Tidak terkecuali JAFF sendiri sebagai sebuah
festival. Tahun 2021 adalah kali kedua festival
diselenggarakan secara luring sekaligus daring.
Setelah absen pada penyelenggaraan JAFF ke-
15, program kompetisi kembali hadir tahun ini.
Tahun ini, JAFF mencoba untuk menggabungkan
dua kategori kompetisi film panjang, NETPAC
dan Hanoman, menjadi satu kompetisi saja.
Dengan menggabungkan dua kompetisi ini yang
paling terlihat adalah kesempatan pembuat film
panjang yang baru membuat satu atau dua film
juga punya langsung kesempatan yang sama
langsung untuk memperebutkan penghargaan di
seksi Hanoman. Ketika kami memutuskan film apa
saja yang kemudian masuk ke dalam kompetisi
utama ini, secara kebetulan setengah jumlah total
merupakan film panjang pertama. Ada 12 film
dalam kompetisi utama dari 8 negara. Menyaksikan
film-film dalam sesi kompetisi bagaikan sebuah
perjalanan menyelami kehidupan beraneka ragam
manusia. Film-film ini mengamplifikasi pengalaman
kemanusiaan yang senantiasa terombang-
ambing dalam berbagai dilema. Di satu sisi,
sesama manusia dipilah-pilah, diperlawankan,
bahkan dicerai-beraikan ke dalam kategori-
kategori yang sesungguhnya tidak mumpuni. Di
sisi lain, keberanekaragaman dan keistimewaan
setiap manusia dinihilkan akibat penyeragaman
dan stereotipikasi. Upaya untuk mendefinisikan
manusia justru rentan tergelincir pada tindakan
yang tidak manusiawi, lantaran pihak tertentu
merasa lebih layak dari manusia lainnya. Alhasil,
manusia tidak berhenti bernegosiasi dan bergulat
menghadapi bermacam intervensi daya eksternal
yang berupaya mendisrupsi dan menggerus
kedirian.Seiring dengan kisah dalam film-film ini,
kita turut bahagia, gelisah, marah, dan terluka.
Kita lantas menyadari, dengan memandang wajah
sesama manusia, kita melihat wajah kita sendiri,
pun wajah kemanusiaan. Melukai sesama manusia,
berarti mencederai diri kita sendiri. Sebagaimana
kita di hadapan pandemi, manusia sesungguhnya
tidak digdaya seperti kepongahan kita selama ini.
Hanya dengan menyadari, menerima sisi rapuh,
cela dari kemanusiaan dan melindungi sesama dari
kerasnya hidup yang tak perlu, barulah kita dapat
menciptakan dunia yang lebih baik.
039
The Pandemic and The Face
of Our Humanity
he pandemic has been going on for almost
two years. The drastic and sudden changes
in the world have forced us to question things
that we previously accepted and let be. We have
begun to rethink our existence and life journeys as
humans. At the same time, it means that we have
come so far in our adaptation to the pandemic.
JAFF itself is no exception as a festival. 2021 will
be the second time the festival has been held both
offline and online. After being absent from the 15th
JAFF, the competition program is back this year.
This year, JAFF is combining two categories of
feature film competitions, NETPAC and Hanoman,
into one. By combining them, there is certainly
an opportunity for feature-length filmmakers who
have just made one or two films also have the
same chance of winning Awards in the Hanoman
section. When we decided which films would then
be entered into this main competition, it just so
happened that half the enlisted films were directorial
debuts. There are 12 films from 8 countries in the
main competition. Watching films in competition
sessions is like taking a journey exploring the
lives of various people. These films amplify the
experience of humanity which is always vacillating
in various dilemmas. On one hand, fellow human
beings are separated, opposed, and even divided
into categories that are actually not qualified. On
the other hand, the diversity and privilege of every
human being is nullified due to uniformity and
stereotyping. Attempts to define human beings are
prone to slipping into inhumane actions, because
certain parties feel more worthy than other humans.
As a result, humans do not stop negotiating and
struggling with various external power interventions
that seek to disrupt and erode selfhood. Along
with the stories in these films, we share happiness,
anxiety, anger, and pain. We then realize, by looking
at the faces of other humans, we see our own faces,
as well as the faces of humanity. To hurt another
human being, is to hurt ourselves. In the face of this
pandemic, humans are actually not as powerful as
our arrogance makes us think. Only by realizing,
accepting the fragile, flawed side of humanity and
protecting others from the unnecessary harshness
of life, can we create a better world.
 XXI 4 | THU 02 DES | 13:30
XXI 3 | FRI 03 DES | 16:00

MAIN A LITTLE BIRD

COMPETITION.
REMINDS ME
123 Minutes | 2020 | China | Fiction

Synopsis
A coming-of-age story follows the joy, sorrow and struggle of a Chinese boy and his family during the last
decade of the 20th century.
Kisah perjalanan menuju kedewasaan yang mengikuti kegembiraan, kesedihan, dan perjuangan seorang
INDONESIAN PREMIERE

bocah lelaki Tiongkok dan keluarganya selama dekade terakhir abad ke-20.

Director | Shi Xin

Shi Xin grew up in an artistic family. His father is a fine arts researcher, a
designer and calligrapher, while his mother is a traditional Chinese opera
teacher. In 2007, he graduated with a master degree in economics. Before
stepping into the film industry, he used to work for the EU Delegation in
China as project manager. “A Little Bird Reminds Me” is his first feature
film.
Shi Xin tumbuh di keluarga seniman. Ayahnya adalah seorang peneliti
seni rupa, desainer dan kaligrafer, sedangkan ibunya adalah seorang
guru opera tradisional Tiongkok. Pada tahun 2007, ia lulus dengan gelar
master di bidang ekonomi. Sebelum memasuki industri film, ia pernah
bekerja untuk Delegasi Uni Eropa di China sebagai manajer proyek. “A
Little Bird Reminds Me” adalah film panjang pertamanya.

Notable Achievements
Nominee for Asian New Talent Award
Shanghai International Film Festival 2020

Contact : 116286815@qq.com

040
 XXI 5 | TUE 30 NOV | 17:00
XXI 5 | WED 01 DES | 17:00

MAIN A NEW OLD PLAY

COMPETITION. 169 Minutes | 2021 | China | Fiction

Synopsis
The leading “clown” role in a renowned theatre troupe passes on, and is welcomed into the Underworld. As
he relives his vivid memories one last time before entering the afterlife, fifty years of art, struggle and love
play out against the background of 20th-century China’s tumultuous history.

INDONESIAN PREMIERE
Aktor peran “badut” terkenal di sebuah kelompok teater terkenal meninggal, dan disambut di Dunia Bawah.
Saat ia menjalani kembali ingatannya yang jelas untuk terakhir kalinya sebelum memasuki alam baka,
perjalanan hidup selama lima puluh tahun berkesenian, perjuangan, dan cinta dimainkan dengan latar
belakang sejarah China abad ke-20 yang penuh gejolak

Director | Qiu Jiongjiong

Qiu Jiongjiong (born 1977) is an active contemporary artist and filmmaker in China. As an artist, his works
have been exhibited all over the world. As a filmmaker, his experiments with cinematic language and
aesthetics in documentary film-making have earned him a reputation as one of China’s most important
independent directors. His experimental/documentary feature “Mr. Zhang Believes” (2015), supported by
a Sundance Post-Production Grant, premiered at the Locarno International
Film Festival and has been screened internationally. “Jiao Ma Tang Hui” (A
New Old Play) is his first fiction feature.

Qiu Jiongjiong (lahir 1977) adalah seniman kontemporer dan pembuat

film yang aktif dari Tiongkok. Sebagai seorang seniman, karyanya telah
dipamerkan di seluruh dunia. Sebagai pembuat film, eksperimennya
dengan bahasa sinematik dan estetika dalam pembuatan film dokumenter
telah memberikannya reputasi sebagai salah satu sutradara independen
paling penting di Tiongkok. Film panjang eksperimental/dokumenternya
“Mr. Zhang Believes” (2015), mendapatkan dukungan dari Sundance
Post-Production Grant, ditayangkan perdana di Festival Film Internasional
Locarno, dan telah diputar secara internasional. “Jiao Ma Tang Hui” (A New
Old Play) adalah film fiksi panjang pertamanya.

Notable Achievements
Special Jury Prize, Locarno International Film Festival 2021
Nominee for Achievement in Cinematography, Asia Pacific Screen Awards 2021

Contact : ningyuan.ga@gmail.com

041
 XXI 2 | SUN 28 NOV | 17:45
XXI 1 | TUE 30 NOV | 10:15

MAIN
COMPETITION BARBARIAN INVASION
106 Minutes | 2021 | Malaysia, Hong Kong, China | Fiction

Synopsis
Divorced and exhausted, retired actress Moon Lee is offered the chance of a comeback as the lead of a
do-your-own stunts martial arts film.
Sudah bercerai dan kelelahan, pensiunan aktris Moon Lee ditawari kesempatan untuk kembali berakting
sebagai pemeran utama dalam film bela diri yang menuntutnya melakukan adegan tanpa pemeran
pengganti.

Director | Tan Chui Mui

At the age of 5, Tan Chui Mui made a small wooden stool. At 8, she drove a
pick-up truck onto a column. At 9, she printed a children’s magazine. At 12,
she finished reading an Encyclopedia. At 17, she had a column in a student
weekly paper. At 21, she received a computer animation degree. At 27, she
made her first film LOVE CONQUERS ALL. At 38, she gave birth to a child.
At 41 she decided to learn martial arts
Di usia 5 tahun, Tan Chui Mui membuat bangku kayu kecil. Di usia 8, dia
mengendarai truk pick-up ke kolom. Di usia 9, ia mencetak majalah anak-
anak. Di usia 12, ia selesai membaca Ensiklopedia. Di usia 17, ia memiliki
kolom di koran mingguan mahasiswa. Di usia 21, ia mendapat gelar
jurusan Computer Animation. Di usia 27, dia membuat film pertamanya
yang berjudul “Love Conquers All”. Di usia 38, ia melahirkan seorang anak.
Pada usia 41 ia memutuskan untuk belajar seni bela diri.

Notable Achievements
Jury Grand Prix, Shanghai International Film Festival 2021
Official Selection, Vancouver International Film Festival 2021

Contact : dhp.chua@gmail.com | dahuangpictures.producer@gmail.com

042
 XXI 2 | MON 29 NOV | 10:45
XXI 4 | FRI 03 DES | 18:30

MAIN BETWEEN HEAVEN AND

COMPETITION EARTH
92 Minutes | 2020 | Palestine | Fiction

Synopsis
Salma and Tamer have been married for 5 years in the Palestinian territories. The first time Tamer is given
permission to cross the Israeli checkpoint is to file for divorce. In court, they make a shocking discovery
about Tamer’s father’s past.

INDONESIAN PREMIERE
Salma dan Tamer sudah menikah selama 5 tahun di wilayah Palestina. Pertama kali Tamer diberi izin untuk
menyeberangi pos pemeriksaan Israel adalah untuk mengajukan cerai. Di pengadilan, mereka mengungkap
penemuan yang mengejutkan tentang masa lalu ayah Tamer.

Director | Najwa Najjar

Najwa Najjar is a Palestinian screenwriter and director. She received her BA in Political Science and
Economics, her MA in Film in the United States. She has worked in both documentary and fiction as a
director, writer, and producer of various short films. Her first fictional feature film was the critically acclaimed
multi-Awards-winning debut Pomegranates and Myrrh (2009). Her second Awards-winning feature film Eyes
of a Thief (2014) was the Palestinian nomination for the 2015 Oscars Best Foreign Film and the Golden
Globe Awards. Between Heaven and Earth (2019) is her third feature.
Najwa Najjar adalah seorang penulis skenario dan sutradara dari Palestina.
Ia meraih gelar BA dalam Ilmu Politik dan Ekonomi, MA dalam Film di
Amerika Serikat. Ia pernah membuat film dokumenter dan fiksi sebagai
sutradara, penulis, dan menjadi produser berbagai film pendek. Film
panjang fiksi pertamanya yang mendapat penghargaan dan mendapatkan
pujian dari kritikus film berjudul “Pomegranates and Myrrh” (2009). Film
panjangnya yang memenangkan penghargaan yang kedua, yaitu “Eyes
of a Thief” (2014) adalah nominasi Palestina untuk Oscars Best Foreign
Film 2015 dan Golden Globe Awards. “Between Heaven and Earth” (2019)
adalah film panjang ketiganya.

Notable Achievement
Best Screenplay, Cairo International Film Festival 2019

Contact : marwan.elshafey@mad-solutions.com

043
 XXI 3 | MON 29 NOV | 18:45
XXI 2 | WED 01 DES | 18:45

MAIN
COMPETITION PEBBLES
73 Minutes | 2021 | India | Fiction

Synopsis
Ganapathy an alcoholic wife-beater drags out his young son Velu from school and embarks on a journey to
fetch back his wife whom he had chased away. On reaching the in-laws house, he learns that his wife has
already left to return to their home. In his frustration, he gets involved in a brawl with his in-laws earning the
further disapproval of his son. The young boy dispels his frustration by tearing up the bus fare into bits. This
INDONESIAN PREMIERE

leaves the duo with no choice, but to walk on foot in the scorching summer beaten rural landscapes to reach
home. Their feelings are intertwined with the land, where the blazing heat fires up the father’s rage. The land
and human emotions lay brazenly palpable in the scorching heat. Towards the end, the nurturing nature of
women assuages the hunger and anger of men. This vicious cycle of love and hate is bound to repeat itself.
Ganapathy, seorang pecandu alkohol yang suka memukuli istrinya, menyeret keluar putranya yang masih
kecil Velu dari sekolah dan melakukan perjalanan untuk menjemput kembali istrinya yang telah dia usir. Saat
sampai di rumah mertuanya, dia mengetahui bahwa istrinya telah pergi untuk pulang ke rumah mereka.
Karena frustasi, dia terlibat dalam perkelahian dengan mertuanya yang membuat putranya semakin tidak
disenangi. Anak laki-laki itu melampiaskan rasa frustrasinya dengan merobek-robek ongkos bus. Ini
membuat keduanya tidak punya pilihan lain, selain berjalan kaki sampai rumah mereka di musim panas
yang terik dengan pemandangan pedesaan. Perasaan mereka terjalin dengan daerah tersebut, di mana
panas terik membakar kemarahan ayah. Tanah dan emosi manusia terbakar dengan gagah di bawah panas
terik. Menjelang akhir, sifat mengayomi yang dimiliki perempuan meredakan rasa lapar dan amarah pria.
Lingkaran setan antara cinta dan benci ini ditakdirkan untuk berulang.

Director | Vinothraj P S
Vinothraj P S is a filmmaker hailing from Madurai, Tamil Nadu, India. He dropped out of school and to
overcome the financial difficulties at home, he began working in a textile factory at an early age of 8. Later,
wanting to be a filmmaker, he worked as a sales boy in a DVD shop in Chennai. During this time, he got
introduced to a few people from the Tamil film Industry and eventually joined as an assistant director to Mr.
Sargunam, a Tamil Filmmaker and later with another director N.Ragavan. He worked with them for almost 4
years on 2 film projects. He then worked as an assistant director for a postmodernist theatre troupe named
Manal Magudi established by Mr. Muruga Boopathy, a prominent theatre director. He utilised his time during
this venture to shoot a few short films after which he began writing the script for “Koozhangal” (Pebbles).
Vinothraj P S adalah pembuat film yang berasal dari Madurai, Tamil Nadu,
India. Ia putus sekolah untuk mengatasi kesulitan keuangan keluarganya,
dia mulai bekerja di pabrik tekstil sejak usia 8 tahun.Kemudian, karena
ingin menjadi pembuat film, ia bekerja sebagai sales boy di toko DVD di
Chennai. Dalam rentang waktu ini, ia diperkenalkan kepada beberapa
orang dari Industri film Tamil lalu akhirnya bergabung sebagai asisten
sutradara untuk Mr. Sargunam, seorang Pembuat Film Tamil dan sutradara
lain, N.Ragavan. Ia bekerja dengan mereka selama hampir 4 tahun di
2 proyek film. Ia kemudian bekerja sebagai asisten sutradara untuk
kelompok teater postmodernisme bernama ‘Manal Magudi’ yang didirikan
oleh Muruga Boopathy, seorang sutradara teater terkemuka. Dalam
perjalanannya, ia juga memanfaatkan waktunya untuk syuting beberapa
film pendek sebelum mulai menulis naskah film “Koozhangal” (Pebbles).

Contact : 116286815@qq.com
044
Notable Achievements
Tiger Award, International Film Festival Rotterdam 2021
Indian entry for the Best International Feature Film, Academy Awards 2022

045
 XXI 1 | WED 01 DES | 17:45
XXI 1 | THU 02 DES | 17:30

MAIN
COMPETITION
PENYALIN CAHAYA
(PHOTOCOPIER)
130 Minutes | 2021 | Indonesia | Fiction

Synopsis
A first year university scholar, Sur, goes to a party for the first time in her life to celebrate an achievement of
Mata Hari, the university’s theatre group where Sur volunteers as a web designer. Life is completely turned
SOUTH EAST ASIAN PREMIERE

for Sur after she wakes up the next morning. She lost her scholarship and cast out by her family after her
selfies are circulated online. Fear that she might be a subject of prank by the senior members of Mata Hari,
Sur seeks help from her childhood friend, Amin, who works and lives in the university’s photocopy shop.
Together, at the shop, they try to discover the truth about the selfie and about the night at the party by
hacking into the students’ phones.
Seorang sarjana universitas tahun pertama, Sur, pergi ke pesta untuk pertama kalinya dalam hidupnya
untuk merayakan pencapaian Mata Hari, grup teater universitas tempat Sur menjadi sukarelawan sebagai
perancang web. Hidup Sur benar-benar berubah setelah ia bangun keesokan paginya. Ia kehilangan
beasiswa dan diusir oleh keluarganya setelah selfie-nya beredar secara online. Khawatir bahwa ia mungkin
menjadi bahan lelucon oleh anggota senior Mata Hari, Sur meminta bantuan dari teman masa kecilnya,
Amin, yang bekerja dan tinggal di toko fotokopi universitas. Bersama-sama, di kios fotokopi tersebut,
mereka mencoba menemukan kebenaran tentang selfie dan tentang pesta malam itu dengan meretas
ponsel para siswa.

Director | Wregas Bhanuteja

Wregas Bhanuteja was born in Jakarta and studied directing at the Jakarta
Institute of the Arts in 2014. He was invited to the Berlin Film Festival with
his short, Lembusura (2015), and received the Best Short Film Awards in
the Cannes Critics’ Week with Prenjak/In the Year of Monkey (2016) in 2016.
Most recently, he introduced No One is Crazy in This Town (2019) at the
Busan International Film Festival in 2019 and Sundance Film Festival in
2020. Photocopier (2021) is his first feature film.
Wregas Bhanuteja lahir di Jakarta dan belajar menjadi sutradara di Institut
Kesenian Jakarta pada tahun 2014. Ia diundang ke Berlin Film Festival
dengan film pendeknya, Lembusura (2015), dan menerima penghargaan
Best Short Film Awards di Cannes Critics’ Week dengan “Prenjak/In the
Year of Monkey” (2016) pada 2016. Belum lama, ia membuat karya baru,
“No One is Crazy in This Town” (2019) di Busan International Film Festival
pada 2019 dan Sundance Film Festival pada 2020. “Photocopier” (2021)
adalah film panjang pertamanya.

Notable Achievements
Nominee for New Currents, Busan International Film Festival 2021
Best Picture, Best Director, Indonesian Film Festival 2021

Contact : rekatastudio@gmail.com

046
 XXI 1 | SUN 28 NOV | 17:30
XXI 1 | MON 29 NOV | 13:45

MAIN VENGEANCE IS MINE, ALL OTHERS

COMPETITION PAY CASH
(SEPERTI DENDAM, RINDU HARUS DIBAYAR TUNTAS)
114 Minutes | 2021 | Indonesia | Fiction
Synopsis
Seperti Dendam, Rindu Harus Dibayar Tuntas tells a story about Ajo Kawir, a daredevil. His big desire to start
a fight is driven by a secret - having an erectile dysfunction. While facing a formidable female fighter named
Iteung, Ajo is so battered, he tumbles down - he falls in love. Will Ajo live happily ever after with Iteung and
ultimately make peace with himself?
Seperti Dendam, Rindu Harus Dibayar Tuntas bercerita tentang Ajo Kawir, seorang jagoan yang tak takut
mati. Hasratnya yang besar untuk bertarung didorong oleh sebuah rahasia — ia impoten. Ketika berhadapan
dengan seorang petarung perempuan tangguh bernama Iteung, Ajo babak belur hingga jungkir balik— dia
jatuh cinta. Akankah Ajo menjalani kehidupan yang bahagia bersama Iteung dan, pada akhirnya, berdamai
dengan dirinya?

Director | Edwin
Edwin was born in Surabaya, East Java. His short Kara, the Daughter of a Tree became the first indonesian
film selected at Director’s Fortnight, Cannes Film Festival 2005. Edwin is also the only Indonesian director
selected in Take 100: The Future Film of Film - 100 New Directors (CINEMA) published by Phaidon, 2010
curated by 10 world film festivals such as Cannes, Berlin, Venice, Locarno, Toronto, Sundance, Busan, Hong
Kong Istanbul, Buenos Aires. In 2012, Edwin received the Edwin Yang New Talent Awards at the Asian Film
Awards, Hong Kong. In 2017, Edwin won the Citra Awards for Best Director for Posesif, as well as Best Film
at the Jogja-NETPAC Asian Film Festival (JAFF). His latest project, Vengeance Is Mine, All Others Pay Cash
won Golden Leopard at Locarno Film Festival.
“Edwin lahir di Surabaya, Jawa Timur. Karya film pendeknya, “Daughter
of a Tree” menjadi film Indonesia pertama yang terpilih pada Director’s
Fortnight, Cannes Film Festival 2005. Edwin juga menjadi satu-satunya
sutradara Indonesia yang terpilih dalam Take 100: The Future Film of Film
- 100 New Directors (CINEMA) yang digagas oleh Phaidon tahun 2010,
dan dikuratori oleh 10 festival film dunia seperti Cannes, Berlin, Venice,
Locarno, Toronto, Sundance, Busan, Hong Kong Istanbul, Buenos Aires.
Pada 2012, Edwin menerima penghargaan Edwin Yang New Talent Award
di Asian Film Awards, Hong Kong. Pada tahun 2017, Edwin memenangkan
Piala Citra kategori Sutradara Terbaik untuk filmnya yang berjudul “Posesif”,
serta Best Film di Jogja-NETPAC Asian Film Festival (JAFF). Proyek film
terbarunya, Vengeance Is Mine, All Others Pay Cash” memenangkan
Golden Leopard di Locarno Film Festival.“

Notable Achievements
Golden Leopard, Locarno International Film Festival 2021
Best Cinematography, Valladolid International Film Festival 2021

Contact : adi.palarifilms@gmail.com

047
 XXI 2 | FRI 02 DES | 10:15
XXI 1 | SAT 01 DES | 11:15

MAIN
COMPETITION STREETWISE
93 Minutes | 2021 | China | Fiction

Synopsis
Dongzi, a small-town youth, becomes debt-collector, Xi Jun’s henchman in an attempt to pay off his sick
father’s hospital bills. A cold and estranged parent-child relationship, an unsettling life on the streets, and
SOUTH EAST ASIAN PREMIERE

an ambiguous relationship with a young woman; in Dongzi’s shoes, this is what it is like to be twenty-one

Dongzi, seorang pemuda kota kecil, menjadi penagih utang, anak buah Xi Jun untuk berusaha melunasi
tagihan rumah sakit ayahnya. Hubungan orang tua-anak yang dingin dan jauh, kehidupan jalanan yang
meresahkan, dan hubungan yang ambigu dengan seorang wanita muda; dalam perjalanan hidup Dongzi,
beginilah rasanya menjadi dua puluh satu.

Director | Na Jiazuo
Na Jiazuo is an ethnic Manchu, born in 1989 and raised in Beijing. Having
learned to draw from the ageof nine, he was admitted to the affiliated middle
school of the China Academy of Fine Arts in 2006. Upongraduation, he
had originally hoped to go to the Dunhuang Grottoes to sculpt or work in
mural restoration, but he failed to make the final China Academy of Fine
Arts selection list. In 2010, he was admitted to the Beijing Film Academy
and majored in cinematography. He enjoys being at home playing the
piano, reading, sculpting, or simply just chilling. He is allergic to alcohol
and doesn’t like going out much. In 2007, at the age of 18, Na Jiazuo formed
a six-member band that has since been reduced to just two members.
During the summer of 2021, they composed a song called “Me First”, which
became the theme song of his film, “Streetwise (Gaey Wa’r)”. Na Jiazuo
created the lyrics, vocals, and part of the composition, and played the
guitar accompaniment.
Na Jiazuo is an ethnic Manchu, born in 1989 and raised in Beijing. Having learned to draw from the ageof nine,
he was admitted to the affiliated middle school of the China Academy of Fine Arts in 2006. Upongraduation,
he had originally hoped to go to the Dunhuang Grottoes to sculpt or work in mural restoration, but he failed
to make the final China Academy of Fine Arts selection list. In 2010, he was admitted to the Beijing Film
Academy and majored in cinematography. He enjoys being at home playing the piano, reading, sculpting,
or simply just chilling. He is allergic to alcohol and doesn’t like going out much. In 2007, at the age of 18, Na
Jiazuo formed a six-member band that has since been reduced to just two members. During the summer
of 2021, they composed a song called “Me First”, which became the theme song of his film, “Streetwise
(Gaey Wa’r)”. Na Jiazuo created the lyrics, vocals, and part of the composition, and played the guitar
accompaniment.

Notable Achievement
Nominee for Un Certain Regard, Cannes Film Festival 2021

Contact : sebastien@cercamon.biz

048
 XXI 3 | SUN 28 NOV | 18:00
XXI 2 | MON 29 NOV | 13:00

MAIN
COMPETITION TASTE
97 Minutes | 2021 | Vietnam | Fiction

Synopsis
Bassley, a Nigerian footballer living in Vietnam, has been unable to make a living since he broke his leg. He
and four middle-aged women he sometimes works for decide to escape the disappointment of their daily
lives. They go to an old house where together they create a special world for themselves.

INDONESIAN PREMIERE
But this intimate utopia cannot last forever...
Bassley, pesepakbola asal Nigeria yang tinggal di Vietnam, sudah tidak mampu untuk mencari nafkah
sejak kakinya patah. Dia dan empat wanita paruh baya yang biasanya memberinya pekerjaan memutuskan
untuk melepaskan diri dari kekecewaan kehidupan sehari-hari mereka. Mereka pergi ke sebuah rumah tua
di mana mereka bisa bersama-sama menciptakan dunia spesial untuk mereka sendiri.
Namun utopia yang intim ini tidak bisa bertahan selamanya…..

Director | Lê Bảo
Lê Bao was born in 1990. His interest in cinema began when he was a little
boy looking through the small window of his house that sits by the river
in the slums of Saigon. A self-trained cinephile, he learnt about cinema
through watching foreign films on his computer and made his first short film
when he was 20 years old, borrowing an old camera from a friend. His short
films Coal and Scent were shot in the underdeveloped areas where he grew
up. Taste, his first feature, is also shot with non-professional actors in the
places he has known all his life.

Lê Bao lahir pada tahun 1990. Ketertarikannya pada film dimulai ketika
ia masih seorang anak kecil yang memandangi dunia luar lewat jendela
mungil rumahnya di tepi sungai di daerah kumuh Saigon. Sebagai
cinephile otodidak, ia belajar tentang sinema dengan menonton film
asing di komputernya dan membuat film pendek pertamanya ketika ia
berusia 20 tahun, memakai sebuah kamera tua pinjaman dari seorang
teman. Film pendeknya yang berjudul Coal and Scent difilmkan di daerah
tertinggal tempat di mana ia dibesarkan. “Taste”, film panjang pertamanya,
juga menampilkan aktor non-profesional di tempat-tempat yang ia kenal
sepanjang hidupnya.

Notable Achievements
Special Jury Award (Encounters), Berlin International Film Festival 2021
Achievement in Cinematography, Asia Pacific Screen Award 2021

Contact : weijie@ewfilms.com.sg

049
 XXI 1 | TUE 30 NOV | 15:30
XXI 1 | WED 01 DES | 15:15

MAIN WHETHER THE

COMPETITION
WEATHER IS FINE
104 Minutes | 2021 | Philippines, Indonesia, France,
Singapore, Germany, Qatar | Fiction
Synopsis
In the aftermath of Typhoon Haiyan, religious fanatics, desperados, criminals, and fleeing animals are loose
in the city. Miguel, a desperate son but caged all his life by his inner demons, roams the ruins in search of
the two women in his life: his friend Andrea and his mother, Norma. As soon as he finds these two, Miguel
tries to convince them to leave the unliveable city.
Paska bencana Topan Haiyan, orang-orang beragama yang fanatik, orang-orang yang putus asa, penjahat,
dan hewan yang melarikan diri berkeliaran di kota. Miguel, seorang anak yang putus asa dan dikurung
sepanjang hidupnya oleh iblis-iblis dalam dirinya, menjelajahi reruntuhan untuk mencari dua wanita dalam
hidupnya: temannya Andrea dan ibunya, Norma. Begitu dia menemukan keduanya, Miguel mencoba
meyakinkan mereka untuk meninggalkan kota yang tidak layak untuk ditinggali itu.

Director | Carlo Francisco Manatad

Carlo Franscisco Manatad is a Filipino film director and editor based in
Manila. He is a graduate of the University of the Philippines Film Institute.
His short films have screened at numerous local and international film
festivals Junilyn Has, his first short film premiered at the Locarno Film
Festival under the Pardi di Domani Section in 2015. Jodilerks Dela Cruz,
Employee of the Month, his 4th short film was selected in competition at
the 56th Semaine de la Critique of the Cannes International Film Festival.
Baga’t Diri Tuhay Tat Pamahungpahung (The Imminent Immanent)
premiered in competition at the 2018 Toronto International Film Festival.
Carlo is an alumnus of the Asian Film Academy, Berlinale Talents, Tokyo
Talents and the Locarno Filmmakers Academy. Whether the Weather is
Fine (Kun Maupay Man It Panahon) is his first feature film.
Carlo Franscisco Manatad adalah seorang sutradara dan editor film
Filipina yang tinggal di Manila. Ia adalah lulusan dari Institut Film
Universitas Filipina. Film pendeknya telah diputar di berbagai festival film lokal dan internasional Junilyn
Has, film pendek pertamanya ditayangkan perdana di Festival Film Locarno di bawah Pardi di Domani
Section pada tahun 2015. Jodilerks Dela Cruz, Employee of the Month, film pendek keempatnya terpilih
pada tahun kompetisi di Semaine de la Critique ke-56 dari Festival Film Internasional Cannes. Baga’t Diri
Tuhay Tat Pamahungpahung (The Imminent Immanent) tayang perdana dalam kompetisi di Festival Film
Internasional Toronto 2018. Carlo adalah alumnus Asian Film Academy, Berlinale Talents, Tokyo Talents dan
Locarno Filmmakers Academy. Whether the Weather is Fine (Kun Maupay Man It Panahon) adalah film fitur
pertamanya.

Notable Achievements
Junior Jury Award, Locarno International Film Festival 2021
Toronto International Film Festival 2021
Contact : jing@rediancefilms.com

050
 XXI 3 | WED 01 DES | 18:30
XXI 3 | SAT 04 DES | 13:15

MAIN
COMPETITION WHITE BUILDING
90 Minutes | 2021 | Cambodia | Fiction

Synopsis
20-year-old Samnang and two of his friends live in the White Building, a landmark tenement in Phnom Penh.
In this fast-changing city, the three boys practice their dance routine dreaming of television talent contests
while their parents lead a more traditional lifestyle. But the White Building is to be demolished. Samnang

INDONESIAN PREMIERE
observes his father unsuccessfully attempting to bring together his divided neighbors on the government’s
compensation offers for residents to move out, and he must face his best friend’s departure from Cambodia.
Samnang finds that the stable environment he has always called home is on shaky ground.
Samnang, pria berusia 20 tahun dan dua temannya tinggal di sebuah apartemen bernama White Building,
banguna petanda di Phnom Penh. Di kota yang mengalami pembangunan dengan cepat ini, tiga remaja
laki-laki tersebut rutin berlatih menari karena mereka ingin mengikuti kontes pencarian bakat di televisi,
sementara orang tua mereka menjalani gaya hidup yang biasa-biasa saja. Namun, bangunan putih tersebut
harus dihancurkan. Samnang melihat ayahnya gagal menyatukan para tetangganya yang terpecah karena
tawaran kompensasi dari pemerintah bagi penduduk untuk pindah, lalu harus menghadapi kepergian
sahabatnya dari Kamboja. Samnang merasa bahwa lingkungan stabil yang selalu dia sebut rumah berdiri
di atas tanah yang goyah.

Director | Kavich Neang

Panh, and in 2013, he joined Busan’s Asian Film Academy. In 2014, he co-
founded Anti-Archive alongside Davy CHOU and Steve CHEN. He joined
Cannes Cinéfondation’s Residency in 2017-18. His 2019 documentary Last
Night I Saw You Smiling won the NETPAC Awards at IFFR, the Special Jury
Prize at Jeonju, Best Image at Janela de Cinema and two Awards at Tokyo
FilmEx. White Building is his first feature film and won Orizzonti Best Actor
Awards at the Venice Biennale in 2021.

Pada tahun 2013, Kavich Neang bergabung dengan Akademi Film Asia
Busan. Ia ikut mendirikan Anti-Archive bersama Davy CHOU dan Steve
CHENpada tahun 2014. Lalu, ia berpartisipasi pada Cannes Cinéfondation’s
Residency pada tahun 2017-2018. Film dokumenternya, “Last Night I Saw
You Smiling” (2019) memenangkan NETPAC Awards di IFFR, Special Jury
Prize di Jeonju, Best Image di Janela de Cinema dan dua penghargaan
di Tokyo FilmEx. White Building adalah film panjang pertamanya yang
memenangkan Orizzonti Best Actor Awards di Venice Biennale 2021.

Notable Achievements
Orizzonti Award for Best Actor, Venice Film Festival 2021
Nominee for Grand Prize, Tokyo FILMeX 2021

Contact : davy.chou@antiarchive.com

051
 XXI 1 | FRI 03 DES | 18:15
XXI 1 | SAT 04 DES | 13:30

MAIN
COMPETITION YUNI
95 Minutes | 2021 | Indonesia | Fiction

Synopsis
Yuni is a teenage girl — smart with big dreams of attending university. When two men she barely knows
ask to marry her, she rejects their proposals, sparking gossip about a myth that a woman who rejects three
proposals will never marry. The pressure is building when a third man asks for her hand, and Yuni must
choose between the myth of a final chance at marriage, or her dream of future happiness.
Yuni, seorang gadis remaja cerdas dengan impian besar untuk kuliah. Ketika dua pria yang hampir tidak
dikenalnya datang melamar, ia menolak lamaran mereka. Penolakan itu memicu gosip tentang mitos bahwa
seorang perempuan yang menolak tiga lamaran tidakakan pernah menikah. Tekanan semakin meningkat
ketika pria ketiga melamarnya, dan Yuni harus memilih antara mempercayai mitos atau mengejar impiannya.

Director | Kamila Andini

Kamila Andini is a mother and filmmaker based in Jakarta, Indonesia. Her concern of social culture, gender
equality and environmental issues lead her passion to make films with a distinctive Perspectives of telling
a story. In 2011, she released her debut feature film ‘The Mirror Never Lies’, which portrays the life of a sea
wanderer in the Indonesian ocean. And in 2017, She released her second feature ‘The Seen and Unseen’; a
cinematic universe of dualism based on Balinese philosophy Sekala Niskala. Both films had traveled through
more than 50 film festivals around the world and received about 30 Awards
nationally and Internationally, including Grand Prix winner best feature film
in Berlinale Generation kplus 2018. Her third feature about an Indonesian
teenage story called ‘Yuni’, premiered at the Toronto International Film
Festival 2021 and won the Platform Prize. This is an Indonesian, Singapore,
French, Australian production which is now in distribution stage.

Kamila Andini adalah seorang ibu dan pembuat film yang tinggal di
Jakarta, Indonesia. Kepeduliannya terhadap sosial budaya, kesetaraan
gender, dan isu-isu lingkungan mendorong hasratnya untuk membuat
film dengan cerita perspektif yang khas. Pada tahun 2011, ia merilis film
fitur debutnya “The Mirror Never Lies”, yang menggambarkan kehidupan
seorang pengembara di lautan Indonesia. Dan pada tahun 2017, Dia
merilis film panjang keduanya, “The Seen and Unseen”; suatu alam
semesta sinema dualistik berdasarkan filosofi Bali Sekala Niskala. Kedua
film tersebut telah diputar di lebih dari 50 festival film di seluruh dunia
dan mendapatkan sekitar 30 penghargaan nasional dan Internasional,
termasuk pemenang Grand Prix winner Best Feature Film di Berlinale Generation kplus 2018. Film ketiganya
tentang kisah remaja Indonesia berjudul ‘Yuni’, ditayangkan perdana di Toronto International Film Festival
2021 dan memenangkan Platform Prize. Film ini adalah produksi Indonesia, Singapura, Perancis, Australia
yang saat ini sedang dalam tahap distribusi.

Notable Achievements
Platform Prize, Toronto International Film Festival 2021
Indonesian entry for the Best International Feature Film, Academy Awards 2022
Contact : publicist@fourcoloursfilms.com
052
054
Light of Asia Notes
YUSTINUS KRISTIANTO & THEO MAULANA
Cermin Perkenalan
dan Persoalan
S E
etiap tahun, film-film pendek Asia selalu
menawarkan tema isu, sudut pandang cerita,
juga bentuk yang beragam, termasuk di
tahun-tahun belakangan, di mana terdapat satu
isu masalah besar bersama yang muncul tanpa
pandang batas teritorial. Pada tahun ini, meskipun
cukup banyak film pendek yang mengangkat
cerita dari berbagai masalah yang muncul akibat
atau berkait-kelindan dengan pandemi melalui
sejumlah sudut pandang, namun tak sedikit
juga film-film yang berbicara tentang masalah-
masalah lain yang sejak masa sebelumnya sudah
ada dan masih signifikan untuk dibahas. Ibarat
lanskap, film pendek Asia selalu menyajikan
beragam cerita yang lahir dari pengamatan jeli
juga kontekstual, yang tentu menarik untuk dilihat.
Namun, di samping keragaman cerita-cerita yang
disajikan oleh sejumlah film pendek Asia tersebut,
meskipun pada mulanya cerita-cerita itu berasal
dari persoalan yang terjadi di kawasan masing-
masing di mana film itu diproduksi, pada tataran
tertentu terdapat nuansa keserupaan dengan
masalah keseharian yang ada di sini dan kini—
baca: Indonesia. Maka, jika ada yang menyebut
bahwa “medium film laiknya jendela untuk
‘berkenalan’ dan mengeksplorasi beragam sisi dari
Asia”, di saat yang sama film pendek Asia juga
menjadi cermin untuk saling mengingatkan dan
berbagi sudut pandang dalam melihat persoalan
di kawasan masing-masing. Dengan demikian,
semoga tak berlebihan jika mengatakan bahwa
film-film yang disajikan melalui program Light
of Asia tahun ini, di samping segala capaian
estetiknya yang memuaskan, diharapkan mampu
menggerakan siapapun yang menontonnya untuk
semakin kritis dan peduli pada segala persoalan
yang ada di sekitarnya. Sebab, perayaan festival
dan kenikmatan menonton hanyalah satu hal kecil,
hari-hari setelahnya jauh lebih besar.
055
Reflection of Introduction
and Issues
very year, Asian short films offer issue driven
themes, story Perspectivess, as well as
various forms, including in recent years,
when common problems have arisen regardless of
territorial boundaries. This year, although there are
quite a number of short films that tell stories about
various problems that have arisen as a result of or
are related to the pandemic through a number of
Perspectivess, there are also a number of films that
talk about other problems that have existed in the
past that are still significant to be discussed. Like
landscapes, Asian short films always present a
variety of stories that are born from careful contextual
observation which are certainly interesting to
watch. However, in addition to the variety of stories
presented by these Asian short films, even though
at first the stories originated from problems that
occurred in the respective regions where the films
were produced, to a certain extent there is a nuance
of similarity to the everyday problems that occur in
the films that exist here and now—read: Indonesia.
So, if someone says that “film as a medium is like a
window to ‘get to know’ and explore various sides of
Asia”, at the same time Asian short films are also like
a mirror to remind each other and share points of
view in understanding problems in their respective
regions. Thus, hopefully it is an exaggeration to say
that the films presented through this year’s Light
of Asia program, in addition to all their satisfying
aesthetic achievements, are expected to be able
to move anyone who watches them to be more
critical and care about all the issues surrounding
them. Because the celebration of the festival and
the enjoyment of watching are just one small thing,
the days after are much bigger.
 XXI 2 | WED 01 DES | 16:15
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LIGHT OF WEST LOVE

ASIA. (KISAH CINTA DARI BARAT)
9 Minutes | 2021 | Indonesia | Fiction

Synopsis
A young couple, Sopian and Tiara, spend a regular date together and bring out a conversation regarding
their dreams to work in the newly established airport, next to their village.
Sepasang suami istri muda, Sopian dan Tiara yang menghabiskan waktu bersama dan berbincang tentang
WORLD PREMIERE

impian mereka untuk bekerja di bandara yang baru didirikan di sebelah desa mereka.

Director | M. Reza Fahriyansyah

Reza is a young Indonesian film director who was born in Jakarta on 14th of July 1993. He graduated from
the Indonesian Institute of the Arts, Yogyakarta and he founded Crazyone Films in 2015. Over the past
years, Reza consistently spotlights social class issues through his short films. He believes storytelling could
be the proper language to advocate social inequality in the developing country. As an artist, the film has
been accompanying him to understand the meaning of life, therefore most of his past films are based on
his personal life stories. Pursuing a film career is a privilege for him to serve contemplative life messages
behind his narrative. His latest film, “Kembalilah Dengan Tenang (Rest in Peace)” 2018 has been screened
at Clermont Ferrand International Short Film Festival and has been nominated for Indonesian Best Short of
the most prestigious Indonesian annual film festival, “Citra Awards’’ 2019. This year, Reza has been working
on short projects that would be expected to initiate his upcoming feature film debut. Another filmography
such as Oleh-Oleh (The “Souvenier”, 2017), “Sedeng sang” (2016), and “LYN” (2015).
Reza adalah seorang sutradara film muda Indonesia yang lahir di Jakarta,
14 Juli 1993. Ia lulus dari Institut Seni Indonesia, Yogyakarta dan mendirikan
Crazyone Films pada tahun 2015. Selama beberapa tahun terakhir,
Reza secara konsisten menyoroti masalah kelas sosial melalui film-film
pendeknya. Dia percaya mendongeng bisa menjadi bahasa yang tepat
untuk mengadvokasi ketidaksetaraan sosial di negara berkembang. Sebagai
seorang seniman, film telah mengiringinya untuk memahami makna hidup,
oleh karena itu sebagian besar karya filmnya dibuat berdasarkan kisah
kehidupan pribadinya. Mengejar karir film adalah hak istimewa baginya
untuk menyajikan pesan kehidupan kontemplatif di balik narasinya. Film
terbarunya, “Kembalilah Dengan Tenang (Rest in Peace)” 2018 diputar di
Clermont Ferrand International Short Film Festival dan telah dinominasikan
untuk Indonesian Best Short dari festival film tahunan paling bergengsi di
Indonesia, Citra Awards 2019. Tahun ini , Reza sedang mengerjakan proyek-
proyek pendek yang diharapkan dapat memulai debut film panjangnya yang
akan datang. Filmografi lainnya seperti “Oleh-Oleh” (The Souvenier, 2017),
“Sedeng sang” (2016), dan “LYN” (2015)

Notable Achievement
Nominee for Best Short Film, Indonesian Film Festival 2021

Contact : crazyonefilms@gmail.com

056
 XXI 2 | WED 01 DES | 16:15
XXI 1 | THU 02 DES | 13:15

LIGHT OF
ASIA. BAGAN
24 Minutes | 2021 | Malaysia | Fiction

Synopsis
Frankie lives at home with his grandma while his peers go off to school. When a government notice arrives
one day announcing land reform of his village, Frankie is unable to read it. Too proud to ask his best friend,
Gamat for help, he spirals into rage and later, regret. Bagan tells the story of the final days of a dying village,

INDONESIAN PREMIERE
told through the eyes of a pair of adolescents; when innocence clashes with the harsh reality of growing up
and moving on.
Frankie di rumah saja bersama neneknya sementara teman-temannya pergi ke sekolah. Ketika ada
pemberitahuan Pemerintah suatu hari yang mengumumkan reformasi agraria di desanya, Frankie tidak bisa
membacanya. Karena merasa gengsi untuk meminta bantuan sahabatnya, Gamat, dia terbakar amarah,
namun kemudian menyesal. Bagan bercerita tentang kisah hari-hari terakhir sebuah desa yang sekarat
melalui sudut pandang sepasang remaja; ketika kepolosan berbenturan dengan kenyataan pahit tumbuh
dewasa dan melanjutkan hidup.

Director | Firdaus Balam

Muhammad Firdaus (b. 1998) is an independent filmmaker based in Malaysia. He graduated from
Multimedia University Iskandar Puteri with a Bachelor of Cinematic Arts. His passion for filmmaking started
at an early age as he aspired to be a film director from a young age. “Anak Seletar” is his first attempt at a
long-form documentary as he observes the life of an indigenous tribe in the south of Malaysia. The film is
about emotion, and emotion can be understood by anyone. He believes
that film should be a medium for the voiceless person to tell their stories
in a free way.
Muhammad Firdaus (lahir 1998) adalah seorang pembuat film independen
dari Malaysia. Ia lulus dari Universitas Multimedia Iskandar Puteri dengan
gelar Bachelor of Cinematic Arts. Gairahnya untuk membuat film sudah
muncul sejak dini karena ia bercita-cita menjadi sutradara film sejak
kecil. “Anak Seletar” adalah percobaan pertamanya dengan bentuk film
dokumenter panjang saat ia mengamati kehidupan suku asli di selatan
Malaysia. Film ini adalah tentang emosi, dan emosi bisa dipahami oleh
siapa saja. Dia percaya bahwa film harus menjadi media bagi orang-orang
yang tidak dapat bersuara untuk menceritakan kisah mereka dengan
bebas.

Contact : singgahproduction98@gmail.com

057
 XXI 2 | WED 01 DES | 16:15
XXI 1 | THU 02 DES | 13:15

LIGHT OF LIVE IN CLOUD-CUCKOO LAND

ASIA. (MÂY NHUNG KHÔNG MUA)
20 Minutes | 2020 | Vietnam | Fiction

Synopsis
A modern tale of Kafka in Vietnam – a country in the middle of a transformation. The film feels like a piece
of cultural news with daily events: a wedding, traffic congestion, a robbery, a mystical metamorphosis and
a love story.
INDONESIAN PREMIERE

Sebuah kisah modern Kafka di Vietnam – sebuah negara tengah berada di era transformasi. Film ini
terasa seperti berita budaya berisi peristiwa sehari-hari: pernikahan, kemacetan lalu lintas, perampokan,
metamorfosis mistis, dan kisah cinta.

Director | Vu Minh Nghia, Pham Hoang Minh Thy

Minh Nghia & Minh Thy won an Awards under CJ Cultural Foundation to make their latest short film named
Live In Cloud-Cuckoo Land. Vu Minh Nghia (30/03/1984, Vietnam) Vu Minh Nghia is the valedictorian
graduated from the University of Theater and Cinema in Vietnam. He has a Master’s degree in Film Criticism.
He received a full scholarship funded by the state to study in VGIK - The Russian State University of
Cinematography in Moskva, Russia. Nghia’s former short film named “Hey U” was selected under the
Asian Vision Short Film in Singapore International Film Festival 2019. He is developing his first feature film
named “Bubble Era.” (Vu Minh Nghia, born in Vietnam in 1984, has a Master’s degree in Theory, History,
and Criticism of Film . “Live In Cloud-Cuckoo Land”, his latest short he
co-directed with Minh Thy, was selected for the 2020 Venice Film Festival.
He is currently developing his first feature film, “Bubble Era”. Nghia’s short
films have a direct look and satirical tone in modern society, especially
artists and intellectuals. In “Bubble Era” - his first feature film will express
his wild, free-spirited youth and nostalgia for Vietnamese cinema as well as
the difficult journey to make films here nowadays.) Pham Hoàng Minh Thy
(15/03/1996, Vietnam) Pham Hoàng Minh Thy had her debut short film “The
graduation of Edison” selected in the 2019 Singapore International Film
Festival. “Live In Cloud-Cuckoo Land” - her latest short co-directed with Vu
Minh Nghia was selected for the 2020 Venice Film Festival. She is currently
developing her first feature film, “Daughter of the Mountain God”. (THY
is interested in the myth. Throughout short films, her mystical reality gets
along with the nature of the country she lives in. “Daughter of the Mountain
God; (development stage) is her first feature film expressing her thoughts
toward violence between human and nature, between human and itself.)
Minh Nghia & Minh Thy memenangkan penghargaan di bawah CJ Cultural Foundation untuk membuat film
pendek terbaru mereka yang berjudul Live In Cloud-Cuckoo Land. Vu Minh Nghia (30/03/1984, Vietnam)
Vu Minh Nghia adalah pembaca pidato perpisahan lulusan Universitas Teater dan Sinema di Vietnam. Dia
memiliki gelar Master jurusan Kritik Film. Ia menerima beasiswa penuh dari negara untuk belajar di VGIK
- Universitas Sinematografi Negeri Rusia di Moskow, Rusia. Karya film pendek Nghia dulu yang berjudul
“”Hey U”” terpilih untuk program Asian Vision Short Film di Singapore International Film Festival 2019. Dia
sedang mengembangkan proyek film panjang pertamanya yang akan berjudul “”Bubble Era.”” (Vu Minh
Nghia, lahir di Vietnam pada tahun 1984 dan memiliki gelar Master jurusan Teori, Sejarah, dan Kritik Film
. “Live In Cloud-Cuckoo Land”, film pendek terbarunya yang ia sutradarai bersama dengan Minh Thy,

058
terpilih untuk Venice Film Festival 2020. Saat ini, ia sedang mengembangkan film panjang pertamanya,
“Bubble Era”. Film pendek Nghia memiliki pendekatan visual yang lugas dan nada satir masyarakat modern,
terutama kaum seniman dan intelektual. Dalam “Bubble Era” - proyek film panjang pertamanya, ia akan
mengekspresikan masa mudanya yang liar dan berjiwa bebas serta sebuah nostalgia untuk sinema Vietnam
serta perjalanan untuk membuat film yang sulit di negara tersebut akhir-akhir ini.) Phum Hoàng Minh Thy
(15/03/1996, Vietnam) Debut penyutradaraan Pham Hoàng Minh Thy yang berjudul “The graduation of
Edison” terpilih di Singapore International Film Festival 2019. “Live In Cloud Cuckoo Land” - film pendek
terbarunya yang disutradarai bersama Vu Minh Nghia terpilih di Venice Film Festival 2020. Dia saat ini, ia
sedang mengembangkan proyek film panjang pertamanya, “”Daughter of the Mountain God””. (THY tertarik
dengan mitos. Sepanjang film pendeknya ini, realitas mistik menyatu dengan alam di negara tempat ia
tinggal. “Daughter of the Mountain God”; (dalam pengembangan) adalah proyek film panjang pertamanya
yang mengungkapkan pemikirannya terhadap kekerasan antara manusia dan alam serta antara manusia
dan dirinya sendiri.

Notable Achievement
Venice Film Festival 2020, Locarno International Film Festival 2021

Contact : thy1456030122@gmail.com / nghiaxu666@gmail.com

059
 XXI 2 | WED 01 DES | 16:15
XXI 1 | THU 02 DES | 13:15

LIGHT OF
ASIA. COMRADES POLICEMAN
12 Minutes | 2020 | Kazakhstan | Fiction

Synopsis
The journalist of the Kazakhstan state television channel has to make a news report about the
image campaign of the police.
INDONESIAN PREMIERE

Wartawan saluran televisi negara Kazakhstan harus membuat laporan berita tentang kampanye
pencitraan kepolisian.

Director | Assel Aushakimova

Assel is a Kazakh director, screenwriter and producer. Assel graduated
from the International Film Business Academy of the Busan Asian Film
School in 2021. COMRADE POLICEMAN is her third short film. Her first
feature film WELCOME TO THE USA had its world premiere at AFI Fest
2019 (New Auteurs). This is the first Kazakh feature film with the protagonist
from the LGBTQ community. It was Awardsed the Grand Jury Prize as Best
International Narrative Feature of NewFest New York’s LGBTQ Film Festival
2020. She is currently working on her second feature film project that has
been selected for the Biennale College Cinema 2020 of Venice IFF.
Assel adalah sutradara, penulis skenario, dan produser berkebangsaan
Kazakhstan. Ia lulus dari International Film Business Academy dari Busan
Asian Film School pada tahun 2021. “Comrade Policeman” adalah film
pendek ketiganya. Film panjang pertamanya “Welcome to The USA”
diputar perdana di AFI Fest 2019 (New Auteurs). Ini adalah film panjang
dari Kazakhstan pertama yang menampilkan tokoh protagonis dari
komunitas LGBTQ. Film tersebut dianugerahi Grand Jury Prize sebagai
Best International Narrative Feature dari NewFest New York’s LGBTQ
Film Festival 2020. Dia saat ini sedang mengerjakan proyek film panjang
keduanya yang telah dipilih untuk Biennale College Cinema 2020 di Venice
IFF.

Notable Achievement
Tallinn Black Nights Film Festival 2021

Contact : assel.aushakimova@gmail.com

060
 XXI 2 | WED 01 DES | 16:15
XXI 1 | THU 02 DES | 13:15

LIGHT OF
ASIA. HILUM
26 Minutes | 2020 | Philippines | Fiction

Synopsis
Set in a rural coastal village in the Philippines, Mona trains under her mother to start work as a professional
mourner-for-hire. After a botched performance, Mona retreats from her mother’s fury, and seeks out a
shaman to cure her inability to cry.

INDONESIAN PREMIERE
Di sebuah desa pesisir di pedesaan di Filipina, Mona berlatih di bawah bimbingan ibunya sebelum
mulai bekerja sebagai pengiring jenazah profesional. Setelah sebuah penampilan yang gagal, Mona lari
dari kemarahan ibunya, dan mencari seorang dukun untuk menyembuhkan ketidakmampuannya untuk
menangis.

Director | Don Josephus Raphael Eblahan

Don Josephus Raphael Eblahan is a writer/director born and raised in
Quezon City, Philippines. A descendent of the Ifugao tribe in the northern
mountains of the Philippines, Eblahan’s films explore the effects of history
on present day with their focus on human relations confronted by the
cosmic unknowns of nature and spirituality. In 2019, Eblahan attended the
55th Chicago International Film Festival for his short film, Umbilical Cord to
Heaven, winning CineYouth’s Best Experimental Film. In 2021, Eblahan’s
Hilum had its World premiere at the 43rd Clermont-Ferrand International
Film Festival at Clermont-Ferrand, France where it won the International
Student Jury Prize as well as a special mention from the International Jury.
Eblahan is currently based both in La Trinidad and Chicago.
Don Josephus Raphael Eblahan adalah seorang penulis/sutradara yang
lahir dan dibesarkan di Quezon City, Filipina. Sebagai keturunan suku
Ifugao dari pegunungan utara Filipina, film-film Eblahan mengeksplorasi
dampak sejarah pada masa kini dengan fokus pada relasi manusia yang dihadapkan pada ketidaktahuan
kosmik alam dan spiritualitas. Pada tahun 2019, Eblahan menghadiri the 55th Chicago International
Film Festival untuk film pendeknya, Umbilical Cord to Heaven, yang memenangkan CineYouth’s Best
Experimental Film. Pada tahun 2021, Karya Eblahan yang berjudul Hilum diputar secara perdana di the
43rd Clermont-Ferrand International Film Festival di Clermont-Ferrand, Prancis di mana ia memenangkan
penghargaan International Student Jury Prize serta Special Mention dari Juri Internasional. Eblahan saat ini
menetap di La Trinidad dan Chicago.

Notable Achievement
Student Prize (International Competition), Clermont-Ferrand International Short Film Festival 2021

Contact :liyan@lesvalseurs.com

061
 XXI 2 | WED 01 DES | 16:15
XXI 1 | THU 02 DES | 13:15

LIGHT OF
ASIA. LAUT MEMANGGILKU
17 Minutes | 2021 | Indonesia | Fiction

Synopsis
Sura lives alone in the fishing village, waiting for his father who may not return home. One day he finds a
broken sex doll, and asks Argo to help him fix it. He finds a companion and a surrogate parent in the doll.
But this companionship is threatened by Argo, who wants to take it away from Sura. When Argo manages to
INDONESIAN PREMIERE

take the doll from Sura by force, Sura is forced to do the unthinkable.
Sura tinggal sendirian di desa nelayan, menunggu ayahnya yang mungkin tidak akan pulang. Suatu hari dia
menemukan boneka yang rusak, dan meminta Argo untuk membantunya memperbaikinya. Dia menemukan
pendamping dan orang tua pengganti di boneka itu. Namun persahabatan ini terancam oleh Argo yang
ingin merebutnya dari Sura. Ketika Argo berhasil mengambil boneka itu dari Sura dengan paksa, Sura
terpaksa melakukan hal yang tidak terpikirkan.

Director | Tumpal Tampubolon

Tumpal Tampubolon is a cinephile-turned-filmmaker, based in Jakarta,
Indonesia. In 2005, his first film, The Last Believer, won Jakarta International
Film Festival (JiFFest) Script Development Competition for Best Short
Fiction. He is one of the nine directors that participated in the Belkibolang
omnibus film. Belkibolang was screened at the International Film Festival
Rotterdam, Hong Kong International Film Festival, Jeonju International Film
Festival, and Udine Far East Film Festival. Tumpal has also been selected
into Asian Young Filmmakers Forum, Talent Campus, and Asian Film
Academy in Busan. In 2021, his latest short film, The Sea Calls for Me,
won Best Short Film (Sonje Awards) from Busan International Film Festival.

Tumpal Tampubolon adalah seorang pembuat film yang berbasis

di Jakarta, Indonesia. Pada tahun 2005, film pertamanya, The Last
Believer, memenangkan Kompetisi Pengembangan Naskah Festival Film
Internasional Jakarta (JiFFest) untuk Fiksi Pendek Terbaik. Ia merupakan salah satu dari sembilan sutradara
yang berpartisipasi dalam film omnibus Belkibolang. Belkibolang diputar di Internasional Film Festival
Rotterdam, Hong Kong International Film Festival, Jeonju International Film Festival, dan Udine Far East
Film Festival. Tumpal juga pernah terpilih menjadi peserta Asian Young Filmmakers Forum, Berlinale Talent
Campus, dan Asian Film Academy di Busan. Pada tahun 2021, film pendek terbarunya, The Sea Calls for
Me, memenangkan Film Pendek Terbaik (Sonje Awards) dari Busan International Film Festival.

Notable Achievements
Sonje Award (Asia), Busan International Film Festival 2021
Best Short Film, Indonesian Film Festival 2021

Contact : mm@tanakhirfilms.com

062
 XXI 1 | TUE 30 NOV | 12:45
XXI 2 | FRI 03 DES | 15:00

LIGHT OF
ASIA. NEW ABNORMAL
14 Minutes | 2021 | Thailand | Fiction

Synopsis
Based on a true story, New Abnormal is a reflection on human life during the Covid-19 pandemic and also
under the Emergency decree. We see many strange cases like the accidents that happen because of the
hurry of the driver who wants to reach the place before curfew time. New Abnormal follows many characters

INDONESIAN PREMIERE
from different scenarios which share the same awkward situation.
Dibuat berdasarkan kisah nyata, New Abnormal adalah cerminan kehidupan manusia selama pandemi
Covid-19 dan di bawah kendali Undang-undang Darurat. Kami melihat banyak kasus ganjil yang terjadi
seperti kecelakaan karena pengemudi yang terburu-buru ingin mencapai tempat tujuan sebelum jam
malam. New Abnormal mengikuti banyak karakter dari skenario berbeda yang mengalami situasi janggal
yang sama.

Director | Sorayos Prapapan

Sorayos Prapapan directed several short films which were shown in many
film festivals including Venice, Locarno, Rotterdam, Clermont Ferrand and
Busan.

Sorayos Prapapan menyutradarai beberapa film pendek yang diputar di

berbagai festival film antara lain Venice, Locarno, Rotterdam, Clermont
Ferrand dan Busan.

Notable Achievement
Venice Film Festival 2021

Contact : yossyoss@hotmail.com

063
 XXI 1 | TUE 30 NOV | 12:45
XXI 2 | FRI 03 DES | 15:00

LIGHT OF
ASIA. LIKA LIKU LAKI
20 Minutes | 2021 | Indonesia, France | Fiction

Synopsis
In a city where the ‘men’ have to go crazy about football, Akbar has to pretend to love football in order to
prevent rejection from his new college friends.
Di sebuah kota di mana laki-laki dituntut untuk mencintai sepak bola dan berperilaku stereotip, Akbar harus
berpura-pura menyukai sepakbola dan menyembunyikan identitasnya agar dapat diterima oleh orang-
orang di sekitarnya.

Director | Khory Rizal

Khozy Rizal is a film director based in Makassar, Indonesia. His works
mostly are commercials but in 2018, he directed his very first short film
called Annisa, a one-minute short film that was entirely shot with a
smartphone. Annisa was selected at DepicT Showcase in 25th Encounters
Film Festival and won Grand Prize International at 14th Mobile Film Festival
which he got a grant to produce his new short film, Lika Liku Laki (Makassar
Is a City For Football Fans).

Khozy Rizal adalah seorang filmmaker berbasis di kota Makassar. Di tahun

2018, dia menyutradarai film pendek pertamanya berjudul Annisa yang
lolos seleksi di seksi DepicT Showcase di Encounters Film Festival, di
Bristol, Inggris dan memenangkan Grand Prize International di Mobile Film
Festival yang dimana dia mendapatkan dana hibah untuk memproduksi film
pendek keduanya berjudul, Lika Liku Laki. Lika Liku Laki memenangkan
Jury Prize di Sundance Film Festival 2021: Asia, Best Fiction Short di 7th
Minikino Film Week dan mendapatkan nominasi untuk Film Cerita Pendek
Terbaik di Festival Film Indonesia 2021.

Notable Achievement
Nominee for Best Short Film, Indonesian Film Festival 2021

Contact : khozyrizal@gmail.com

064
 XXI 1 | TUE 30 NOV | 12:45
XXI 2 | FRI 03 DES | 15:00

LIGHT OF
ASIA.
DEAR TO ME
19 Minutes | 2021 | Germany | Fiction

Synopsis
A 27-year-old Indonesian, Tim, is having a family vacation with both of his parents on a remote island far
from the city, where they learn about the myth of a reincarnated deer that exists somewhere along the beach.
Island locals believe that seeing the deer is a sign of meeting one’s soulmate. Tim is the only one who
secretly hopes to discover the deer, hiding his desire from his very devout Christian parents.
Tim sedang berlibur bersama kedua orang tuanya di sebuah pulau antah berantah, dimana mereka belajar
tentang mitos reinkarnasi: seorang manusia yang menjelma menjadi rusa. Penduduk pulau percaya bahwa
melihat rusa adalah tanda bertemu belahan jiwa seseorang. Di tengah-tengah liburan pikuk dengan kedua
orang tua kristen religiusnya, Tim diam-diam berharap untuk dapat menemukan rusa tersebut.

Director | Monica Vanesa Tedja

Born in Jakarta in 1991, Monica Vanesa Tedja is a Chinese-Indonesian
filmmaker whose films pose questions around minority identity issues through
intimate character work, with equal parts humour and pathos. One of her
earliest shorts, “How to Make a Perfect Xmas Eve” (2013), won Best Film in
the XXI Short Film Festival, chosen by the Indonesian Film Director’s Club.
Followed by “Sleep Tight”, “Maria” (2015) winning Best Film in France Film
Festival in Indonesia in 2015. She moved to Berlin in 2015 to pursue an MA in
Film Directing at the Film University Babelsberg KONRAD WOLF. Her thesis
film, “Dear to Me” (2020), has won the best short film category at FIRST
STEPS Awards 2021 and received Special Mention from the Youth Jury at
Locarno Open Doors Screenings.
Lahir di Jakarta pada tahun 1991, Monica Vanesa Tedja adalah seorang
pembuat film yang biasa mengajukan pertanyaan yang dibalut humor dan juga kepedihan seputar masalah
identitas minoritas melalui karya-karyanya. Salah satu film pendeknya, “How to Make a Perfect Xmas Eve”
(2013), menjadi pilihan Indonesian Film Director’s Club untuk memenangkan Best Film dalam XXI Short
Film Festival. Disusul dengan “Sleep Tight”, “Maria” (2015) yang memenangkan Best Film di Festival Film
Prancis di Indonesia tahun 2015. Pada tahun yang sama, Monica pindah ke Berlin untuk menempuh studi
master dalam bidang penyutradaraan di Film University Babelsberg KONRAD WOLF. Film tugas akhirnya,
“Dear to Me” (2020), berhasil memenangkan kategori film pendek terbaik di FIRST STEPS Awards 2021 dan
mendapat Special Mention dari Youth Jury di Locarno Open Doors Screenings.

Notable Achievements
Special Mention, Open Doors Shorts, Locarno Film Festival 2021
Nominee for Best Short Film, Indonesian Film Festival 2021

Contact : astridsaerong@gmail.com

065
 XXI 1 | TUE 30 NOV | 12:45
XXI 2 | FRI 03 DES | 15:00

LIGHT OF
ASIA. KIDS ON FIRE
19 Minutes | 2021 | Philippines | Fiction

Synopsis
J.C., a prepubescent boy, slowly learns of his special role in the impending apocalypse during a religious
camp. As he participates in the camp activities, he gets confused between constantly emerging sexual
fantasies and his divine calling.
INDONESIAN PREMIERE

J.C., seorang anak laki-laki yang sedang puber, perlahan belajar tentang peran khususnya di hari kiamat
yang sudah dekat selama kamp keagamaan. Selama berpartisipasi dalam kegiatan kamp, dia menjadi
bingung membedakan antara fantasi seksual yang terus muncul dan panggilan ilahinya.

Director | Kyle Nieva

Kyle Nieva is a Filipino director-producer and the Managing Director of Manila-based creative agency and
production company Screen Asia. At the age of 18, he began exhibiting his directorial work in institutions
such as the Cultural Center of the Philippines and the EYE Filmmuseum in Amsterdam, and started earning
his national and global accolades. The films he directed and produced have since been selected for various
international film festivals–including Berlinale, San Sebastian, Busan, and Vancouver–and broadcast in over
70 territories globally. His latest film, Kids On Fire, was nominated for Best International Short Film at the
47th Film Fest Gent (Belgium) and for Best Asian Short Film at the 25th Busan International Film Festival
(South Korea). It has since been selected for various festivals including the Neuchâtel International Fantastic
Film Festival (Switzerland)–one of the world’s foremost festivals for genre
cinema. The film was Awardsed Best Direction and Best Screenplay at the
Cinemalaya 2021 (The Philippines) and Special Jury Prize for World Building
at the 37th Los Angeles Asian Pacific Film Festival (USA). His recent work
as producer, Filipiñana, won the Silver Bear at the 70th Berlinale and was
nominated for Best British Short at the British Independent Film Awards
and at the London Critics Film Awards. Kyle graduated with a bachelor’s
degree in Film at the University of the Philippines Film Institute. He is an
alumnus of Tribeca Film Institute’s Talent Lab and the 73rd Festival del Film
Locarno’s Open Doors Lab. Aside from directing and producing, he has
been involved in marketing, distribution, and festival programming of shorts
and features in the Philippines.
Kyle Nieva adalah sutradara-produser dari Filipina yang juga menjabat
sebagai Managing Director agensi kreatif dan perusahaan produksi Screen
Asia yang berbasis di Manila. Di usia 18 tahun, ia mulai memamerkan hasil
karya penyutradaraan di berbagai institusi seperti Pusat Kebudayaan
Filipina dan Museum Film EYE di Amsterdam, serta mendapatkan penghargaan nasional dan internasional.
Film-film yang ia sutradarai dan produksi sejak itu telah lolos berbagai festival film internasional termasuk
Berlinale, San Sebastian, Busan, dan Vancouver dan disiarkan di lebih dari 70 wilayah secara global. Film
terbarunya, Kids On Fire, dinominasikan untuk Best International Short Film di 47th Film Fest Gent (Belgia)
dan Best Asian Short Film di 25th Busan International Film Festival (Korea Selatan). Sejak saat itu, filmya
telah dipilih di berbagai festival termasuk Neuchâtel International Fantastic Film Festival (Swiss) – salah
satu festival terkemuka di dunia untuk sinema genre. Film tersebut dianugerahi Best Direction and Best

066
Screenplay di Cinemalaya 2021 (Filipina) dan penghargaan Special Jury Prize for kategori World Building
di the 37th Los Angeles Asian Pacific Film Festival (USA). Karya terbarunya sebagai produser, yaitu
“Filipiñana”, memenangkan penghargaan Silver Bear di the 70th Berlinale dan dinominasikan untuk Best
British Short di the British Independent Film Awards dan di the London Critics Film Awards. Kyle bergelar
sarjana di bidang Film di Institut Film Universitas Filipina. Ia adalah alumni dari Tribeca Film Institute’s Talent
Lab dan the 73rd Festival del Film Locarno’s Open Doors Lab. Selain penyutradaraan dan produksi, ia juga
menekuni bidang pemasaran, distribusi, dan programming festival film pendek dan dan panjang di Filipina.

Notable Achievement
Busan International Film Festival 2020

Contact :info@screenasia.org

067
 XXI 1 | TUE 30 NOV | 12:45
XXI 2 | FRI 03 DES | 15:00

LIGHT OF
ASIA. POSTERITY
10 Minutes | 2021 | Malaysia | Fiction

Synopsis
Ah Ger’s, a curious six year old, discovers a pair of severed wings, head and heart of a dead bird that is
missing its body. disturbed by the gruesome discovery and without the fearful presents an adult, Ah Ger’s
conscience propels her to take action. She decides to make a mock body for the poor creature and give
INDONESIAN PREMIERE

it a proper burial. Ah Ger’s intentions, prompt an unexpected visit by the ghost of her late grandmother,
appearing in the spirit form of the dead bird. the spirit urges Ah Ger to help her find her egg in a nest
and help care for it. Despite her good intentions, her actions causes her to be terribly misunderstood and
punished by her mother. The punishment she receives for showing empathy, marks the lost of her innocence.
Ah Ger, seorang anak berusia enam tahun yang selalu penasaran, menemukan sepasang sayap, kepala,
dan jantung yang terputus dari seekor burung mati yang kehilangan tubuhnya. Karena merasa terganggu
oleh penemuan mengerikan ini dan tanpa kehadiran orang dewasa yang menakutkan, hati nurani Ah Ger
mendorongnya untuk mengambil tindakan. Ia memutuskan untuk membuat tubuh tiruan untuk makhluk
malang itu dan memberinya pemakaman yang layak. Niat Ah Ger, mengundang kunjungan tak terduga
dari hantu mendiang neneknya yang muncul dalam bentuk roh burung mati itu. Roh itu mendesak Ah Ger
untuk membantunya menemukan telurnya di sarang dan membantu merawatnya. Terlepas dari niat baiknya,
perbuatannya menyebabkan ibunya salah paham dan menghukumnya. Hukuman yang dia terima karena
menunjukkan empati, menandai saat-saat kepolosannya sirna.

Director | Audrie Yeo

Audrie, a graduate of the National Institute of Arts and Culture (ASWARA)
with a degree in film and video directing. Her passion for filmmaking has
driven her to direct a number of short films, music videos, fashion videos
and digital content for local and international markets, some of which
had been official selections in film festivals. Audrie is currently involved
in an indie feature project entitled ‘Tiger Stripes’ produced by Ghost Grrrl
Pictures.
Audrie adalah lulusan dari the National Institute of Arts and Culture
(ASWARA) dengan gelar sutradara film dan video. Kegemarannya membuat
film telah mendorongnya untuk menyutradarai sejumlah film pendek, video
musik, video fashion dan konten digital untuk pasar lokal dan internasional,
beberapa di antaranya telah menjadi official selection di berbagai festival
film. Saat ini Au terlibat dalam proyek film panjang independen berjudul
“Tiger Stripes” yang diproduksi oleh Ghost Grrrl Pictures.

Notable Achievement
Locarno International Film Festival 2021

Contact : audrie.odd@gmail.com

068
 XXI 1 | TUE 30 NOV | 12:45
XXI 2 | FRI 03 DES | 15:00

LIGHT OF
ASIA. GEORGIA
29 Minutes | 2020 | South Korea | Fiction

Synopsis
Based on a true story. When the police refuse to investigate their daughter’s alleged suicide, two computer-
illiterate parents decide to design a protest banner.

INDONESIAN PREMIERE
Dibuat berdasarkan kisah nyata. Ketika polisi menolak untuk menyelidiki dugaan bunuh diri putri mereka,
dua orang tua yang buta tentang komputer memutuskan untuk merancang spanduk protes.

Director | Jayil Pak

After graduating from NYU with a degree in film production, Jayil has
worked as a director and editor of commercials, music videos, and short
films in both the US and South Korea. His directorial work has screened and
garnered Awards in over 100 film festivals around the world. In 2019, Jayil
was a recipient of the Independent Film Production Grant by the Korean
Film Council and the Merit of Excellence by the Shin Young Kyun Arts &
Culture Foundation. His latest project “Georgia” (2020) received the Sonje
Awards for Best Short Film at the Busan International Film Festival and was
nominated for a Blue Dragon Awards at the Korean Oscars.
Setelah lulus dari NYU dengan gelar dalam bidang produksi film, Jayil
pernah bekerja sebagai sutradara serta editor iklan, video musik, dan film
pendek di AS dan Korea Selatan. Karya penyutradaranya telah diputar
dan mendapatkan penghargaan di lebih dari 100 festival film di seluruh
dunia. Pada tahun 2019, Jayil menerima Hibah Produksi Film Independen
dari Dewan Film Korea dan Merit of Excellence oleh Yayasan Seni &
Budaya Shin Young Kyun. Proyek terbarunya “Georgia” (2020) menerima
Penghargaan Sonje untuk Film Pendek Terbaik di Busan International Film
Festival dan dinominasikan untuk Penghargaan di Blue Dragon Awards di
Oscar Korea.

Notable Achievement
Sonje Award, Busan International Film Festival 2020

Contact : jayilpak@gmail.com

069
071
Indonesian Screen Awards Notes
ALEXANDER MATIUS & GORIVANA AGEZA
Merayakan Kembalinya
Film Kita
L T
aju film Indonesia terhenti sementara.
Kemajuan industri yang bertumbuh sekitar
20% per tahun selama 4 tahun terakhir
sebelum pandemi dan menjadi pasar film nomor
sepuluh terbesar di dunia pada akhir tahun 2019
adalah catatan-catatan penting bahwa kita pernah
berada dalam posisi tersebut. Nyaris semua
ekosistem berhenti. Film yang selesai dan akan
diproduksi tertunda aktivitasnya. Sempat bangkit
perlahan, nyatanya jumlah kasus di Indonesia
meningkat. Saat ini, dibantu dengan masifnya
jumlah vaksinasi, industri kembali menjalankan
gerak rodanya. Dampak paling terasa dalam kurun
beberapa waktu belakangan adalah jumlah film
Indonesia yang sudah, sedang, dan akan dirilis
cukup berlimpah. Begitu pun ketika tim program
memilih beberapa film untuk ikut serta masuk dalam
program khusus untuk film Indonesia di JAFF:
Indonesian Screen Awards. Beberapa merupakan
film panjang perdana dan dalam edisi kali ini ada
beberapa bentuk yang kemudian hadir, mulai dari
thriller hingga drama. Tahun ini sehubungan dengan
masih riskannya mengundang penilai dari luar
negeri untuk hadir, kami secara khusus mengajak
perwakilan-perwakilan asosiasi pekerja pembuatan
film untuk menjadi penilai dalam beberapa kategori
di Indonesian Screen Awards. Sehingga tahun ini
penghargaan untuk film Indonesia yang dinilai oleh
pekerja film Indonesia.
072
Celebrating The Return
of Our Film
he pace of Indonesian film making has been
on hold temporarily. The development of the
industry, which had been growing by about
20% per year for the 4 years before the pandemic
becoming the world’s tenth largest film market
at the end of 2019, is proof that we have been in
that position. Almost all ecosystems stopped.
Films that had already been completed and those
yet to be produced were delayed. When activities
started to rise, the number of cases in Indonesia
also increased. Currently, assisted by the massive
number of vaccinations, the industry is up and
running again. The impact that has been felt the
most in recent times is the number of Indonesian
films that have been, are being, and will be
released is quite a large number. Resultantly, the
program team selected several films to participate
in the special program for Indonesian films at
JAFF: Indonesian Screen Awards. Some of them
were debut feature-length films and in this edition
represented by various genres, ranging from
thrillers to dramas. This year, as it is still risky
to invite judges from abroad to attend, we have
specifically invited representatives of filmmaking
workers associations to be the judges in several
categories at the Indonesian Screen Awards. So
this year the Awards for Indonesian films will be
judged by Indonesian film workers themselves.
 XXI 2 | SUN 28 NOV | 13:15
XXI 1 | TUE 30 NOV | 18:00
XXI 3 | MON 29 NOV | 16:00

INDONESIAN
SCREEN
AWARDS.
AKHIRAT: A LOVE STORY
112 Minutes | 2021 | Indonesia | Fiction

Synopsis
A young couple of different religious faiths and very much in love, meet a tragic accident that puts both of
them in a coma and sets their spirits off on a quest to figure out how to be together in the afterlife where
interfaith couples are not allowed to enter the same afterworld.

WORLD PREMIERE
Pasangan muda yang berbeda agama dan sangat saling mencintai, mengalami kecelakaan tragis yang
membuat keduanya mengalami koma yang melepas arwah mereka untuk mencari cara agar bisa bersama
di akhirat di mana pasangan beda agama tidak diizinkan untuk hidup bersama dan memasuki alam baka
yang sama.

Director | Jason Iskandar

Jason Iskandar was born in Jakarta, Indonesia, 1991. His filmmaking
career began when he was 17 in a documentary film competition held by
Jakarta Arts Council, where his short film ‘Sarung Petarung’ (2007) won 3
Awards including Best
Jason Iskandar was born in Jakarta, Indonesia, 1991. His filmmaking
career began when he was 17 in a documentary film competition held by
Jakarta Arts Council, where his short film ‘Sarung Petarung’ (2007) won 3
Awards including Best

Contact : nadia@base-ent.com

073
 XXI 5 | SUN 28 NOV | 13:45

INDONESIAN
SCREEN
AWARDS.
AUM!
89 Minutes | 2021 | Indonesia | Fiction

Synopsis
A group of youngsters fight for the freedom of speech approaching the precarious 1998 Reformation under
strict supervision from the authority.
Sekelompok anak muda memperjuangkan kebebasan bersuara menjelang Reformasi 1998 yang penuh
risiko di bawah pengawasan ketat penguasa.

Director | Bambang Ipoenk

Bambang “Ipoenk” K.M started playing with video in 2001 and created
his personal video project called “videorobber”, releasing two video
compilations (videorobber #1/2007, videorobber #2/2011) and participated
in international art exhibitions. His short film works Love Paper (2013),
Memulai Kembali (2013), Amarta: Gadis dan Air (2015) and Ayo Main!
(2017) had been shown in various festivals, both local and international.
Ipoenk directorial debuted his feature-length movie entitled Aum! in 2021.
Bambang “Ipoenk” K.M mulai bermain-main dengan video pada tahun 2001
dan membuat proyek video personalnya yang bernama “videorobber” dan
merilis dua kompilasi video (videorobber #1/2007, videorobber #2/2011).
Kedua kompilasi ini berpartisipasi di berbagai pameran seni internasional.
Film-film pendeknya ”Love Paper” (2013), “Memulai Kembali” (2013),
“Amarta: Gadis dan Air” (2015) dan “Ayo Main!” (2017) diputar di
berbagai festival, baik nasional maupun internasional. Debut film panjang
pertamanya yang berjudul “Aum” dirilis pada September 2021.

Contact : damar.ardi.atmaja@gmail.com

074
 XXI 3 | FRI 03 DES | 14:00
XXI 4 | SAT 04 DES | 14:00

INDONESIAN
SCREEN
AWARDS.
EVERYDAY IS A LULLABY
81 Minutes | 2020 | Indonesia | Fiction

Synopsis
Rektra was once recognized as the most promising and best screenwriter, winning continued success. He
could work wherever he wanted to work at any time. However, as time goes by, both his talent and passion
for the film seem to fade. He starts to think that making a sensual low-budget horror movie would benefit his
life better. In order to overcome the slump, he tries to create an immortal masterpiece of his life inspired by
his girlfriend who is an actress. Through her, he meets another woman who has no soul. In the process of
getting to know her, he realized his ultimate passion is ignited.
Rektra pernah diakui sebagai penulis skenario terbaik dan paling menjanjikan, dia pun meraih kesuksesan
terus-menerus. Dia bisa memilih bekerja kapan pun dan di mana pun dia mau. Namun, seiring berjalannya
waktu, bakat dan hasratnya terhadap film tampaknya memudar. Dia mulai berpikir bahwa membuat film
horor sensual murah akan lebih menguntungkan bagi hidupnya. Untuk mengatasi keterpurukannya, dia
mencoba menciptakan mahakarya abadi yang terinspirasi oleh pacarnya, seorang aktris. Melalui pacarnya,
dia bertemu perempuan lain yang tidak memiliki jiwa. Selama proses mengenalnya, Rektra menyadari
gairah terbesarnya tersulut.
Director | Putrama Tuta
Putrama Tuta’s debut in Catatan Harian Si Boy (2011) sent him to
Shanghai as the first and single Indonesian nominee for first Creature
Director in SIFF 2012. His second film, Noah Awal Semula (2013), shot
on DSLR and iPhone, became the first Music Documentary theatrically
released nationwide. His third film, titled A Man Called Ahok (2018), is
the first biopic at the top 10 Indonesian box office, with 14 nominations
and winning in 5 Awards. He has been Awardsed the Best Director at the
Indonesian Box Office Movie Awards 2019. Putrama Tuta and Plataran
Canggu collaborate to make Sinema Plataran to screen his film entitled
“Everyday is a Lullaby” which, because of its wildly controversial content,
has never been shown in any cinema. This film managed to become the
only film that represented Indonesia at the biggest film festival in Asia,
Busan International Film Festival 2020.
Debut Putrama Tuta di Catatan Harian Si Boy (2011) mengirimnya ke
Shanghai sebagai nominasi pertama dan tunggal Indonesia untuk
Sutradara film panjang pertama di SIFF 2012. Film keduanya, Noah
Awal Semula (2013), diambil menggunakan kamera DSLR dan iPhone 5 menjadi Film dokumenter Musik
pertama yang dirilis theatrical secara nasional. Film ketiganya yang berjudul A Man Called Ahok (2018)
merupakan film biografi pertama yang masuk dalam 10 besar box office Indonesia, dengan 14 nominasi
dan memenangkan 5 penghargaan, di mana ia dianugerahi Sutradara Terbaik di Indonesian Box Office
Movie Awards 2019. Filmnya yang berjudul Everyday is a Lullaby menjadi satu-satunya film Indonesia yang
tayang perdana di Busan International Film Festival 2020.

Contact : putramatuta@gmail.com

075
 XXI 4 | WED 01 DES | 12:30

INDONESIAN
SCREEN
AWARDS.
LOSMEN BU BROTO
113 Minutes | 2021 | Indonesia | Fiction

Synopsis
Based on 1980’s famous TVRI series LOSMEN; The new reboot will put The Broto family in the modern
setting of 2020’s. LOSMEN BU BROTO is a famous family friendly bed and breakfast sets in Yogyakarta.
Managed by Pak Broto and Bu Broto alongside their children; Pur, Sri and Tarjo. For an establishment
that seems successful, conflicts slowly risen and creating rifts between the family. Pur who seems hard
to move on from the passing of her fiance, Sri who dreams to be a famous singer but expected to take
over Losmen one day from her Mother, and Tarjo, who is really hard to find the right motivation on his
study. All of these conflicts suddenly reach a breaking point when a big scandal suddenly hits over
and the family must overcome their conflicts to face the challenges ahead.
Diangkat dari sinetron legendaris TVRI tahun 1980-an LOSMEN; Film ini merupakan karya reboot yang
menempatkan Keluarga Broto di setting modern tahun 2020. LOSMEN BU BROTO merupakan tempat
penginapan yang cukup terkenal di kota Yogyakarta, Indonesia. Dikenal ramah, hangat dan mampu
memberikan rasa keluarga yang besar kepada tamu tamunya. Dikelola oleh Pak Broto dan Bu Broto
beserta anak-anaknya; Pur, Sri dan Tarjo. Tempat penginapan yang dari luar terlihat sangat sukses dan
hangat ini, rupanya menyembunyikan problem dan konflik yang tak terlihat dari masing-masing anak dari
keluarga Pak Broto dan Bu Broto. Pur yang tertua, tidak bisa lepas dari bayang bayang duka kematian calon
suaminya. Lalu Sri, bermimpi untuk menjadi penyanyi band, yang saat ini terhalang oleh tanggung jawab
yang diberikan oleh Bu Broto di Losmen. Sedangkan Tarjo sangat susah sekali untuk menemukan motivasi
kuliahnya. Ditambah dengan Pak Broto yang sedang menyesuaikan dengan pensiun dini dan Bu Broto yang
memimpin Losmen seorang diri. Seluruh konflik terpendam itu meledak sewaktu terjadinya skandal yang
besar di Losmen Bu Broto. Sebuah Skandal yang akan menguji masing-masing anggota Keluarga Broto
sehingga mereka harus bisa menyelesaikan masalah ini bersama-sama sebagai keluarga sesuai dengan
moto Losmen mereka ; Keluarga Adalah Rumah.

Director | Eddie Cahyono, Ifa Isfansyah

Ifa Isfansyah graduated from the Television Department of Indonesian Institute of Art Jogjakarta. He
began his career in cinema as Producer and Director of several short films, including BE QUIET, EXAM
IS IN PROGRESS! (Tokyo ShortShort, Competition, 2006) and HALF TEASPOON (Grand Prize Hong Kong
Independent Film Video Award & competition, IFFR 2008). In 2001, he started his company Fourcolours
Films with other local filmmakers in order to produce and support Indonesian filmmakers. He was selected
by the Asian Film Academy BUSAN in 2006 and got a scholarship to attend the Im Kwon Taek College
of Film & Performing Arts, KOREA. Then back to Indonesia, he directed his first feature film, Garuda Di
Dadaku (2009), which encountered great commercial success. His second film, The Dancer (2011) was
awarded Best Director and Best Picture at the Indonesian Film Festival. Since then he has produced
SITI (Eddie CAHYONO, TELLURIDE 2015), TURAH (Wicaksono Wisnu LEGOWO, Indonesian Official
Entry for OSCAR 2018), THE SEEN AND UNSEEN (Kamila ANDINI, TORONTO IFF 2017), MEMORIES
OF MY BODY (Garin NUGROHO, VENICE Orizzonti 2018) and YUNI (Kamila ANDINI, TORONTO
IFF 2021). His latest film LOSMEN BU BROTO adapted from a legendary TV Series in the 1980 era.

076
Eddie Cahyono born in Yogyakarta, is an Indonesian director and screenwriter, agraduate of the Yogyakarta
Institute of the Arts. He is one of the founders of Fourcolours Films, a production house located in Yogyakarta.
His feature film Siti(2014) won various awards, one of which was the Citra Cup for Best Film and Best Original
Screenwriter. In 2021, she directed a film based on the Losmen television series titled Losmen Bu Broto with
Ifa Isfansyah.
Ifa Isfansyah lulus dari Jurusan Televisi Institut Seni Indonesia Yogyakarta.
Ia memulai karirnya di dunia perfilman sebagai Produser dan Sutradara
dari beberapa film pendek, antara lain BE QUIET, EXAM IS IN PROGRESS!
(Tokyo ShortShort, Competition, 2006) dan HALF TEHPOON (Penghargaan
Utama Hong Kong Independent Film Video Award & kompetisi, IFFR 2008).
Pada tahun 2001, ia memulai perusahaannya Fourcolours Films dengan
pembuat film lokal lainnya untuk memproduksi dan mendukung pembuat
film Indonesia. Ia dipilih oleh Asian Film Academy BUSAN pada tahun 2006
dan mendapat beasiswa untuk menghadiri Im Kwon Taek College of Film &
Performing Arts, KOREA. Kemudian kembali ke Indonesia, ia menyutradarai
film fitur pertamanya, Garuda Di Dadaku (2009), yang meraih sukses
komersial yang besar. Film keduanya, The Dancer (2011) mendapatkan
penghargaan Sutradara Terbaik dan Film Terbaik di Festival Film Indonesia.
Sejak itu ia telah menghasilkan SITI (Eddie CAHYONO, TELLURIDE 2015),
TURAH (Wicaksono Wisnu LEGOWO, Entri Resmi Indonesia untuk OSCAR
2018), THE SEEN AND UNSEEN (Kamila ANDINI, TORONTO IFF 2017),
MEMORIES OF MY BODY (Garin NUGROHO, VENICE Orizzonti 2018) dan
YUNI (Kamila ANDINI, TORONTO IFF 2021). Film terbarunya LOSMEN BU BROTO diadaptasi dari Serial TV
legendaris di era 1980.
Eddie Cahyono lahir di Yogyakarta, adalah sutradara dan penulis skenario asal Indonesia, lulusan Institut Seni
Indonesia Yogyakarta. Ia merupakan salah satu pendiri Fourcolours Films, rumah produksi yang berlokasi di
Yogyakarta. Film panjangnya yang berjudul Siti (2014) berhasil memenangkan berbagai penghargaan salah
satunya Piala Citra untuk Film Terbaik dan Penulis Skenario Asli Terbaik. Di tahun 2021, ia menyutradarai film
yang diangkat dari seri televisi Losmen berjudul Losmen Bu Broto bersama Ifa Isfansyah.

Contact : indira@paragonpictures.id

077
 XXI 1 | MON 29 NOV | 18:30

INDONESIAN
SCREEN
AWARDS.
JUST MOM
81 Minutes | 2021 | Indonesia | Fiction

Synopsis
When Siti loses the attention of her biological children, who are established and busy with their respective
jobs, she takes care of Murni, a psychoneurotic pregnant girl. What Siti did made her children worry and
forbade her. Accompanied by her adopted son Jalu, Siti is determined to take care of Murni when her
physical condition is getting weaker due to cancer.
Disaat Siti kehilangan perhatian dari anak-anak kandungnya yang sudah mapan dan sibuk dengan
pekerjaan masing-masing, Ia merawat Murni, seorang ODGJ gelandangan yang tengah hamil tua. Apa
yang dilakukan Siti membuat anak-anaknya khawatir dan melarangnya. Ditemani Jalu anak angkatnya, Siti
nekat merawat Murni disaat kondisi fisiknya semakin melemah karena penyakit kanker.

Director | Jeihan Angga

Jeihan Angga was first known as a short film maker. At least 6 of his short
films from 2011 to 2016 were screened at several Asian festivals. After
completing his film studies at the Indonesian Art Institute-Yogyakarta, the
man who was born in 1990 started his career in the film industry through the
film “Mecca I’m Coming” in 2020. This film received good appreciation from
film lovers and won several Awards at the national level. In 2021, Jeihan
completed 4 feature films, 2 short films and a series with Dapur Film. Just
Mom is his second film.
Jeihan Angga dikenal pertama kali sebagai pembuat film pendek.
Setidaknya 6 film pendeknya dari tahun 2011 hingga 2016 telah diputar
di beberapa festival tingkat asia. Setelah menyelesaikan studi filmnya
di Institut Seni Indonesia-Yogyakarta, pria kelahiran 1990 ini mengawali
karir di industri film lewat film “Mekah I’m Coming” di tahun 2020. Film
ini mendapat Apresiasi baik dari para pecinta film dan memenangkan
beberapa penghargaan di tingkat nasional. Di tahun 2021, Jeihan telah
menyelesaikan 4 Film Panjang 2 film pendek dan satu serial bersama
Dapur Film. Film Ibu merupakan film kedua-nya.

Contact : jeihan.angga@gmail.com

078
 XXI 4 | SUN 28 NOV | 14:00

INDONESIAN
SCREEN
AWARDS.
PARANOIA
101 Minutes | 2021 | Indonesia | Fiction

Synopsis
DINA (36) is a woman who lives in fear. She ran away from her abusive husband, GION (45) and now lives
in Bali with their teenaged daughter, LAURA (17). Dina’s fear of Gion leads her to become increasingly
overprotective of Laura. For Laura, her mother is just being paranoid, since her father happens to be in
prison for another 4 years. When Covid-19 pandemic breaks, Indonesian government release a number
of prisoners to slow down the spread of Covid-19 in penitentiaries. Gion is one of them. Dina panics and
decides to find a new hiding place. She knows for sure that Gion will hunt her down, not only because she
took their only daughter, but she took also his valuable antique statue away with her. In their new hiding
place in a remote villa, they meet a stranger, RAKA (37), who stays in a villa nearby. Dina is suspicious of him
because he could very well be someone that Gion sent, but Laura is intrigued by him. Laura secretly visits
Raka and get acquainted with him. Dina soon finds out that Gion knows her hiding place. She must decide
whether to ask Raka for help or face Gion alone.
Dina (36) adalah seorang perempuan yang hidup dalam ketakutan. Dia melarikan diri dari suaminya yang
kasar, Gion (45) dan sekarang tinggal di Bali bersama putri remaja mereka, Laura (17). Ketakutan Dina
terhadap Gion membuatnya menjadi semakin overprotektif terhadap Laura. Bagi Laura, ibunya hanya
paranoid, karena ayahnya masih akan berada di dalam penjara selama 4 tahun ke depan. Saat pandemi
Covid-19 mereda, pemerintah Indonesia membebaskan sejumlah narapidana untuk memperlambat
penyebaran Covid-19 di lembaga pemasyarakatan. Gion adalah salah satunya. Dina panik dan memutuskan
untuk mencari tempat persembunyian baru. Dia tahu pasti bahwa Gion akan memburunya, bukan hanya
karena dia membawa putri mereka satu-satunya, tetapi dia juga membawa pergi patung antiknya yang
berharga. Di tempat persembunyian baru mereka di sebuah vila terpencil, mereka bertemu dengan
orang asing, Raka (37) yang tinggal di sebuah vila di dekatnya. Dina curiga padanya karena dia bisa saja
adalah orang suruhan Gion, tapi Laura juga penasaran padanya. Laura diam-diam mengunjungi Raka dan
berkenalan dengannya. Tak lama kemudian, Dina mengetahui bahwa Gion tahu tempat persembunyiannya.
Dia harus memutuskan apakah akan meminta bantuan Raka atau menghadapi Gion sendirian.
Director | Riri Riza
Riri Riza is an Indonesian screenwriter-director and a partner in Miles Films.
Riri has directed Indonesian art-house fares, along with Indonesian box
office hits. Riri’s films have been screened in prestigious film festivals such
as Berlinale, Tokyo, Busan, Rotterdam, Vancouver and have also received
numerous international Awards. His recent film, a drama thriller “Paranoia”
(2021), premiered at the 25th Bucheon International Fantastic Film Festival
in South Korea. He currently teaches film directing at his alma mater,
Jakarta Institute of Arts.
Riri Riza adalah penulis skenario-sutradara Indonesia dan partner di
Miles Films. Riri pernah menyutradarai film-film art-house dan box office
hits Indonesia. Film Riri telah diputar di festival film bergengsi seperti
Berlinale, Tokyo, Busan, Rotterdam, Vancouver dan juga telah menerima
berbagai penghargaan internasional. Film terbarunya, sebuah drama
thriller “Paranoia” (2021), ditayangkan perdana pada 25th Bucheon
International Fantastic Film Festival di Korea Selatan. Saat ini, ia mengajar
penyutradaraan film di almamaternya, Institut Kesenian Jakarta.
Contact : milespublicist@gmail.com
079
 XXI 2 | TUE 30 NOV | 12:15
XXI 1 | WED 01 DES | 13:00

INDONESIAN
SCREEN
AWARDS. PREMAN
91 Minutes | 2021 | Indonesia | Fiction

Synopsis
SANDI is a deaf thug who works for a gang disguised as a non-government organization lead by GURU.
Always complicit in his boss’ illicit dealings, Sandi suddenly has to make a difficult choice to go against
his entire gang when his son PANDU witnesses a murder committed by Guru. As the father and son go
INDONESIAN PREMIERE

through a chain of violent consequences, Sandi gets closer and closer to facing his tragic past that led him
to become what he is now, culminating in a brutal clash between surrealistic nightmares and nightmarish
reality.
Sandi adalah preman tuli yang bekerja untuk suatu geng yang menyamar sebagai organisasi non-
pemerintah yang dipimpin oleh Guru. Karena selalu terlibat dalam transaksi terlarang bosnya, Sandi
tiba-tiba harus membuat pilihan yang sulit untuk balik melawan seluruh gengnya ketika putranya Pandu
menyaksikan pembunuhan yang dilakukan oleh Guru. Ketika ayah dan anak itu menjalani serangkaian
kekerasan sebagai konsekuensi, Sandi semakin mundur, menghadapi masa lalu tragis yang membuatnya
menjadi seperti sekarang ini, yang berpuncak pada bentrokan brutal antara mimpi buruk yang surealis dan
kenyataan yang seperti mimpi buruk.

Director | Randolph Zaini

Randolph Zaini is an Indonesian film director and screenwriter. His short
film, “Polisi Maling’’ was screened at 18 festivals around the world, earning
22 Awards and nominations. Preman is Randolph’s feature directorial debut.
The film has been accepted to Seattle International Film Festival, Shanghai
International Film Festival, Fantastic Fest, and Urbanworld Film Festival. It
recently swept 8 nominations in Festival Film Indonesia. Randolph earned
his B.A. in Philosophy from University of Hartford, Connecticut, and his
M.F.A. in Film & TV Production from USC School of Cinematic Arts.
Randolph Zaini adalah seorang sutradara dan penulis skenario film
Indonesia. Film pendeknya, “Polisi Maling” diputar di 18 festival di seluruh
dunia, mendapatkan 22 penghargaan dan nominasi. Preman adalah
debut film panjang pertama Randolph. Film ini telah diputar di Seattle
International Film Festival, Shanghai International Film Festival, Fantastic
Fest, dan Urbanworld Film Festival. Baru-baru ini, ia menyapu 8 nominasi
di Festival Film Indonesia. Randolph meraih gelar B.A. jurusan Filsafat dari
University of Hartford, Connecticut, dan gelar M.F.A. jurusan Produksi Film
& TV dari USC School of Cinematic Arts.

Contact : randolph@introversy.com

080
 XXI 3 | FRI 03 DES | 14:00
XXI 2 | SAT 04 DES | 13:45

INDONESIAN
SCREEN
AWARDS. TEKA TEKI TIKA
101Minutes | 2021 | Indonesia | Fiction

Synopsis
Budiman (Ferry Salim) dan Sherly (Jenny Zhang) tengah merayakan ulang tahun pernikahan di
rumah megah mereka. Arnold (Dion Wiyoko), Laura (Eriska Rein), Andre (Morgan Oey), dan Jane
(Tansri Kemala) datang untuk merayakan sembari berakhir pekan. Mereka tengah berbahagia
juga karena Budiman akan mendapatkan proyek besar dari pemerintah. Tapi suasana makan

WORLD PREMIERE
malam yang hangat mendadak terganggu oleh kehadiran seorang perempuan misterius.
Perempuan itu, Tika (Sheila Dara Aisha), mengaku sebagai anak kandung Budiman. Maksud kedatangannya,
adalah meminta ganti rugi karna selama ini sudah ditelantarkan. Siapa sebenarnya Tika? Apa yang ia
inginkan dari keluarga ini? Saksikan selengkapnya di Teka-Teki Tika!
Budiman (Ferry Salim) dan Sherly (Jenny Zhang) tengah merayakan ulang tahun pernikahan di rumah
megah mereka. Arnold (Dion Wiyoko), Laura (Eriska Rein), Andre (Morgan Oey), dan Jane (Tansri Kemala)
datang untuk merayakan sembari berakhir pekan. Mereka tengah berbahagia juga karena Budiman akan
mendapatkan proyek besar dari pemerintah. Tapi suasana makan malam yang hangat mendadak terganggu
oleh kehadiran seorang perempuan misterius. Perempuan itu, Tika (Sheila Dara Aisha), mengaku sebagai
anak kandung Budiman. Maksud kedatangannya, adalah meminta ganti rugi karna selama ini sudah
ditelantarkan. Siapa sebenarnya Tika? Apa yang ia inginkan dari keluarga ini? Saksikan selengkapnya di
Teka-Teki Tika!

Director | Ernest Prakasa

Ernest Prakasa mengawali popularitasnya sebagai komedian di ajang
stand-up comedy. Ia kemudian turut bermain di sejumlah film, yaitu Make
© Jozz Felix

Money (2013), Comic 8 (2014), Kukejar Cinta ke Negeri Cina (2014), CJR
The Movie (2015), dan Comic 8: Casino Kings (2015). Tak berselang lama,
ia juga menjajaki profesi di balik layar dengan menjadi penulis skenario dan
sutradara lewat debutnya, Ngenest. Pada tahun 2016 ia tidak hanya duduk
sebagai sutradara, tapi juga turut menjadi penulis skenario, sekaligus
pemeran utama dalam film keduanya, Cek Toko Sebelah. Beberapa karya
film yang sudah ia sutradarai adalah Susah Sinyal (2017), Milly & Mamet:
Ini Bukan Cinta & Rangga (2018), Imperfect: Karier, Cinta & Timbangan
(2019), dan Teka-Teki Tika (2021).
Ernest Prakasa starts his career as a stand-up comedian. He then starred
in several films such as Make Money (2013), Comic 8 (2014), Kukejar Cinta
ke Negeri Cina (2014), CJR The Movie (2015), and Comic 8: Casino Kings
(2015). Not long after that, he began to work behind the scene as a scriptwriter and director for his debut
film, Ngenest. In 2016, aside from working as the director, Ernest also acts as the scriptwriter and the lead
actor of his second feature film, Cek Toko Sebelah. Several feature films he directed including Susah Sinyal
(2017), Milly & Mamet: Ini Bukan Cinta & Rangga (2018), Imperfect: Karier, Cinta & Timbangan (2019), and
Teka-Teki Tika (2021).

Contact : kharismastarvisionplus@gmail.com

081
 XXI 1 | THU 02 DES | 10:45
XXI 1 | FRI 03 DES | 13:15

INDONESIAN
SCREEN
AWARDS.
PERJALANAN PERTAMA
95 Minutes | 2021 | Indonesia | Fiction

Synopsis
Tan is a ring craftsman working for a souvenir workshop in a small village, or at least that is what Yahya, his
grandson, knows. Yahya is growing child who ask lots of questions to his grandfather, especially his parents’
identities. All puzzles are solved slowly as they face problems in a journey they take to deliver Tan’s painting.
A journey that will change Yahya’s and Tan’s whole lives.
ASIAN PREMIERE

Tan adalah seorang pengrajin cincin yang bekerja di bengkel souvenir di sebuah desa kecil, atau setidaknya
itulah yang diketahui oleh Yahya, cucunya. Yahya adalah anak tumbuh yang banyak bertanya kepada
kakeknya, terutama identitas orang tuanya. Semua teka-teki dipecahkan perlahan saat mereka menghadapi
masalah dalam perjalanan yang mereka lakukan untuk mengantarkan lukisan Tan. Sebuah perjalanan yang
akan mengubah seluruh hidup Yahya dan Tan.

Director | Arief Malinmudo

Arif Malinmudo is Indonesian director and script writer who received national
attention for his movie Money Talk in 2011. The film, which was directed
when he was still at collage, was nominated for the best short movie in Anti-
Corruption Film Festival (ACFFest). After finishing his studies, Arif Malinmudo
wrote several movie scripts and directed those movies himself. In 2017,
his movies entitled Surau dan Silek movies was widely accepted, both
nationally and internationally, and played on screen in some countries such
as Australia, the USA, Italy, Algeria, and Bulgaria. His consistency in making
films that are minangkabau-culture related continued when he directed Liam
dan Laila in 2019. He always tries to make positive contribution to his society
through his films that contain local wisdom messages as a result of his
social research done before each film.

Arif Malinmudo adalah sutradara dan penulis naskah Film Indonesia

yang mendapat perhatian nasional untuk filmnya Money Talk pada
tahun 2011. Film yang disutradarai saat masih kolase ini masuk
dalam nominasi film pendek terbaik dalam Festival Film Antikorupsi (ACFFest). Setelah menyelesaikan
studinya, Arif Malinmudo menulis beberapa naskah film dan menyutradarai sendiri film-film tersebut.
Pada tahun 2017, film-filmnya yang berjudul film Surau dan Silek diterima secara luas, baik secara
nasional maupun internasional, dan diputar di layar kaca di beberapa negara seperti Australia, Amerika
Serikat, Italia, Aljazair, dan Bulgaria. Konsistensinya dalam membuat film-film yang berbau budaya
minangkabau berlanjut ketika ia menyutradarai Liam dan Laila pada tahun 2019. Ia selalu berusaha
memberikan kontribusi positif bagi masyarakatnya melalui film-filmnya yang mengandung pesan-pesan
kearifan lokal sebagai hasil penelitian sosial yang dilakukannya sebelum setiap film.

Contact : randolph@introversy.com

082
 XXI 2 | MON 29 NOV | 15:15

INDONESIAN
SCREEN
AWARDS.
KADET 1947
107Minutes | 2021 | Indonesia | Fiction

Synopsis
It is 1947, the second year of Indonesian independence declaration on August 17, 1945. That year, Indonesia
already has its own Air Force (TNI-AU) which is part of the national military force. The story revolves around
Sutardjo Sigit (Bisma Karisma), Mulyono (Kevin Julio), Suharnoko Harbani (Omara Esteghlal), Bambang
Saptoadji (Marthino Lio) who was cadets at the Air Force’s Maguwo flight school in Yogyakarta in 1947.
These young people hope that one day they can finish their education and officially serve as air force pilots.
One day (July 1947), the Dutch carries out military attacks in a number of regions in Java and Sumatra
because they want to reclaim these areas. This incident killed many residents, including the bombing of
Maguwo airport. The cadets are determined to retaliate against the Dutch headquarters around Semarang,
Salatiga, and Ambarawa, by air strikes. The cadets who have not officially serve the air force devised an
attack strategy and secretly repair a number of warplanes left by the Japanese army, with the help of aircraft
technician Kaput (Fajar Nugra) and air gunner Dulrachman (Chicco Kurniawan) and air sergeant Sutardjo
(Wafda). Saifan). Their struggle begins here.
Tahun 1947 menjadi tahun kedua setelah Indonesia menyatakan kemerdekaan pada 17 Agustus 1945.
Pada tahun tersebut, Indonesia telah memiliki Tentara Nasional Indonesia Angkatan Udara (TNI-AU)
yang menjadi bagian dari kekuatan militer nasional. Cerita berkisar pada Sutardjo Sigit (Bisma Karisma),
Mulyono (Kevin Julio), Suharnoko Harbani (Omara Esteghlal), Bambang Saptoadji (Marthino Lio)
yang menjadi kadet di sekolah penerbangan Maguwo milik TNI AU di Yogyakarta di tahun 1947. Para
pemuda ini berharap, suatu hari mereka dapat lulus pendidikan dan resmi menjadi seorang penerbang
angkatan udara. Suatu hari di bulan Juli 1947, Belanda melakukan serangan militer ke sejumlah titik di
wilayah Jawa dan Sumatera karena ingin merebut kembali wilayah tersebut. Peristiwa ini mengorbankan
banyak penduduk, termasuk bangunan di bandara Maguwo yang dijatuhi bom. Para kadet pun bertekad
untuk melakukan serangan balasan ke markas Belanda yang ada di sekitar Semarang, Salatiga, dan
Ambarawa, melalui udara. Para kadet yang belum resmi menjadi angkatan udara ini kemudian menyusun
strategi penyerangan dan memperbaiki sejumlah pesawat perang peninggalan tentara Jepang secara
diam-diam, dengan bantuan dari teknisi pesawat Kaput (Fajar Nugra) dan penembak udara Dulrachman
(Chicco Kurniawan) serta sersan udara Sutardjo (Wafda Saifan). Perjuangan mereka dimulai dari sini.

Director | Rahabi Mandra and Winaldo Artaraya Swastia

Rahabi started his career in the film industry as an assistant director for “Habibie & Ainun.” Then he directed
and wrote the action drama film “2014” which was nominated for Best Director, Best Screenwriter at Bandung
Film Festival 2015, as well as an official selection at Osaka Film Festival 2015. He wrote 15 screenplays and
5 web series in the last 7 years., among which is “”Night Bus”” that won The Best Adaptation Screenplay
Awards at Festival Film Indonesia 2017. One of his latest phenomenal works is the 2018 Asian Games
welcoming video—a motorcycle stunt by President Joko Widodo arriving at the opening ceremony.
After graduating from the Jakarta Institute of The Arts (Cum Laude) in 2010, Winaldo started his career by
directing 14 short films. One of them is “Angin”, a film about the life of a monk which was nominated for Best
Short Film at Festival Film Indonesia 2010 and screened at various international film festivals, including in
Singapore and India. Winaldo has also been assistant director for several notable directors, such as Hanung
Bramantyo and Garin Nugroho. He also co-directed and co-wrote “Mooncake Story” with Garin Nugroho.
Beside making films, Winaldo wrote a short story book, “Memorabilia 8 Februari” that was published by

Contact : halo@temata.id
083
Gramedia Pustaka Utama in 2014.Rahabi memulai karirnya di industri
film sebagai asisten sutradara untuk “Habibie & Ainun.” Kemudian ia
menyutradarai dan menulis film drama action “2014” yang mendapatkan
nominasi Sutradara Terbaik, Penulis Skenario Terbaik dalam Festival Film
Bandung 2015, serta official selection untuk Osaka Film Festival 2015.
Ia telah menulis 15 skenario layar lebar dan 5 web series dalam 7 tahun
terakhir, di antaranya film “Night Bus” memenangkan kategori skenario
adaptasi terbaik dalam Festival Film Indonesia 2017. Salah satu karya
terbarunya yang fenomenal adalah Asian Games 2018 welcoming video—
sebuah aksi motor Presiden Joko Widodo tiba di opening ceremony.
Setelah lulus dari Institut Kesenian Jakarta dengan predikat Cum Laude
pada 2010, Winaldo memulai karier dengan menyutradarai 14 film pendek.
Salah satunya adalah “Angin”, film yang memotret kehidupan biksu, yang
mendapatkan nominasi Film Pendek Terbaik dalam Festival Film Indonesia
2010 dan diputar di berbagai festival film di luar negeri, antara lain di
Singapura dan India. Winaldo juga pernah menjadi assistant director
untuk beberapa sutradara ternama, seperti Hanung Bramantyo dan Garin
Nugroho. Ia juga pernah menjadi co-director dan co-writer untuk film
“Mooncake Story” bersama Garin Nugroho. Selain membuat film, Winaldo
pernah menulis beberapa cerita pendek yang dibukukan oleh Gramedia
Pustaka Utama pada 2014 dengan judul “Memorabilia 8 Februari”.

084
085
086
Asian Perspectives Notes
ALEXANDER MATIUS & GORIVANA AGEZA
Jendela Asia
F A
ilm adalah perkara perspektif, yang
mengandaikan keberadaan layar sekaligus
bingkai. Di sisi ini, film analog dengan jendela,
sebuah bingkai yang memungkinkan kita melihat ke
luar, Bagaikan ventilasi pengetahuan dan gagasan,
pemahaman kita atas dunia sedikit banyak
dipengaruhi oleh itu. Film memungkinkan kita
terhubung dengan kisah-kisah di berbagai belahan
dunia, yang secara fisik belum tentu dapat langsung
kita sambangi. Pandemi mengeksplisitkan kondisi
ini, kini kita kian terbiasa dan bergantung terhadap
layar. Melalui program Asian Perspectives, kita
“berkenalan” dan mengeksplorasi beragam sisi dari
Asia. Film-film ini mengabadikan dinamika yang
terjadi di Asia, khususnya perubahan yang terjadi
dalam beberapa tahun terakhir. Setiap konteks
ruang dan waktu menghadirkan fenomena yang
khas. Tantangan dan konflik hadir kapan pun dan
di mana pun, tanpa terkecuali. Sekaligus pula, film-
film ini memberikan pandangan dan pemahaman
kepada kita, bahwasanya ada keragaman
respon dalam menghadapi persoalan, begitu
pula dengan pilihan jalan yang ditempuh untuk
menyelesaikannya. Tidak ada “rumusan” solusi
yang dapat berlaku umum bagi semua pihak, atau
begitu saja dapat diberlakukan di segala konteks.
Program ini sekaligus pula menjadi kesempatan
untuk menelisik kembali nilai-nilai yang selama ini
hidup dan mengakar dalam keseharian kita. Acap
kali kita mengira bahwa jawaban atas pertanyaan
dan persoalan adalah sesuatu yang entah berada
di mana, dan mesti dicari di kejauhan. Kita
terkadang alpa, bahwa itu sesungguhnya demikian
dekat dengan kedirian kita sendiri.
087
Windows to Asia
t the same time, these films provide views and
understanding to us that there are various
responses when dealing with problems,
as well as a choice of paths taken to solve them.
There is no “formulation” of a solution that can be
generalized to all parties, or simply applied in all
contexts. Film is a matter of Perspectives, which
presupposes the existence of a screen as well as
a frame. In this way, film is analogous to a window,
a frame that allows us to see outside. Like a vent
of knowledge and ideas, our understanding of the
world is more or less affected by it. Films allow us
to connect with stories in various parts of the world,
which we may not physically be able to go directly
to. The pandemic has made this condition explicit,
now we are increasingly used to and dependent
on screens. Through the Asian Perspectivess
program, we “get to know” and explore various
sides of Asia. These films capture the dynamics of
what is happening in Asia, especially the changes
that have occurred in recent years. Each context of
space and time presents a unique phenomenon.
Challenges and conflicts are present anytime and
anywhere, without exception. This program is also
an opportunity to re-examine the values that have
been living and rooted in our daily lives. We often
think that the answers to questions and problems
are something that lie somewhere, and must be
sought from a distance. We sometimes forget that
it is actually so close to our own self.
 XXI 1 | WED 01 DES | 10:00
XXI 1 | FRI 03 DES | 10:00

ASIAN
PERSPECTIVES
MEMORIA
136 Minutes | 2021 | Colombia, Thailand, United Kingdom,
France, Germany, Mexico | Fiction

Synopsis
Ever since being startled by a loud ‘bang’ at daybreak, Jessica (Tilda Swinton) is unable to sleep. In
Bogotá to visit her sister, she befriends Agnes (Jeanne Balibar), an archaeologist studying human remains
discovered within a tunnel under construction. Jessica travels to see Agnes at the excavation site. In a small
INDONESIAN PREMIERE

town nearby, she encounters a fish scaler, Hernan (Elkin Diaz). They share memories by the river. As the day
comes to a close, Jessica is awakened to a sense of clarity.
Sejak dikejutkan oleh ‘ledakan’ keras saat fajar menyingsing, Jessica (Tilda Swinton) tidak bisa tidur. Dia
ke Bogotá untuk mengunjungi saudara perempuannya, ia menjalin pertemanan dengan Agnes (Jeanne
Balibar), seorang arkeolog yang mempelajari sisa-sisa tulang manusia yang ditemukan di dalam terowongan
di bawah tanah konstruksi. Jessica pergi menemui Agnes di lokasi penggalian. Di sebuah kota kecil di
dekatnya, ia bertemu dengan seorang penimbang ikan, Hernan (Elkin Diaz). Mereka berbagi kenangan di
tepi sungai. Saat hari hampir berakhir, Jessica terbangun dengan perasaan yang jernih.

Director | Apichatpong Weerasethakul

Apichatpong Weerasethakul grew up in Khon Kaen in north-eastern Thailand. He began making film
and video shorts in 1994, and completed his first feature in 2000. He has also mounted exhibitions and
installations in many countries since 1998. Often non-linear, with a strong sense of dislocation, his works
deal with memory, subtly addressed personal politics and social issues. His art projects and feature films
have won him widespread recognition and numerous festival prizes, including two prizes (Special Jury Prize,
and Palme d’Or) from the Cannes Film Festival. In 2016, a retrospective of his films was presented at Tate
Modern, London. Since 2016, a large scale retrospective of his visual artworks has been held at various
countries, starting at MAIIAM Contemporary Art Museum, Chiang Mai, The Museum of Contemporary Art
and Design (MCAD), Manila, Oklahoma City Museum of Art, and Taipei Fine Arts Museum. His latest film,
Memoria, sets in Colombia and features an actress Tilda Swinton, won the Jury Prize at Cannes Film Festival
in 2021. Apichatpong lives in Chiang Mai, Thailand.
Apichatpong Weerasethakul dibesarkan di Khon Kaen di timur laut Thailand.
Ia mulai membuat film pendek dan video pendek pada tahun 1994, dan
menyelesaikan film panjang pertamanya pada tahun 2000. Ia juga telah
menyelenggarakan pameran dan instalasi di banyak negara sejak tahun
1998. Seringkali non-linier, dengan rasa dislokasi yang kuat, karya-karyanya
berhubungan dengan memori, secara halus menyoroti masalah politik dan
sosial personal. Proyek seni dan film panjangnya telah memberinya pengakuan
luas dan berbagai penghargaan dari festival, termasuk dua penghargaan
(Special Jury Prize, and Palme d’Or) dari Cannes Film Festival. Pada tahun
2016, program retrospektif tentang film-filmnya dipresentasikan di Tate
Modern, London.Sejak tahun 2016, program retrospeksi besar-besaran karya
visualnya telah diadakan di berbagai negara, mulai dari MAIIAM Contemporary
Art Museum, Chiang Mai, The Museum of Contemporary Art and Design
(MCAD), Manila, Oklahoma City Museum of Art, dan Taipei Fine Arts Museum.
Film terbarunya, Memoria, berlatar belakang lokasi di Kolombia, menampilkan
aktris Tilda Swinton, dan memenangkan Penghargaan the Jury Prize di Cannes
Film Festival tahun 2021. Saat ini Apichatpong tinggal di Chiang Mai, Thailand.
Contact : info@matchfactory.de
088
 XXI 2 | TUE 30 NOV | 17:15
XXI 3 | THU 02 DES | 17:00

ASIAN
PERSPECTIVES
DRIVE MY CAR
179 Minutes | 2021 | Japan | Fiction

Synopsis
Yusuke Kafuku, a stage actor and director is happily married to Oto, a screenwriter. However, Oto suddenly
dies after leaving behind a secret. 2 years later, Kafuku, still unable to fully cope with the loss of his wife,
receives an offer to direct a play at a theatre festival and drives to Hiroshima with his car. There, he meets

INDONESIAN PREMIERE
Misaki, a reticent woman assigned to become his chauffeur, As they spend time together, Kafuku confronts
the mystery of his wife that quietly haunts him.
Yusuke Kafuku, seorang aktor panggung dan sutradara memiliki pernikahan yang bahagia dengan Oto,
seorang penulis skenario. Namun, Oto tiba-tiba mati setelah meninggalkan sebuah rahasia. 2 tahun
kemudian, Kafuku, yang masih belum dapat sepenuhnya mengatasi kehilangan istrinya, menerima tawaran
untuk menyutradarai drama di festival teater dan pergi ke Hiroshima dengan mobilnya. Di sana, ia bertemu
Misaki, seorang wanita pendiam yang ditugaskan untuk menjadi sopirnya, Saat mereka menghabiskan
waktu bersama, Kafuku menghadapi misteri istrinya yang diam-diam menghantuinya.

Director | Ryusuke Hamaguchi

Born in 1978 in Kanagawa prefecture, Japan, Hamaguchi Ryusuke studied
cinema at Tokyo University of the Arts where he directed Passion (2008) as
a graduation project. Afterwards, he directed a co-production film between
Korea and Japan, The Depth (2010), and went on to co-direct with Sakai
Kou a documentary trilogy that presented interviews with the victims from
2011 Tohoku earthquake and tsunami. He drew huge attention with Happy
Hour(2015) which received the Leopard for Best Actress at Locarno Film
Festival and was invited to Cannes Film Festival with Asako (2018) to
compete in the official section. After writing the screenplay of Wife of a Spy
(2020) helmed by Kurosawa Kiyoshi, he directed Wheel of Fortune and
Fantasy in 2021 which received Jury Grand Prix at Berlin Film Festival and
wrote the screenplay of Drive My Car which received Best Screenplay at
Cannes Film Festival
Lahir pada tahun 1978 di prefektur Kanagawa, Jepang, Hamaguchi Ryusuke
belajar sinema di Tokyo University of the Arts di mana ia menyutradarai film
“Passion” (2008) sebagai proyek tugas akhirnya. Setelah itu, ia menyutradarai sebuah film yang merupakan
karya co-production antara Korea dan Jepang, “The Depth” (2010), lalu lanjut menyutradarai sebuah trilogi
dokumenter yang menyajikan wawancara dengan para korban dari gempa bumi dan tsunami Tohoku
bersama Sakai Kou pada tahun 2011. Dia menarik perhatian dunia dengan “Happy Hour” (2015) yang
menerima penghargaan Best Actress di Locarno Film Festival dan diundang ke Cannes Film Festival untuk
filmnya “Asako” (2018) yang berkompetisi di official section. Setelah menulis skenario “Wife of a Spy” (2020)
yang disutradarai oleh Kurosawa Kiyoshi, ia menyutradarai “Wheel of Fortune dan Fantasy” pada tahun
2021 dan mendapatkan penghargaan Jury Grand Prix di Berlin Film Festival. Ia juga menulis skenario “Drive
My Car” yang mendapat penghargaan Best Screenplay di Cannes Film Festival.

Contact : sadai@bitters.co.jp

089
 XXI 1-5 | SAT 27 NOV | 18:00
XXI 2 | THU 02 DEC | 17:45

ASIAN
PERSPECTIVES A HERO
127 Minutes | 2021 | Iran | Fiction

Synopsis
Unable to pay his debt, Rahim has to go to prison. During a two-day leave, he tries to convince his creditor
to withdraw his complaint against the payment of part of the sum. But things don’t go as planned .
INDONESIAN PREMIERE

Tidak dapat membayar hutangnya, Rahim harus masuk penjara. Selama cuti dua hari, ia mencoba
meyakinkan krediturnya untuk menarik pengaduannya terkait pembayaran sebagian dari jumlah hutangnya.
Tetapi hal-hal tidak berjalan seperti yang direncanakan

Director | Asghar Farhadi

Iranian writer-director Asghar Farhadi came to international prominence
with A Separation (2011), winner of the Oscar® for Best Foreign Language
Film and the Golden Bear and Prize of the Ecumenical Jury at the Berlin
International Film Festival. His other films include The Past (2013), winner of
the Prize of the Ecumenical Jury at the Cannes Film Festival; The Salesman
(2016), another Best Foreign Language Film Oscar winner; and Everybody
Knows (2018).
Penulis-sutradara Iran Asghar Farhadi menjadi terkenal di kancah
internasional dengan film “A Separation” (2011), yang menjadi pemenang
oscar kategori Best Foreign Language Film and the Golden Bear dan Prize
of the Ecumenical Jury di the Berlin International Film Festival. Film-filmnya
yang lain termasuk “The Past” (2013), pemenang Penghargaan Ecumenical
Jury di the Cannes Film Festival; “The Salesman” (2016), pemenang Oscar
kategori Best Foreign Language ; dan “Everybody Knows” (2018).

Contact : distribution@emmento-films.com

090
 XXI 4 | TUE 30 NOV | 16:30
XXI 5 | WED 01 DEC | 15:00

ASIAN
PERSPECTIVES THREE STRANGERS
68 Minutes | 2021 | Myanmar | Non-Fiction

Synopsis
Gwa To, a transgender man from a remote village in Rakhine, plans for relationship impermanence, assuming
all women will eventually move on to “real” men. Ma Soe, a high school dropout with a traveling troupe, has
sworn off marriage because she doesn’t want to end up with a drunk like her father. At a village event, Gwa

INDONESIAN PREMIERE
To sees Ma Soe sing and falls in love. After a brief period of courtship, Ma Soe and Gwa To live together as
a couple. Their relationship is tested when Gwa To brings home a two-month old boy, Phoe Htoo, put up for
adoption.
Gwa To, seorang pria transgender dari desa terpencil di Rakhine, menganggap hubungan percintaan
adalah fana, dengan berasumsi bahwa semua wanita pada akhirnya akan berpaling ke pria “sejati”. Ma
Soe, seorang anak putus sekolah menengah atas, anggota rombongan petualang, telah bersumpah untuk
tidak menikah karena dia tidak ingin menghabiskan hidup bersama seorang pemabuk seperti ayahnya. Di
sebuah acara desa, Gwa To melihat Ma Soe bernyanyi dan jatuh cinta. Setelah masa pacaran yang singkat,
Ma Soe dan Gwa To hidup bersama sebagai pasangan. Hubungan mereka diuji ketika Gwa To membawa
pulang seorang anak laki-laki berusia dua bulan, Phoe Htoo, untuk adopsi.

Director | Lamin Oo
Lamin Oo is a Myanmar documentary filmmaker based in Yangon. After graduating from Gettysburg
College (USA), Lamin returned to home in 2013 to start an independent film production house Tagu Films
with his childhood friends. In 2014, he produced an Awards-winning documentary film, “This Land Is Our
Land”, which captured the plights of farmers in Myanmar. Since then, he has collaborated with local and
international filmmakers on an array of stories about Myanmar and its people. His work has been recognized
with Awards locally and internationally. In 2016, Lamin received The Power
of Film Humanitarian Awards given by FilmAid Asia for his documentaries.
Lamin Oo adalah pembuat film dokumenter Myanmar yang tinggal di
Yangon. Setelah lulus dari Gettysburg College (AS), Lamin kembali ke
rumah pada tahun 2013 untuk memulai rumah produksi film sendiri
bernama Tagu Films bersama teman-teman masa kecilnya. Pada tahun
2014, ia memproduksi film dokumenter yang memenangkan penghargaan,
“This Land Is Our Land”, yang menggambarkan penderitaan para petani
di Myanmar. Sejak itu, ia telah berkolaborasi dengan pembuat film
lokal dan internasional yang memuat sederet cerita tentang Myanmar
dan masyarakatnya. Karyanya telah diakui dengan penghargaan lokal
dan internasional. Pada tahun 2016, Lamin menerima The Power of
Film Humanitarian Awards yang diberikan oleh FilmAid Asia untuk film
dokumenternya.

Contact : oo.lamin@gmail.com

091
 XXI 3 | WED 01 DEC | 15:45
XXI 3 | THU 02 DEC | 14:15

ASIAN WHEEL OF FORTUNE

PERSPECTIVES
AND FANTASY
121 Minutes | 2021 | Japan | Fiction

Synopsis
Meiko is startled when she realizes that the man who her best friend starts to have feelings for, is her ex;
Sasaki plots to trick his college professor out of revenge, using his class-friend-with-benefits Nao, while
Natsuko encounters a woman who seems to be someone from her past, leading the two to confess the
INDONESIAN PREMIERE

feelings they have harbored in their hearts - stories about the complexities of relationships, told through
coincidences that happen in the lives of women in love.

Meiko terkejut ketika dia menyadari bahwa sahabatnya mulai memiliki perasaan kepada pria yang ternyata
adalah mantannya; Sasaki berencana untuk mengelabui profesor kampusnya untuk balas dendam dengan
memanfaatkan Nao, friends with benefits-nya (partner seks tanpa komitmen), sementara Natsuko bertemu
dengan seorang perempuan yang kelihatannya adalah seseorang dari masa lalunya, menggiring keduanya
mengakui perasaan yang telah lama mereka pendam dalam hati - cerita tentang kerumitan hubungan,
diceritakan melalui kebetulan-kebetulan yang terjadi dalam kehidupan perempuan yang sedang jatuh cinta.

Director | Ryusuke Hamaguchi

Born in 1978 in Kanagawa prefecture, Japan, Hamaguchi Ryusuke studied
cinema at Tokyo University of the Arts where he directed Passion (2008) as
a graduation project. Afterwards, he directed a co-production film between
Korea and Japan, The Depth (2010), and went on to co-direct with Sakai
Kou a documentary trilogy that presented interviews with the victims from
2011 Tohoku earthquake and tsunami. He drew huge attention with Happy
Hour(2015) which received the Leopard for Best Actress at Locarno Film
Festival and was invited to Cannes Film Festival with Asako (2018) to
compete in the official section. After writing the screenplay of Wife of a Spy
(2020) helmed by Kurosawa Kiyoshi, he directed Wheel of Fortune and
Fantasy in 2021 which received Jury Grand Prix at Berlin Film Festival and
wrote the screenplay of Drive My Car which received Best Screenplay at
Cannes Film Festival
Lahir pada tahun 1978 di prefektur Kanagawa, Jepang, Hamaguchi
Ryusuke belajar sinema di Tokyo University of the Arts di mana ia menyutradarai film “Passion” (2008) sebagai
proyek tugas akhirnya. Setelah itu, ia menyutradarai sebuah film yang merupakan karya co-production
antara Korea dan Jepang, “The Depth” (2010), lalu lanjut menyutradarai sebuah trilogi dokumenter yang
menyajikan wawancara dengan para korban dari gempa bumi dan tsunami Tohoku bersama Sakai Kou
pada tahun 2011. Dia menarik perhatian dunia dengan “Happy Hour” (2015) yang menerima penghargaan
Best Actress di Locarno Film Festival dan diundang ke Cannes Film Festival untuk filmnya “Asako” (2018)
yang berkompetisi di official section. Setelah menulis skenario “Wife of a Spy” (2020) yang disutradarai oleh
Kurosawa Kiyoshi, ia menyutradarai “Wheel of Fortune dan Fantasy” pada tahun 2021 dan mendapatkan
penghargaan Jury Grand Prix di Berlin Film Festival. Ia juga menulis skenario “Drive My Car” yang mendapat
penghargaan Best Screenplay di Cannes Film Festival.

Contact : tony@m-appeal.com

092
 XXI 4 | SUN 30 NOV | 16:15
XXI 3 | MON 29 NOV | 14:00

ASIAN
PERSPECTIVES BARA
76 Minutes | 2021 | Indonesia | Non-Fiction

Synopsis
As a native Dayak of Borneo, Iber Djamal (77) has witnessed two decades of ecological disasters that
have destroyed Borneo’s forest. With the time he has left in his life, he is fighting to obtain a legal title for
the remaining customary forest surrounding his home. In 1996, one million hectares of Borneo’s forest was

INDONESIAN PREMIERE
destroyed for Mega Rice Project. The large-scale government project aims to convert Borneo’s rainforest
into agricultural crop land. Iber Djamal was part of indigenous communities who opposed this project
unsuccesfully. But now, with the expansion of palm oil plantations, indigenous Dayak people like him
are asked to sign an agreement for the companies to further encroach their forest. Although his children
encourage him to go with the flow, Iber Djamal insists on pursuing the only legal way to protect the forest by
obtaining a legal customary forest title for the remaining forest in his area.
Sebagai orang Dayak asli Kalimantan, Iber Djamal (77) telah menyaksikan dua dekade bencana ekologis
yang menghancurkan hutan Kalimantan. Dengan sisa waktu hidupnya, ia berjuang untuk mendapatkan hak
legal atas sisa hutan adat yang ada di sekitar rumahnya. Pada tahun 1996, satu juta hektar hutan Kalimantan
dihancurkan untuk Mega Rice Project. Proyek pemerintah skala besar itu bertujuan untuk mengubah hutan
hujan Kalimantan menjadi lahan pertanian. Iber Djamal adalah bagian dari masyarakat adat yang menentang
proyek ini tetapi tidak berhasil. Namun kini, dengan perluasan perkebunan kelapa sawit, masyarakat adat
Dayak sepertinya diminta menandatangani kesepakatan agar perusahaan-perusahaan tersebut semakin
merambah hutan mereka. Meski anak-anaknya mendorongnya untuk mengikuti arus, Iber Djamal bersikeras
menempuh satu-satunya cara legal untuk melindungi hutan dengan mendapatkan sertifikat hutan adat yang
sah untuk hutan yang tersisa di wilayahnya.

Director | Arfan Sabran

Arfan is a respected Indonesian documentary filmmaker and alumni of
Indonesia’s InDocs institution. Born in Makassar, his debut documentary,
“Suster Apung’’ won Best Film at the Eagle Awards in 2006. Arfan’s films
are known for having a strong visual aesthetic and for uncovering powerful,
unique and colorful characters that audiences feel a personal connection
with. Despite gaining an academic degree in Biology, Arfan’s passion in
cinematography led him to the world of documentary filmmaking and he
has pursued this interest for 15 years. Arfan’s debut feature documentary,
“The Flame’’ premiered at Visions du Réel Film Festival 2021 in Switzerland
and DMZ International Documentary Film Festival 2021 in South Korea.
Arfan adalah pembuat film dokumenter Indonesia yang disegani dan
merupakan alumni InDocs Indonesia. Lahir di Makassar, film dokumenter
debutnya, “Suster Apung’’ memenangkan Film Terbaik di Eagle Awards
2006. Film-film Arfan dikenal memiliki estetika visual yang kuat dan mengungkap karakter yang kuat,
unik, dan penuh warna yang membuat penonton merasakan kedekatan. Meski meraih gelar akademik di
bidang Biologi, hasrat Arfan di bidang sinematografi membawanya ke dunia pembuatan film dokumenter
dan menekuni minat ini selama 15 tahun. Debut film dokumenter panjang Arfan, “The Flame’’ ditayangkan
perdana di Visions du Réel Film Festival 2021 di Swiss dan DMZ International Documentary Film Festival
2021 di Korea Selatan.

Contact : gita.fara@gmail.com

093
 XXI 4 | THU 02 DEC | 18:30
XXI 5 | FRI 03 DEC | 15:30

ASIAN
PERSPECTIVES THE COFFIN PAINTER
95 Minutes | 2021 | China | Fiction

Synopsis
Middle-aged Old Jia and teenage girl Seven came to the town and became neighbors under different
SOUTH EAST ASIAN PREMIERE

circumstances. From indifference to being attached, they look for a new life from each other.

Seorang lansia bernama Jia dan gadis remaja bernama Seven datang ke kota dan menjadi tetangga dengan
kondisi yang berbeda. Bermula dari keacuhan hingga menjadi keterikatan, mereka mencari kehidupan
yang baru dari satu sama lain.

Director | Da Fei
Da Fei, Chinese film writer and director, graduated from Shanxi Media
College in 2007. In 2018, his debut feature “Silent Winter” was selected
to the First Time Filmmaker Section of the 42nd Montreal International Film
Festival. It won more than 20 nominations and Awards including Best Film,
Best Screenwriter at South Africa Independent Film Festival, and Best
Original Screenplay at the London International Film Festival in 2019. “The
Coffin Painter’’ is his second directorial feature.
Da Fei, penulis dan sutradara film dari Tiongkok, lulus dari Shanxi Media
College pada tahun 2007. Pada tahun 2018, debut film panjangnya “Silent
Winter” terpilih di kategori First Time Filmmaker di Montreal International
Film Festival ke-42. Film ini memenangkan lebih dari 20 nominasi dan
penghargaan termasuk Best Film, Best Screenwriter di South Africa
Independent Film Festival dan Best Original Screenplay di London
International Film Festival 2019. “The Coffin Painter” adalah film panjang
kedua yang ia sutradarai.

Contact : 2315393232@qq.com

094
 XXI 5 | WED 01 DEC | 12:45
XXI 5 | THU 02 NOV | 14:00

ASIAN ARUNA VASUDEV -

PERSPECTIVES
MOTHER OF ASIAN CINEMA
65 Minutes | 2021 | India | Non-Fiction

Synopsis
Aruna Vasudev, Founder of Netpac, Cinemaya & Cinefan Film festival has touched the lives of many in the
world of Cinema. This documentary traces her roots from her humble origins in an undivided British India,
to corridors of cinematic universe. It brings together her journey as a film critic, cinema activist and an
impresario, weaving a tapestry that connects the dots that make the large canvas that we know as Asian

WORLD PREMIERE
Cinema Renaissance. This film explores her dynamism painted through a narrative unfolding the lives of
critics, filmmakers, curators and programmers - who are hidden maestros that largely make the cinephilia
culture and by large remain unsung in histories of Cinema.
Aruna Vasudev, Pendiri Netpac, Cinemaya & Cinefan Film festival telah menyentuh kehidupan banyak orang
di dunia perfilman. Film dokumenter ini menelusuri asal-usulnya yang bersahaja yaitu India yang belum
terpecah di masa jajahan Inggris, hingga ke koridor semesta sinematik. Film ini menyatukan perjalanannya
sebagai kritikus film, aktivis sinema dan impresario, menenun permadani yang menghubungkan titik-titik
pada sebuah kanvas besar yang kita kenal sebagai Asian Cinema Renaissance. Film ini mengeksplorasi
dinamismenya yang dilukiskan melalui narasi yang mengungkap kehidupan para kritikus, pembuat film,
kurator, dan programmer - para maestro tersembunyi yang memiliki andil besar dalam menciptakan budaya
cinephilia dan biasanya masih belum mendapatkan tanda jasa dalam sejarah Sinema.

Director | Supriya Suri

Supriya studied film direction with French Art Scholarship in Paris. She
started her career in 2009 as the founding member of Cinedarbaar in India.
With her organisation, she has been involved in curatorial practices, film
criticism and educational programmes in the field of cinema. She wrote
extensively for a film magazine - Indian Auteur and ran a cinema gallery
- 13BCD, New Delhi. As a film curator and critic she was nominated by
the U.S government for the IVLP to talk about Indian Films in the U.S.A
She currently runs her production company Maison Su and directs movies.
She has worked previously on a 52 minute documentary on Buddhadeb
Dasgupta commissioned by the Indian government & recently made a
short fiction film titled “Boys From Hinterland”.
Supriya belajar menyutradarai film melalui French Art Scholarship di
Paris. Dia memulai karirnya pada tahun 2009 sebagai anggota pendiri
Cinedarbaar di India. Dengan organisasinya, ia terlibat dalam kegiatan
kuratorial, kritik film, dan program pendidikan di bidang perfilman. Dia banyak menulis untuk majalah
film - Indian Auteur dan mengelola galeri bioskop - 13BCD, New Delhi. Sebagai kurator dan kritikus film,
ia dinominasikan oleh pemerintah AS untuk IVLP untuk berbicara tentang Film India di AS. Saat ini ia
menjalankan rumah produksinya Maison Su dan menyutradarai film. Sebelumnya, ia pernah mengerjakan
film dokumenter berdurasi 52 menit tentang Buddhadeb Dasgupta yang ditugaskan oleh pemerintah India
dan baru-baru ini memproduksi film fiksi pendek berjudul “Boys From Hinterland”.

Contact : supriasuri@gmail.com

095
 XXI 2 | THU 02 DEC | 15:15
XXI 1 | FRI 03 DEC | 15:45

ASIAN
PERSPECTIVES
NITRAM
112 Minutes | 2021 | Australia | Fiction

Synopsis
Nitram lives with his mother and father in suburban Australia in the Mid 1990s. He lives a life of isolation
and frustration at never being able to fit in. That is until he unexpectedly finds a close friend in a reclusive
SOUTHEAST ASIAN PREMIERE

heiress, Helen. However when that relationship meets a tragic end, and Nitram’s loneliness and anger grow,
he begins a slow descent that leads to disaster
Nitram tinggal bersama ibu dan ayahnya di pinggiran kota Australia pada pertengahan tahun 90-an. Dia
menjalani kehidupan yang terisolasi dan frustasi karena tidak pernah bisa menyesuaikan diri. Sampai dia
tiba-tiba berteman dekat dengan seorang ahli waris kekayaan yang senang menyendiri, Helen. Namun
ketika hubungan itu menemui akhir yang tragis, kesepian dan kemarahan Nitram tumbuh, kewarasannya
mulai menurun dan menggiringnya ke arah bencana.

Director | Justin Kurzel

Justin Kurzel’s first feature film SNOWTOWN, premiered at Adelaide Film
Festival in 2011, winning the Audience Awards. The film screened in over 15
international festivals including Toronto in 2011 and International Critics Week
in Cannes in 2012 where it was Awardsed Special Distinction of the President.
In 2014, Justin directed a feature adaptation of MACBETH
starring Michael Fassbender and Marion Cotillard where it was in
competition at Cannes Film Festival in 2015.
 In 2016 he directed
the blockbuster adaptation of ASSASSINS CREED starring Michael
Fassbender, Marion Cotillard, Jeremy Irons and Charlotte Rampling.
TRUE HISTORY OF THE KELLY GANG, a feature film based on the novel
by Peter Carey and starring George McKay, Russell Crowe and Essie
Davis premiered at the 2019 Toronto Film Festival Gala Section.
Justin is an
Executive Producer on the Apple TV/Paramount miniseries SHANTARAM,
based on the book by Gregory David, being produced by Anonymous
Content.
Film Panjang pertama Justin Kurzel ”Snowtown”, ditayangkan perdana di Adelaide Film Festival pada 2011
dan memenangkan Audience Awards. Film tersebut diputar di lebih dari 15 festival internasional termasuk
Toronto pada 2011 dan International Critics Week di Cannes pada 2012 di mana film tersebut dianugerahi
Special Distinction of the Presiden. Pada tahun 2014, Justin menyutradarai sebuah film panjang yang
diadaptasi dari “”Macbeth”” yang dibintangi oleh Michael Fassbender dan Marion Cotillard. Film tersebut
berkompetisi di Cannes Film Festival pada tahun 2015. Pada tahun 2016 ia menyutradarai film adaptasi
blockbuster dari “”Assassin Creed”” yang dibintangi oleh Michael Fassbender, Marion Cotillard, Jeremy
Irons dan Charlotte Rampling. “True History of The Kelly Gang”, sebuah film banjang yang diadaptasi
dari novel karya Peter Carey dan dibintangi oleh George McKay, Russell Crowe dan Essie Davis. Film
ini ditayangkan perdana di Toronto Film Festival Gala Section 2019. Justin adalah Produser Eksekutif di
mini seri Apple TV/Paramount “”Shantaram””, yang diadaptasi dari sebuah buku karya Gregory David serta
diproduksi oleh Anonymous Content.

Contact : festival@wildbunch.eu

096
 XXI 5 | SUN 28 NOV | 18:30
XXI 4 | MON 29 NOV | 18:00

ASIAN ARE YOU LONESOME

PERSPECTIVES
TONIGHT?
94 Minutes | 2021 | China | Fiction

Synopsis
On a dark night, Xueming hits a pedestrian with his car and flees the scene. Desperate to escape his
feelings of guilt, he decides to approach the dead man’s wife, Mrs Liang. Meanwhile, the body is discovered
- riddled with bullets. Chen, the detective in charge of the investigation, becomes obsessed with the case.

INDONESIAN PREMIERE
Years later, all three remain caught in a tangled web of memories and lies, desperately searching for a truth
that refuses to be revealed.

Pada suatu malam yang gelap, Xueming menabrak pejalan kaki dengan mobilnya dan melarikan diri dari
tempat kejadian. Karena sangat ingin untuk melepaskan diri dari rasa bersalahnya, dia memutuskan untuk
mendekati istri orang yang meninggal itu, Nyonya Liang. Sementara itu, mayat yang ditemukan- penuh
dengan peluru. Chen, detektif yang bertanggung jawab atas penyelidikan, menjadi terobsesi dengan kasus
ini. Bertahun-tahun kemudian, ketiganya tetap terperangkap dalam ingatan dan kebohongan yang ruwet,
dengan putus asa mencari kebenaran yang menolak untuk diungkapkan.

Director | Wen Shipei

Wen Shipei is a Chinese writer and director. With a background in journalism
and commercial production, Shipei attended the graduate film program
at Columbia University, where he studied directing and screenwriting.
ARE YOU LONESOME TONIGHT? is his feature debut, it participated in
Shanghai International Film Festival’s Project Market and won the Talent
Highlight Awards at Berlinale Talent Project Market.

Wen Shipei adalah seorang penulis dan sutradara Tiongkok. Dengan

latar belakang jurnalisme dan produksi komersial, Shipei melanjutkan
studi program pascasarjana film di Columbia University, di mana ia
belajar menjadi sutradara dan penulis skenario. “Are You Lonesome
Tonight?” adalah debut film panjangnya, ia berpartisipasi dalam Shanghai
International Film Festival’s Project Market dan memenangkan the Talent
Highlight Awards di Berlinale Talent Project Market.

Contact : aguilhem@wildbunch.eu

097
 XXI 1 | THU 02 DEC | 15:45
XXI 5 | FRI 03 DEC | 13:30

ASIAN
PERSPECTIVES NINE HILLS ONE VALLEY
75 Minutes | 2021 | India | Non-Fiction

Synopsis
The desire for ethnic supremacy and emergence of politics of identity had put the people of Manipur to an
unceasing violence, amplifying further mistrust and animosity amongst its population. Yet, in the face of
distressed memories, hope thrives.
Hasrat akan supremasi etnis dan munculnya politik identitas telah menempatkan rakyat Manipur di tengah
WORLD PREMIERE

kekerasan yang tak berujung, memperkuat kecurigaan dan permusuhan di antara penduduknya. Namun, di
hadapan ingatan yang menderita, harapan tumbuh subur.

Director | Haobam Paban Kumar

Haobam Paban Kumar is a prominent voice emitting out of the restive
north eastern state of Manipur, India bordering Myanmar dabbling in
both nonfiction and fiction storytelling. His debut film “Lady of The Lake
‘’ featured at 67th Berlin Film Festival 2017. “Nine Hills One Valley’’ is his
second narrative feature.
Haobam Paban Kumar adalah sebuah suara kuat yang berasal dari
negara bagian Manipur, negara bagian timur laut India yang bergolak dan
berbatasan dengan Myanmar, yang berkecimpung di dunia penceritaan
non-fiksi dan fiksi. Film debutnya “Lady of The Lake” diputar di di 67th
Berlin Film Festival 2017. “Nine Hills One Valley” adalah film panjang naratif
keduanya.

Contact : haobampaban@gmail.com

098
 XXI 3 | THU 02 DEC | 12:15
XXI 4 | FRI 03 DEC | 16:30

ASIAN
PERSPECTIVES MARAPU, FIRE & RITUAL
78 Minutes | 2020 | Indonesia | Non-Fiction

Synopsis
In 2016, Poho Maga became possessed by a Satanic spirit. In a single afternoon, he murdered a man, killed
a horse and burned down a thousand year old sacred village. He remains in prison for his actions. One
year later, his brother also became possessed by Satan and since then has been locked in a homemade
bamboo cage to prevent him from repeating his brothers actions. Sodan village is the center of West Sumba
culture and the spiritual homeland of the ancient religion known as Marapu. A practice that worships and

WORLD PREMIERE
communicates with ancestor spirits through sacred ritual and sacrifice. The ancestor spirits fled the village
when it burned down, dividing the leadership and severing their important connection to the spirit world.
The spirits have yet to return. Marapu, Fire & Ritual is a story that follows Pak Ledi, Poho Maga’s uncle, as he
overcomes his family’s tarnished reputation by taking responsibility to fix the past. He believes it is the right
timing to conduct a sacred four day ritual to invite the Marapu spirits back into the village. But not everyone
agrees to this. Pak Ledi must first unite the village leaders.
Pada tahun 2016, Poho Maga dirasuki oleh roh jahat. Dalam satu sore, dia membunuh seorang pria,
seekor kuda dan membakar desa suci yang berusia seribu tahun. Dia tetap di penjara atas tindakannya.
Satu tahun kemudian, saudaranya juga dirasuki setan dan sejak saat itu dikurung dalam sangkar bambu
buatan sendiri untuk mencegahnya mengulangi perbuatan saudara-saudaranya. Desa Sodan adalah pusat
kebudayaan Sumba Barat dan asal muasal agama spiritual kuno yang dikenal sebagai Marapu. Sebuah
praktik yang memuja dan berkomunikasi dengan roh leluhur melalui ritual sakral dan pengorbanan. Roh
leluhur melarikan diri dari desa tersebut ketika desa itu terbakar, mereka memecah kepemimpinan dan
memutuskan hubungan penting mereka dengan dunia roh. Roh-roh itu masih belum kembali. Marapu, Fire
& Ritual adalah kisah singkat yang mengikuti Pak Ledi, paman Poho Maga, saat dia memperbaiki reputasi
keluarganya yang sudah ternoda dengan merengkuh tanggung jawab untuk memperbaiki masa lalu. Dia
percaya ini adalah waktu yang tepat untuk melakukan ritual empat hari yang suci untuk mengundang arwah
Marapu kembali ke desa. Tetapi, tidak semua orang setuju dengan hal ini. Pak Ledi harus menyatukan
kepala desa terlebih dahulu.

Director | Andrew Campbell

Andrew Campbell has finally pulled all of his life’s experience as a writer,
photographer, creative and global traveler into his first feature length documentary
film. His unique ‘verite’ style of cinematography is immersive and places the
audience right there in the story. His close up, gritty, fearless approach to filming
allows him to capture what most miss - many would step away out of fear for
personal safety. With a background in photojournalism he has produced work
inside earthquake zones, prisons, war zones, and in remote natural environments.
He is a proficient all-round outdoorsman, but it was his pioneering of one of the
world’s most dangerous big wave surfing location, Shipstern Bluff, in Tasmania that
put him on the world stage.
Andrew Campbell akhirnya berhasil merangkum pengalaman hidupnya sebagai
penulis, fotografer, pekerja kreatif, dan pelancong global ke dalam film dokumenter
panjang pertamanya. Gaya sinematografi “verite”-nya yang yang unik memberikan kesan mendalam dan
menghanyutkan penonton ke dalam aliran cerita. Pendekatannya yang intim dan berani dalam membuat
film memberinya peluang untuk menangkap hal yang sering sengaja dilewati - bahkan dihindari karena takut
akan keselamatan pribadi.
Contact : ajcampbell74@gmail.com
099
 XXI 4 | SUN 28 NOV | 18:15
XXI 4 | WED 01 DEC | 18:15

ASIAN
PERSPECTIVES MENTEGA TERBANG
104 Minutes | 2020 | Malaysia | Fiction

Synopsis
Reincarnation, heaven, hell, purgatory. Aisyah, a Muslim schoolgirl is fascinated with religions especially
what happens to life after death. She is driven by a question, “What happens to people after they die?” A
simple question that is deemed sensitive in conservative Malaysia leaves Aisyah searching for answers
outside her own religion. With a mother who is sick, and an ever-present father who is caring as he is
WORLD PREMIERE

devoted, will Aisyah be able to find the answer to what she seeks?
Reinkarnasi, surga, neraka, api penyucian. Aisyah, seorang pelajar muslimah tertarik dengan persoalan
agama, terutama tentang kehidupan setelah kematian. Dia didorong oleh pertanyaan, “Apa yang terjadi
pada orang-orang setelah mereka mati?”. Sebuah pertanyaan sederhana yang dianggap sensitif bagi
warga negara Malaysia yang masih kolot. Ini membuat Aisyah mencari jawaban di luar agamanya sendiri.
Dengan seorang ibu yang sedang sakit, dan seorang ayah yang selalu mendampingi, peduli dan setia,
akankah Aisyah dapat menemukan jawaban atas pencariannya?

Director | Khairi Anwar

Khairi Anwar is a writer and director, for the stage and screen, based in
Kuala Lumpur, where his works have travelled to Singapore, Indonesia and
Hong Kong. He is known for his theatre plays that raise socioeconomic and
sociopolitical issues happening in Malaysia. Khairi’s screen work flourished
after he wrote and directed a short film, ‘Ralat The Musical’ (2019), and
his first feature film, ‘Mentega Terbang’ (2020) where he created the film
with his friends, questioning about religions and their different versions of
the afterlife. Khairi strives to tell and write more contemporary Malaysian
stories, for his friends, and for the world.
Khairi Anwar adalah seorang penulis dan sutradara panggung dan layar,
yang tinggal di Kuala Lumpur dan karyanya pernah diputar di Singapura,
Indonesia dan Hong Kong. Ia dikenal karena pertunjukan teaternya yang
mengangkat isu sosial ekonomi dan sosial politik di Malaysia. Karya layar
Khairi berkembang pesat setelah ia menulis dan menyutradarai sebuah film pendek, ‘Ralat The Musical’
(2019), dan film panjang pertamanya, ‘Mentega Terbang’ (2020) yang dibuat bersama teman-temannya.
Film ini mempertanyakan agama dan perbedaan versi akhirat. Khairi berusaha bercerita dan menulis lebih
banyak kisah kontemporer Malaysia, untuk kawan-kawannya, dan untuk dunia.

Contact : mengkheng.tan@gmail.com

100
 XXI 5 | THU 02 DEC | 16:00
XXI 2 | FRI 03 DEC | 12:30

ASIAN
PERSPECTIVES SOMETIME, SOMETIME
107 Minutes | 2020 | Malaysia | Fiction

Synopsis
Zi Kien and his mother Ah Lin only have each other in their life until one day Ah Lin started dating Mr. Lee.
Zi Kien feels his place in Ah Lin’s life is threaten, and he started to change himself. This is a story about the

INDONESIAN PREMIERE
mother and son, who cared too much about each other, they have to pretend not to care.
Zi Kien dan ibunya Ah Lin hidup berdua dan hanya saling memiliki satu sama lain, sampai suatu hari Ah Lin
mulai berkencan dengan Tuan Lee. Zi Kien merasa posisinya dalam kehidupan Ah Lin terancam, dan dia
mulai mengubah dirinya sendiri. Ini adalah kisah tentang ibu dan anak, yang terlalu peduli terhadap satu
sama lain, namun mereka harus berpura-pura tidak peduli.

Director | Jacky Yeap

Jacky Yeap graduated from University Malaysia Sarawak major in
filmmaking. After graduated, he work at Da Huang Pictures and supervised
by Tan Chui Mui. During that period, he had been involve in some film
related activity like FINAS Young Filmmaker Workshop, Astro Shortcut
Workshop and SeaShorts Film Festival. In year 2018, he and his friend had
established a local film magazine name <WuBen> to record the current
state of Malaysia cinema. Sometimes his boss will guide him about the
filmmaking, sometimes his boss will teach him
Jacky Yeap lulus dari University Malaysia Sarawak jurusan pembuatan film.
Setelah lulus, ia bekerja di Da Huang Pictures dan disupervisi oleh Tan Chui
Mui. Selama periode itu, ia telah terlibat dalam beberapa kegiatan terkait
film seperti FINAS Young Filmmaker Workshop, Astro Shortcut Workshop
dan SeaShorts Film Festival. Pada tahun 2018, ia dan temannya mendirikan
sebuah majalah film lokal bernama <WuBen> untuk merekam kondisi
terkini perfilman Malaysia. Terkadang bosnya akan membimbingnya
tentang pembuatan film, dan terkadang juga mengajarinya.

Contact : sweeleong19921018@gmail.com

101
 XXI 2 | FRI 28 NOV | 16:00
XXI 1 | MON 29 NOV | 12:00

ASIAN
PERSPECTIVES COME HERE
69 Minutes | 2021 | Thailand | Fiction

Synopsis
Four friends in their mid-twenties go to Kanchanaburi, west of Thailand, on a trip. They visit the World War II
memorial site of the ‘Death Railway’, built to honor tens of thousands war prisoners who lost their lives here.
At night, back at the raft house, they are drinking, smoking weed, and talking randomly. Once in a while,
someone would act out a scene from a play – it turns out they are all actors in the same theatre company.
Running parallel to this narrative is the story of another woman who finds herself alone in the middle of the
forest after her friend mysteriously disappears. The four friends in the raft house say something that might
allude to that woman, but it is not certain. The woman finds a natural stream. She drinks, washes her face,
and then goes into the water. Her face begins to transform into another person’s. It’s getting late, all the
friends are intoxicated. Some pass out in the bedroom. Only two are left by themselves. Romance is in the
air. Fireworks go off, one after another, high up in the night sky. Each of them begin to wake up and they all
stand still, watching the beautiful fireworks shooting up the sky and disappear one by one.

Empat sekawan, yang semuanya adalah aktor di sebuah sanggar teater, masing- masing berumur
pertengahan dua puluhan pergi ke Kanchanaburi, Thailand barat, dalam sebuah perjalanan wisata. Mereka
mengunjungi situs peringatan Perang Dunia II bernama ‘Kereta Api Kematian’, yang dibangun untuk
menghormati puluhan ribu tahanan perang yang kehilangan nyawa mereka di sini. Pada malam hari, di
rumah rakit, mereka minum dan berbincang santai. Sesekali, seseorang akan memerankan adegan dari
sebuah drama. Yang berjalan beriringan dengan narasi ini adalah kisah wanita lain yang mendapati dirinya
sendirian di tengah hutan setelah temannya menghilang secara misterius. Empat sekawan di rumah rakit
mengatakan sesuatu yang mungkin menyinggung wanita itu ... Wanita itu menemukan sungai kecil. Dia
minum dan mencuci wajahnya, dan tiba-tiba, wajahnya mulai berubah menjadi wajah orang lain...

Director | Anocha Suwichakornpong

Anocha Suwichakornpong is a filmmaker whose work is informed by the socio-political history of Thailand.
Her films have been the subject of retrospectives at the Museum of the Moving Image, New York; TIFF
Cinematheque, Toronto; Cinema Moderne, Montreal; and Olhar De Cinema, Brazil. By the Time It Gets
Dark, Anocha’s second feature, centres around a student massacre that took place in 1976 by Thai state
forces and far-right paramilitaries at Thammasat University in Bangkok. It premiered at Locarno Film Festival
and was presented at festivals worldwide, including Toronto, BFI London, Viennale, and Rotterdam. By the
Time It Gets Dark film won three Thailand National Film Awards including Best Picture and Best Director. In
2017, it was chosen as Thailand’s Oscar entry for Best Foreign Language Film. Mundane History, her first
feature, won numerous Awards including the Tiger Awards at Rotterdam. An allegory for the current political
situation in Thailand, the film focuses on the relationship between a father and his paraplegic son. Her third
feature, Krabi 2562, co-directed with British filmmaker Ben Rivers, explores a town in southern Thailand. The
film also premiered at Locarno and is currently touring the festival circuit. Anocha received her MFA from
Columbia University, with her thesis film, Graceland, becoming the first Thai short film to be officially selected
by Cannes Film Festival. In 2017, together with Visra Vichit-Vadakan and Aditya Assarat, she founded Purin
Pictures, an initiative to support Southeast Asian cinema. Currently, Between 2018 and 2020, Anocha was
a visiting lecturer at the Department of Art, Film, and Visual Studies at Harvard University. In 2019, Anocha
was named a Prince Claus Laureate.

102
 Anocha Suwichakornpong adalah seorang pembuat film yang karyanya
diilhami oleh sejarah sosial-politik Thailand. Film-filmnya telah menjadi
subjek program retrospektif di Cinematheque, Toronto; Cinema Moderne,
Montreal; and Olhar De Cinema, Brasil. “By the Time It Gets Dark”, film
panjang kedua Anocha, bercerita tentang pembantaian mahasiswa oleh
pasukan negara Thailand dan paramiliter sayap kanan di Universitas
Thammasat di Bangkok yang terjadi pada tahun 1976. Film ini ditayangkan
perdana di Locarno Film Festival dan dipresentasikan di festival di seluruh
dunia, termasuk Toronto, BFI London, Viennale, dan Rotterdam. Film “By
the Time It Gets Dark” memenangkan tiga Penghargaan Film Nasional
Thailand termasuk Best Picture dan Best Director. Pada tahun 2017,
film tersebut terpilih sebagai perwakilan untuk Piala Oscar dari Thailand
untuk Best Foreign Language Film. “Mundane History”, film pertamanya,
memenangkan banyak penghargaan termasuk Tiger Awards di Rotterdam.
Sebuah alegori dari situasi politik saat ini di Thailand, film ini berfokus
pada hubungan antara seorang ayah dan putranya yang lumpuh. Film
panjang ketiganya, “Krabi 2562”, disutradarai bersama dengan pembuat
film Inggris, Ben Rivers, mengulas tentang sebuah kota di Thailand selatan. Film ini juga diputar perdana
di Locarno dan saat ini sedang melakukan tur di sirkuit festival. Anocha menerima gelar MFA-nya dari
Colombia University dengan film tesisnya, “Graceland”, film pendek Thailand pertama yang secara resmi
dipilih oleh Cannes Film Festival. Pada tahun 2017, bersama dengan Visra Vichit-Vadakan dan Aditya
Assarat, ia mendirikan Purin Pictures, sebuah inisiatif untuk mendukung sinema Asia Tenggara. Di antara
tahun 2018 dan 2020, Anocha adalah dosen tamu di Department of Art, Film, Film, and Visual Studies di
Harvard University. Pada 2019, Anocha dinobatkan sebagai Prince Claus Laureate.

Contact : jing@rediancefilms.com

103
 XXI 1 | MON 29 NOV | 16:30
XXI 3 | TUE 30 NOV | 18:30

ASIAN
PERSPECTIVES IN FRONT OF YOUR FACE
85 Minutes | 2021 | South Korea | Fiction

Synopsis
She has never lived in a high-rise apartment, and she wonders how her sister can live at this height every
day. a few days ago she kind of burst in to stay with her sister, and she is now becoming re-accustomed
to life in Korea. while seeming to keep a grave secret to herself, she manages life one day at a time with a
INDONESIAN PREMIERE

sense of mindfulness. meanwhile a certain director, some years younger than her, has asked her to join his
project, and after a polite refusal, they have agreed to meet for the first time today. downtown seoul is filled
with narrow alleys that harbor tiny old bars, and that’s where they meet. as they are getting drunk, there is
sudden rainfall and thunder.
Dia belum pernah tinggal di gedung apartemen bertingkat tinggi, dan dia bertanya-tanya bagaimana
kakaknya bisa hidup di ketinggian ini setiap hari. Beberapa hari yang lalu dia tiba-tiba datang untuk tinggal
bersama saudara perempuannya, dan dia sekarang menjadi terbiasa kembali dengan kehidupan di Korea.
Sementara itu, tampaknya dia menyimpan rahasia besar, menjalani kehidupan sehari-hari dengan penuh
kesadaran. Sementara itu, seorang sutradara yang beberapa tahun lebih muda darinya, memintanya
untuk bergabung dengan proyeknya, dan setelah menolak dengan sopan, mereka sepakat untuk bertemu
untuk pertama kalinya hari ini. Pusat kota Seoul dipenuhi dengan gang-gang sempit yang menjadi pusat
berkumpulnya bar-bar tua kecil, dan disanalah mereka bertemu. Saat mereka mabuk, tiba-tiba hujan turun
dan guntur bergemuruh.

Director | Hong Sang-soo

HONG Sang-soo is a prolific South Korean film director and screenwriter
known for his subtle cinematography that showcases the complexities of
everyday life. He won the Silver Bear for Best Director at the Berlinale for
The Woman Who Ran (2020). In Front of Your Face, which premiered at
Cannes, is Hong’s second release in 2021 after Introduction.
HONG Sang-soo adalah sutradara dan penulis skenario film Korea Selatan
yang terkenal karena sinematografinya yang halus yang menampilkan
kompleksitas kehidupan sehari-hari. Dia memenangkan Silver Bear untuk
Sutradara Terbaik di Berlinale untuk “The Woman Who Ran” (2020). “In
Front of Your Face”, yang ditayangkan perdana di Cannes, adalah rilisan
kedua Hong pada tahun 2021 setelah “Introduction”.

Contact : joyk@finecut.co.kr

104
 XXI 3 | WED 01 DEC | 13:30
XXI 5 | THU 02 DEC | 18:45

ASIAN
PERSPECTIVES TIONG BAHRU SOCIAL CLUB
88 Minutes | 2020 | Singapore | Fiction

Synopsis
Ah Bee goes on a comedic odyssey through Tiong Bahru Social Club, a data-driven project to create the
happiest neighbourhood in the world. Little by little Ah Bee’s encounters with the neighbourhood’s residents
reveal the absurdity of life.

INDONESIAN PREMIERE
Ah Bee melakukan pengembaraan komedi melalui Tiong Bahru Social Club, sebuah proyek berbasis data
untuk menciptakan lingkungan yang paling bahagia di dunia. Sedikit demi sedikit perjumpaan Ah Bee
dengan warga sekitar mengungkap keanehan dalam kehidupan.

Director | Tan Bee Thiam

Tan Bee Thiam is a filmmaker and educator. He directed short film Kopi
Julia (Sharjah Biennale 2013) and co-directed Fundamentally Happy
(Tallinn Black Nights Film Festival 2015). His debut solo feature Tiong
Bahru Social Club was the Opening Film of the Singapore International
Film Festival 2020. An alumnus of Berlinale Talents, Rotterdam Lab, and
European Audiovisual Entrepreneurs (EAVE), he produced Glen Goei and
Gavin Yap’s Revenge of the Pontianak (2019); Daniel Hui’s Demons (2018),
Snakeskin (2015), and Eclipses (2013); Lei Yuan Bin’s 03-FLATS (2014) and
White Days (2009); Liao Jiekai’s As You Were (2014) and Red Dragonflies
(2010); and Yeo Siew Hua’s In the House of Straw (2009).
Tan Bee Thiam adalah seorang pembuat film dan pendidik. Dia
menyutradarai film pendek yang berjudul Kopi Julia (Sharjah Biennale
2013) dan ikut menyutradarai film Fundamentally Happy (Festival Film
Tallinn Black Nights 2015). Debut film panjang solonya, Tiong Bahru Social
Club adalah Film Pembuka Festival Film Internasional Singapura 2020. Alumnus Berlinale Talents, Rotterdam
Lab, dan European Audiovisual Entrepreneurs (EAVE), ia memproduseri “Revenge of the Pontianak (2019 )
arahan Glen Goei dan Gavin Yap; “Demons” (2018), “Snakeskin” (2015)dan “Eclipses” (2013) arahan Daniel
Hui,dan , “03-FLATS” (2014) dan White Days (2009) arahan Lei Yuan Bin, “As You Were” (2014) dan “Red
Dragonflies” (2010) arahan Liao Jiekai; dan “In the House of Straw” (2009) arahan Yeo Siew Hua.

Contact : bthiam@gmail.com

105
 XXI 5 | FRI 03 DEC | 11:00
XXI 5 | SAT 04 DEC | 10:30

ASIAN REHANA MARYAM NOOR /

PERSPECTIVES
REHANA
107 Minutes | 2021 | Bangladesh, Singapore | Fiction

Synopsis
Rehana, an assistant professor at a medical college, strains to combine her complex roles as a teacher,
doctor, sister, daughter, and mother. Keeping the balance between the demands of work and family life
has become a daily struggle. One evening, she witnesses a crying student storming out of a professor’s
INDONESIAN PREMIERE

office. Deeply touched by this event and the actions leading up to it, Rehana’s life starts to spiral out of
control. She gradually descends into obsession, seeking retribution, just as she receives a complaint from
the school about her six-year- old daughter’s unusual behavior. Rehana refuses to accept the madness of
the patriarchal society she lives in. She will put everything at stake to fight for justice - for her student, her
daughter, but also for herself.
Rehana, seorang asisten profesor di sebuah perguruan tinggi kedokteran, berusaha keras untuk
menggabungkan peran kompleksnya sebagai guru, dokter, saudara perempuan, anak perempuan, dan ibu.
Menjaga keseimbangan antara tuntutan pekerjaan dan kehidupan keluarga yang telah menjadi perjuangan
sehari-hari. Suatu malam, ia melihat seorang siswa yang menangis keluar dari kantor profesor. Sangat
tersentuh oleh peristiwa ini dan segala yang membawanya ke sana, kehidupan Rehana mulai lepas kendali.
Ia secara bertahap menjadi terobsesi, mencari pembalasan, tepat ketika sekolah mengeluhkan perilaku
tidak biasa putrinya yang berusia enam tahun. Rehana tidak mau mengikuti kegilaan masyarakat patriarki
tempat ia berada. Dia rela mempertaruhkan segalanya untuk memperjuangkan keadilan - untuk muridnya,
putrinya, namun juga untuk dirinya sendiri.

Director | Abdullah Mohammad Saad

Abdullah Mohammad Saad is a Bangladeshi writer-director. His debut
feature Live from Dhaka won Best Director and Best Actor at the 27th
Singapore International Film Festival in 2016, and went on to screen in
festivals such as Rotterdam and Locarno, amongst others.
Abdullah Mohammad SAAD adalah seorang penulis-sutradara Bangladesh.
Debut film panjangnya yang berjudul “Live from Dhaka” memenangkan
Best Director dan Best Actor di Singapore International Film Festival ke-27
pada tahun 2016, dan meneruskan perjalanan di banyak festival antara lain
Rotterdam dan Locarno.

Contact : julien@filmsboutique.com / manon@filmsboutique.com

106
 XXI 3 | SUN 28 NOV | 10:15
XXI 4 | TUE 30 NOV | 14:15

ASIAN
PERSPECTIVES THE PORTRAITS
89 Minutes | 2021 | India | Fiction

Synopsis
The Portraits” is a collection of six cinematic sketches that depict the various means by which fascist

SOUTHEAST ASIAN PREMIERE

governments try to silence their own people. The state hunting down its citizens suspected of political and
Maoist links, suppression of people’s struggles against ecocide, mechanisation and labour strikes, people’s
counter-attacks against state-sponsored violence, the state imposing a new type of obedience on its people
in the wake of a new epidemic that causes its victims to go into a state of slumber; these are the six cinematic
portraits that make up this collection.
The Portraits” adalah kumpulan enam sketsa sinematik yang menggambarkan berbagai cara yang
digunakan pemerintah fasis untuk membungkam rakyatnya sendiri. Negara memburu warganya yang
dicurigai memiliki hubungan politik dan Maois, menindas perjuangan rakyat melawan ekosida, mekanisasi,
dan pemogokan buruh , serangan balik rakyat terhadap kekerasan yang disponsori negara, negara
memaksakan jenis kepatuhan baru pada rakyatnya di tengah wabah baru yang menyebabkan korbannya
tertidur; inilah enam potret sinematik yang membentuk film ini.

Director | Dr Bijukumar Damodaran

Dr.Biju (Bijukumar Damodaran) is a three-time India’s national Awards-
winning filmmaker. He is considered one of the most important
contemporary voices in Indian cinema. His first film “Saira” was screened
at the Cannes film festival in 2007 under “Cinema of the world “section.
Biju’s films have been screened at many international film festivals and
won numerous Awards. The festivals include Cannes, Montreal, Shanghai,
Telluride, Cairo, Iran (Fajr), Jogja Indonesia, Eurasia Almaty, Jeonju, Tallinn,
Oporto, Dhaka, IFFK, and IFFI. His film “Trees under the sun” premiered
at the Shanghai International film festival 2019 and won the Outstanding
Artistic Achievement Awards. He has been invited as a member of the jury
in many well-known film festivals across the world. He was worked as a jury
member for India’s National Film Awards 2012 and India’s Oscar selection
committee 2015
Dr.Biju (Bijukumar Damodaran) adalah pembuat film yang memenangkan
penghargaan nasional India tiga kali. Dia dianggap sebagai salah satu
suara kontemporer terpenting dalam sinema India. Film pertamanya “Saira” diputar di Cannes film festival
2007 di bagian “Cinema of the world”. Film Biju telah diputar di banyak festival film internasional dan
memenangkan banyak penghargaan antara lain Cannes, Montreal, Shanghai, Telluride, Kairo, Iran (Fajr),
Jogja Indonesia, Eurasia Almaty, Jeonju, Tallinn, Oporto, Dhaka, IFFK, dan IFFI. Filmnya “Trees Under
The Sun” tayang perdana di Shanghai International film festival 2019 dan memenangkan penghargaan
Outstanding Artistic Achievement. Ia ditunjuk sebagai juri di India’s National Film Awards 2012 dan komite
pemilihan Oscar dari India.

Contact : drdbijufilmmaker@yahoo.co.in

107
109
110
Asian Perspectives Short Notes
YUSTINUS KRISTIANTO & THEO MAULANA
Pespektif Sinema dalam Pemulihan,
Kegigihan, dan Keunikan
S E
emua tahu, pandemi semakin menyulitkan
banyak hal, banyak orang. Persoalan-
persoalan yang sebelumnya seperti punya
jadwal rutin untuk mampir di hari-hari sebagian
orang, sebab pandemi, menjadi kian runyam
juga masif-struktural. Namun semua juga tahu,
di atas segalanya, kita mesti bertahan. Film-film
pendek Asia yang disajikan melalui program Asian
Perspective sebagian besar berusaha menyoroti
rupa-pola persoalan teraktual, pun permasalahan
lama yang hingga kini masih relevan, bahkan
bertambah mendesak, untuk dibahas dengan
cara pandang yang lebih kritis. Upaya untuk
terus mempertanyakan hari-hari yang semakin
mencurigakan, kegigihan untuk bertahan di tengah
keterdesakan, pencarian-pencarian siasat, dan lain
sebagainya, merupakan tawaran sikap yang cukup
banyak ditemukan pada film-film pendek Asia
belakangan tahun ini. Dan daya tawar tersebut, tak
kurang, layaknya harapan, setidaknya bagi para
filmmaker itu sendiri atau untuk nasib kehidupan
di sekitarnya. Doa untuk buah kesembuhan bagi
situasi yang, sebutlah, tak ideal. Alih-alih sekedar
ditunggu begitu saja kehadirannya, kesembuhan
hampir selalu harus diusahakan. Dan tepat kiranya
untuk mengatakan bahwa film-film yang tersaji
dalam Asian Perspective kali ini merupakan usaha-
usaha para filmmaker untuk pulih dari perbagai
permasalahan yang hadir di tengah situasi,
baik yang berkait-kelindan dengan pandemi
atau tidak, seperti distribusi kekuasaan, gender,
kemanusiaan, dan lain seterusnya. Memang, film-
film tersebut bukan hadir sebagai tawaran solusi
praktis atas berbagai permasalahan, tapi paling
tidak cukup menjadi teks yang menunjukkan pada
kita bagaimana seharusnya berbagai masalah
itu dipandang. Film-film yang hadir dalam Asian
Perspective kali ini menerangkan bagaimana di
tengah kondisi yang terkesan sulit, selalu ada rupa-
rupa kegigihan dan keunikan manusia untuk keluar
dari keterdesakan.
111
Recovery, Persistence, and
Authenticity in the eyes of Cinema
veryone knows that the pandemic has
complicated a lot of things for a lot of people.
Things that previously would have had a
regular schedule, to pop up during people’s daily
schedules, because of the pandemic, became
much more complicated and a big undertaking.
But everyone also knows that, above all, we must
endure. The Asian short films presented in the Asian
Perspectives program mostly try to highlight the
current patterns in issues, old problems that are still
relevant, yet even more urgent to be discussed now
from a more critical perspective. Efforts to continue
to question the increasingly suspicious days,
persistence to survive in the midst of crisis, the
search for strategies, and so on, are perspectives
that have quite often been found in Asian short films
in the past few years. And that bargaining power,
no less, is like hope, at least for the filmmakers
themselves or for the fate of life around them.
Prayers for a healing fruit for situations that, say, are
not ideal. Instead of just waiting for its presence,
healing almost always has to be sought. And it’s
appropriate to say that the films presented in Asian
Perspectives this year are the efforts of filmmakers
to recover from various problems that have arisen
within the current situation, whether related to the
pandemic or not, such as distribution of power,
gender, and humanity. Certainly these films are
not here to offer practical solutions to various
problems, but at least they are sufficient to serve
as texts that show us how these problems should
be viewed. The films that are present in the Asian
Perspectives this time illuminate how, in seemingly
difficult conditions, there are always various forms
of human persistence and uniqueness to get out of
desperate situations.
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ASIAN
PERSPECTIVES
SHORT BONCENGAN
17 minutes | 2020 | Indonesia | Fiction

Synopsis
Nadia (15) spends her last day riding a motorbike with her boyfriend among feelings of loss before leaving
Palu and being sent to Islamic Boarding School by her DAD (50) who always forbids her from dating
INTERNATIONAL PREMIERE

Diantara perasaan kehilangan sebelum meninggalkan Kota Palu, Nadia (15) menghabiskan hari terakhirnya
berboncengan dengan pacarnya Zidan (15), namun kedapatan tertilang oleh Abah (50) yang selama ini
melarang ia berpacaran.

Director | Sarah Adilah

Sarah Adilah has just completed her undergraduate film major at Multimedia
Nusantara University with the film Boncengan (2020) as her final project film.
Her film career began with a short film entitled Cermin (2015) nomination
for the best student short film AFI 2015. Neraka di Telapak Kaki (2018)
nomination for best short documentary FFI 2018. Gula and Pasir (2018)
were screened at World Cinema Amsterdam 2019 and Menjadi Dara (2019)
received a special mention Awards Viddsee Awards Indonesia 2019. She
has currently produced a fictional short film about disaster mitigation
entitled “Pada Suatu Hari” and a participatory documentary project with
Good Pitch Indonesia entitled “Hidup Dengan Bencana”.

Sarah Adilah, sutradara lulusan Film Universitas Multimedia Nusantara

dengan karya Boncengan sebagai film tugas akhir. Karya-karyanya
selama kuliah adalah Neraka di Telapak Kaki (2018) nominasi dokumenter
pendek terbaik FFI 2018, Gula dan Pasir (2018) diputar pada World
Cinema Amsterdam 2019, dan Menjadi Dara (2019) mendapatkan penghargaan special mention Viddsee
Awards Indonesia 2019. Selain menyutradarai, Sarah aktif sebagai penulis dan editor. Salah satu naskah
film pendeknya yang berjudul “Tour De Serpong” terpilih sebagai pemenang dalam Europe On Screen Film
Pitching Competition 2020. Selain itu, Sarah terbuka dengan kerjasama sebagai produser, di mana ia telah
memproduksi film pendek Pada Suatu Hari (2020) dan saat ini sedang menyelesaikan proyek dokumenter
Good Pitch berjudul Hidup Dengan Bencana.

Contact : sarahadilahdilo@gmail.com

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ASIAN
PERSPECTIVES
SHORT SHIBUYA, TOKYO 16:30
15 Minutes | 2020 | Japan | Fiction

Synopsis
SHIBUYA, TOKYO 16:30” is a drama about Aoi, an aspiring filmmaker/ assistant director who visits the office
of Toriumi, an independent film producer, seeking an opportunity to collaborate with him. Toriumi likes her
screenplay and shows his interest in producing her directorial debut film. However, despite Aoi’s delight, the
discussion starts to derail. When Aoi refuses to accept the producer’s irrational demands, he shows doubt in
her ability to act on unexpected situations. Is he testing her aptitude or just trying to take advantage of her?
Confused, she gets lost between doubt and desperation to believe in her dream opportunity.
“SHIBUYA, TOKYO 16:30” adalah sebuah drama tentang Aoi, seorang calon pembuat film/asisten
sutradara yang mengunjungi kantor Toriumi, seorang produser film independen, untuk mencari kesempatan
berkolaborasi dengannya. Toriumi menyukai skenarionya dan menunjukkan ketertarikannya untuk
memproduksi film debut penyutradaraannya. Namun, terlepas dari kegembiraan Aoi, diskusi diantara
mereka mulai melenceng. Ketika Aoi menolak untuk menerima tuntutan produser yang tidak logis, sang
produser menunjukkan keraguan pada kemampuannya berakting pada situasi yang tidak terduga. Apakah
ini hanya untuk menguji kemampuannya atau malah hanya mencoba memanfaatkannya saja? Dalam
kebingungan, Aoi tersesat di antara keraguan dan keputusasaan terhadap keyakinannya pada kesempatan
yang dia idam-idamkan.

Director | Izumi Ohtomi

Izumi Ohtomi is a film director/ writer based in Tokyo. She studied Film
Studies at ST. Cloud State University in the U.S. After graduating, she
returned to Japan and joined a film production company where she had
multiple roles, including assistant director and translator, in domestic
and international film productions. In 2013, she directed her first feature
“Judas,” which was selected in the section of Focus on World Cinema
at The Montreal World Film Festival. Her works include short films, music
videos, and BTS documentaries for films such as “Laut” (Dir. Koji Fukada)
and “Himeanole” (DIr. Keisuke Yoshida).
Izumi Ohtomi adalah seorang sutradara/penulis film yang tinggal di Tokyo.
Ia belajar Ilmu Film di ST. Cloud State University, AS. Setelah lulus, ia
kembali ke Jepang dan bergabung dengan rumah produksi film di mana ia
memiliki banyak peran, termasuk asisten sutradara dan penerjemah, dalam
produksi film domestik dan internasional. Pada 2013, ia menyutradarai
film pertamanya “Judas,” yang terpilih bagian Focus on World Cinema di
Montreal World Film Festival. Karyanya meliputi film pendek, video musik,
dan dokumenter BTS untuk film seperti “Laut” (Sut. Koji Fukada) dan
“Himeanole” (Sut. Keisuke Yoshida).

Contact : izumiohtomi@gmail.com

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ASIAN
PERSPECTIVES
SHORT THE SCENT OF RAT
CARCASSES
8 minutes | 2021 | Indonesia | Fiction

Synopsis
When her father died, Nina smells the rat carcasses in her home. While Mother struggles with sadness, Nina
INDONESIAN PREMIERE

tries seeking and handling all the work that her father did.

Ketika ayahnya meninggal, Nina mencium bau bangkai tikus di rumahnya. Sementara Ibunya berjuang
dengan kesedihan, Nina berusaha mencari dan menangani semua pekerjaan yang dilakukan ayahnya.

Director | Dharma Putra N

Dharma Putra P.N. (b. 1992) studied filmmaking at Jogja Film Academy
and has made several short films during his time at the university. After
graduating in 2018, he has worked as a scriptwriter. Now, he starts
preparing his first feature film.
Dharma Putra P.N. ( 1992) belajar membuat film di Jogja Film Academy
dan telah membuat beberapa film pendek selama kuliah. Setelah lulus
pada tahun 2018, ia bekerja sebagai penulis naskah. Sekarang, ia sedang
mempersiapkan film panjang pertamanya.

Contact : yuhrohana@gmail.com

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ASIAN
PERSPECTIVES
SHORT
MENJADI LAILA DAN SAIRAH
24 Minutes | 2021 | Malaysia | Fiction

Synopsis
Two women interested in the art of acting meet over four weekends to devise a performance on becoming
fictional characters. Together with director and producer, they embarked on a journey to produce the
process-driven film. In the process, personal stories co-exist with written text, that discuss issues pertaining
identity, and memories that leads to the feeling of nostalgia and longing.

WORLD PREMIERE
Dua wanita yang tertarik pada seni peran bertemu selama empat minggu untuk merancang pertunjukan
tentang menjadi karakter fiksi. Bersama sutradara dan produser, mereka memulai perjalanan untuk
memproduksi film yang mengikuti proses mereka. Dalam prosesnya, kisah-kisah hidup pribadi beriringan
dengan teks tertulis yang membahas isu-isu tentang identitas, dan kenangan yang mengantarkan kepada
perasaan nostalgia dan kerinduan.

Director | Ridhwan Saidi

Ridhwan Saidi is a Malaysian filmmaker, writer and theatre practitioner.
His first full length feature, Tiada Cinta Selama Muda (2020) was an
amalgamation of his present-day practices in literature and theatre. With
a background in architecture he finds the utility of structure and form has
somewhat contributed to developing his works across medium and genre.
Ridhwan Saidi adalah seorang pembuat film, penulis, dan praktisi teater
yang berasal dari Malaysia. Film panjang pertamanya, “Tiada Cinta Selama
Muda” (2020) merupakan penggabungan praktik sastra dan teater masa
kini. Melalui latar belakang arsitektur, ia menemukan kegunaan struktur dan
bentuk yang berkontribusi pada pengembangan karyanya di lintas media
dan genre.

Contact : jayleejiawan@gmail.com

115
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ASIAN
PERSPECTIVES
SHORT USAHA KELUARGA
10 Minutes | 2021 | Indonesia | Non-Fiction

Synopsis
On the early pandemic of Covid-19, Adel’s family struggles to maintain livelihood as her mother had her work
terminated by the office. The family consist of 5 kids to protect. So by then, they decided to open a family
business, lead by her mom as she knows the best about food. With everyone helping around and discussing
the future of the business, it led to many adventure for them as a family.
Di awal pandemi Covid-19, keluarga Adel berjuang untuk mempertahankan mata pencaharian karena
ibunya diputus hubungan kerja oleh kantor. Keluarga ini memiliki 5 anak yang harus dilindungi. Jadi pada
saat itu, mereka memutuskan untuk membuka bisnis keluarga, dipimpin oleh ibunya karena itulah yang
paling dia pahami. Bersama semua orang yang membantu dan merundingkan masa depan bisnis, hal itu
mendatangkan banyak petualangan bagi mereka sebagai sebuah keluarga.

Director | Adel Maharani

Born on April 3, 2001, Depok, West Java, Adel Maharani is a student from
Jogja Film Academy, Yogyakarta. Her focus is to become a director who
experiments with feelings and thoughts, starting with hers. Her last film was
a one man show essay film entitled Away (2020).
Lahir pada 3 April 2001, Depok, Jawa Barat, Adel Maharani adalah
mahasiswa dari Jogja Film Academy, Yogyakarta. Fokusnya adalah untuk
menjadi sutradara yang bereksperimen dengan perasaan dan pikiran,
dimulai dengan dirinya sendiri. Film terakhirnya adalah film esai berjudul
Away (2020) yang ia buat sendiri.

Contact : adelmhrni@gmail.com

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ASIAN
PERSPECTIVES
SHORT CAN YOU LOVE ME MOST?
16 Minutes | 2021 | Malaysia | Fiction

Synopsis
Daniel (33) and Mia (28) have been married for 3 years but have yet to be blessed with a child, something
which is often seen as God’s blessing, among the Malay community. Coupled with the stigma of an interracial
marriage in Malaysian society, Mia is pressured to not fall behind. Having been unable to conceive a baby

INDONESIAN PREMIERE
together, the couple resort to buying a baby from a syndicate. Upon the arrival of the baby, Mia and Daniel’s
relationship reach a welcome respite, although the consequences of buying a baby eventually catches up
to them.
Daniel (33) dan Mia (28) sudah menikah selama 3 tahun namun belum juga dikaruniai anak yang sering
dianggap sebagai berkah dari Tuhan di kalangan masyarakat Melayu. Ditambah dengan stigma pernikahan
beda ras di masyarakat Malaysia, Mia dituntut untuk mengejar ketertinggalan. Karena tak mampu memiliki
anak sendiri, pasangan itu terpaksa membeli bayi dari sindikat. Setelah kedatangan bayi ini, hubungan Mia
dan Daniel sejenak menerima sambutan baik, meskipun konsekuensi dari pembelian bayi ini pada akhirnya
menyusul mereka berdua.

Director | Feisal Azizuddin

In 2010, Feisal Azizuddin co-founded a media company called Feisk Productions. In 2014 he ventured into
TV and produced two reality shows which aired on local TV and VOD platforms. In 2016, Feisal shifted focus
to films. He has directed and produced short films which have been screened in festivals such as Monterrey
International Film Festival, New Zealand’s Vision Feast Film Festival, Crimson Screen Horror Film Festival and
George Town Festival (MY). In 2018, Feisal directed and produced his first feature film, ‘Temenggor’ which
was picked up by Amazon Prime Video in August 2020. He also directed and produced a horror feature film
called ‘Suraya’ which was released in Malaysian cinemas in January 2020. Feisal’s latest directorial work is
“Ceroboh”, a sci-fi thriller produced by Kuman Pictures. In 2019, Feisal was selected as a Fellow by Busan
Asian Film School for their International Film Business program. In December 2019, his project “Angkat”
was selected for the Southeast Asian Film Financing Project Market 2019 in Singapore and won the AV8
Awards. Feisal was also selected for the Luang Prabang Talent Lab 2019, in collaboration with the Tribeca
Film Institute. There he won the top prize, the Aurora Producing Awards by
Aurora Media Group.

Pada 2010, Feisal Azizuddin ikut mendirikan perusahaan media bernama

Feisk Productions. Pada tahun 2014 ia berkelana ke dunia televisi dan
menghasilkan dua reality show yang ditayangkan di TV lokal dan platform
VOD. Tahun 2016, Feisal mengalihkan perhatiannya ke film. Dia telah
menyutradarai dan memproduksi film pendek yang telah diputar di festival
seperti Monterrey International Film Festival, Vision Feast Film Festival
Selandia Baru, Crimson Screen Horror Film Festival dan George Town
Festival (Malaysia).Tahun 2018, Feisal menyutradarai dan memproduksi
film layar lebar pertamanya, “Temenggor” yang akuisisi oleh Amazon
Prime Video pada Agustus 2020. Ia juga menyutradarai dan memproduksi
film horor panjang berjudul “Suraya” yang dirilis di bioskop Malaysia pada
Januari 2020. Karya penyutradaraan terbaru Feisal adalah “Ceroboh”,
sebuah film thriller sci-fi yang diproduksi oleh Kuman Pictures. Pada tahun

117
 2019, Feisal terpilih sebagai Fellow oleh Busan Asian Film School untuk program International Film Business
mereka. Pada bulan Desember 2019, proyek filmnya, “Angkat”, terpilih di Southeast Asian Film Financing
Project Market 2019 dan memenangkan penghargaan AV8. Feisal juga terpilih untuk the Luang Prabang
Talent Lab 2019, yang bekerja sama dengan Tribeca Film Institute. Di sana ia memenangkan hadiah utama,
Aurora Producer Awards dari Aurora Media Group.
INDONESIAN PREMIERE

Contact : mister.fei@gmail.com

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ASIAN
PERSPECTIVES
SHORT SRIKANDI
8 minutes | 2020 | Canada / Indonesia | Fiction

Synopsis
This fantasy drama is a modern retelling of an Indonesian myth of the same name. After her father’s death
that took a toll on the family’s income, teenage Anjani struggles to regain control as her mother tries to sell

INDONESIAN PREMIERE
the house, which doubled as her father’s puppetry studio. Little did she know that he has been teaching
her the ways of a shadow puppeteer in private, as women are not allowed to practice it. When she returns to
the puppets, Anjani is able to reconvene with her father’s spirit, learning one final lesson through the artform
before she sets out to realize her own future - becoming a modern Srikandi.
Drama fantasi ini merupakan penceritaan ulang secara modern dari mitos Indonesia, Srikandi. Setelah
kematian ayahnya yang berdampak pada pendapatan keluarga, Anjani berjuang untuk mengambil alih
kendali ketika ibunya mencoba menjual rumah, yang merangkap sebagai studio wayang ayahnya. Sedikit
yang ia tahu bahwa selama ini ayahnya telah mengajarkan cara-cara menjadi seorang dalang wayang,
karena wanita tidak diperbolehkan untuk melakukannya. Ketika ia kembali ke wayang, Anjani dapat bertemu
kembali dengan roh ayahnya, ia belajar satu pelajaran terakhir melalui seni sebelum dia memantapkan diri
untuk mewujudkan masa depannya sendiri yaitu menjadi Srikandi modern.

Director | Andrea Nirmala Widjajanto

Andrea Nirmala Widjajanto is an Indonesian writer/director based in
Vancouver, Canada. Her latest short SRIKANDI premiered at the 46th
Toronto International Film Festival, Sundance Film Festival: Asia, and the
40th Vancouver International Film Festival. Her previous short THE ART OF
FLAWSOME screened at the 2019 Whistler Film Festival. Most recently, she
wrapped post-production for a short documentary she co-directed called
BROWN ENOUGH. She is an alumna of Experimental Forest’s Writing is
Rewriting Workshop in 2020 with her short script, (+1) DREAMIN’, and has
been selected as a fellow at the 2021 VIFF Catalyst Mentorship Program.
Andrea is currently in development for her first feature film, among other
shorts. 
Andrea Nirmala Widjajanto adalah seorang penulis/sutradara Indonesia
yang tinggal di Vancouver, Kanada. “SRIKANDI”, film pendek terbarunya
diputar perdana di the 46th Toronto International Film Festival, Sundance Film Festival: Asia, dan the 40th
Vancouver International Film Festival. Film pendek sebelumnya “The Art of Flawsome” di the 2019 Whistler
Film Festival. Baru-baru ini, dia menyelesaikan pasca produksi untuk sebuah film dokumenter pendek
yang ia sutradarai bersama berjudul “Brown Enough”. Ia adalah alumni dari Experimental Forest’s Writing
is Rewriting Workshop tahun 2020 dengan naskah pendeknya, (+1) DREAMIN’, dan terpilih menjadi VIFF
Catalyst Mentorship Program Fellow 2021. Andrea saat ini sedang mengembangkan proyek film panjang
pertamanya, di sela-sela film pendek lainnya.

Contact : clydekam.ck@gmail.com

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ASIAN
PERSPECTIVES
SHORT PAGES
14 minutes | 2021 | Indonesia | Fiction

Synopsis
SOUTH EAST ASIAN PREMIERE

A couple (played by Brigitta Cynthia and Sheila Miranda Bell) at the end of their long term relationship begin
to question whether or not they completely knew each other
Sepasang kekasih (diperankan oleh Brigitta Cynthia dan Sheila Miranda Bell) di akhir hubungan jangka
panjang mereka mulai mempertanyakan apakah mereka benar-benar saling mengenal atau tidak.

Director | Paul Agusta

Paul was born in Jakarta but received his formal film education in America.
He has written and directed over 50 short films and 5 feature films Including
“Parts of the Heart” (2012) and “Daysleepers” (2018). His films have been
shown in various international festivals such as International Film Festival
Rotterdam, Vancouver International Film Festival, BiFan, and Jogja-NETPAC
Asian Film Festival. He is currently developing his 6th feature film as well as
coaching new actors in his Bengkel Acting Kuma acting workshop which
he founded with Khiva Iskak.

Paul lahir di Jakarta tetapi menempuh pendidikan film formal di Amerika. Dia
telah menulis dan menyutradarai lebih dari 50 film pendek dan 5 film layar
lebar termasuk “Parts of the Heart” (2012) dan “Daysleepers” (2018). Film-
filmnya telah diputar di berbagai festival internasional seperti International
Film Festival Rotterdam, Vancouver International Film Festival, BiFan, dan
Jogja-NETPAC Asian Film Festival. Saat ini ia sedang mengembangkan
film layar lebar ke-6 serta melatih aktor-aktor baru dalam lokakarya acting
di Bengkel Acting Kuma yang ia dirikan bersama Khiva Iskak.

Contact : pagesbypaulagusta@gmail.com

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ASIAN
PERSPECTIVES
SHORT SUNGAI
14 minutes | 2021 | Indonesia | Non-Fiction

Synopsis
The political crisis in 1965 is a trauma, terror, and violence inflicting tragedy. Most victims were murdered
without trial. Rivers are stages of the massacre, which holds the tragedy

Krisis politik 1965 adalah tragedi yang memunculkan trauma, teror dan kekerasan. Sebagian besar dibunuh

ASIAN PREMIERE
tanpa pengadilan di banyak lokasi. Dan sungai adalah panggung pembantaian, yang menyimpan tragedi.

Director | Tonny Trimarsanto

Tonny Trimarsanto, a director and producer whose films were screened and
awarded at various international film festivals. One of his work, “Serambi”
competed in Un Certain Regard at the Cannes Film Festival
Tonny Trimarsanto, sutradara, produser, filmnya banyak diputar dan
mendapat penghargaan di berbagai film festival internasional. Salah satu
filmnya, “Serambi”, masuk kompetisi Un Certain Regard Cannes Film
Festival.

Contact : clydekam.ck@gmail.com

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ASIAN
PERSPECTIVES
SHORT MEMORIES OF THE SEA
19 minutes | 2021 | Indonesia | Fiction

Synopsis
Galon has been working overtime these days because now he is the only lighthouse keeper. He got
an additional task to decorate the lighthouse room as a welcome for the president’s arrival as a form of
announcing the port revitalization program in Indonesia. Along with the news of the program, the news about
the passenger ship accident that was initially reported in an uproar slowly disappeared. This triggers the
WORLD PREMIERE

presence of Rusman, the spirit of Galon colleague who died about a month ago who was forced to return to
the world to find news about his son who became a worker on the reported ship. Rusman’s appearance is
good news for Galon, who has had to work alone all this time. Now Galon feels that he has friends who help
and accompany him to work.

Galon (40), satu-satunya penjaga mercusuar disibukkan dengan tugas tambahan menghias isi bangunan
guna menyambut kedatangan Pemimpin Negara dalam agenda peresmian proyek revitalisasi pelabuhan.
Pada momen yang sama, berita kapal tenggelam membuat arwah Rusman (50), mantan rekan kerja Galon,
kembali ke dunia manusia, untuk mengetahui kabar sang anak yang bekerja sebagai ABK di kapal nahas
tersebut. Kedatangan Rusman, membuat Galon merasa senang, karena tugas tambahannya kian ringan.
Namun, mendekati hari peresmian dan kabar tragedi kapal tenggelam yang makin jarang terdengar,
membuat Galon kembali didatangi arwah misterius lain.

Director | Haris Yuliyanto

Haris Yuliyanto (1997, Indonesia) sudah akrab dengan lingkungan para
pelaut sejak kecil. Hal ini membuat Haris tertarik untuk menjadikan isu
maritim dan lingkungan pesisir sebagai pondasi cerita di tiap karyanya.
Saat ini, Haris aktif sebagai seorang freelance filmmaker yang berbasis
di Kota Semarang. Beberapa karya film pendeknya sudah mendapatkan
apresiasi, baik di skala nasional maupun internasional, seperti 67th
International Short Film Festival Oberhausen serta terpilih dalam shortlist
nominasi Film Pendek Terbaik di Festival Film Indonesia 2021.
Haris Yuliyanto (1997, Indonesia) sudah akrab dengan lingkungan para
pelaut sejak kecil. Hal ini membuat Haris tertarik untuk menjadikan isu
maritim dan lingkungan pesisir sebagai pondasi cerita di tiap karyanya.
Saat ini, Haris aktif sebagai seorang freelance filmmaker yang berbasis
di Kota Semarang. Beberapa karya film pendeknya sudah mendapatkan
apresiasi, baik di skala nasional maupun internasional, seperti 67th
International Short Film Festival Oberhausen serta terpilih dalam shortlist
nominasi Film Pendek Terbaik di Festival Film Indonesia 2021.

Contact : japhdoffice@gmail.com

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PERSPECTIVES
SHORT MOHASEBEH
12 minutes | 2020 | Iran, Ukraine | Fiction

Synopsis
The story revolves around trust and mutual understanding between the two generations, between a
mother and her daughter Azadeh. Azadeh is a sports champion, but at home, her mother doesn’t take her
accomplishments properly and tries to get her to be the person she wants. Nevertheless, when Azadeh

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managed to get an award in the sports championship, the mother considers this award as a new opportunity
for her daughter and wants to get the most out of Azadeh’s award. She goes to extreme measures to get
what she wants, to wit - to force Azadeh to give an interview with a journalist.
Bercerita tentang kepercayaan dan saling pengertian di antara dua generasi, antara seorang ibu dan
putrinya, Azadeh. Azadeh adalah seorang juara olahraga, tetapi di rumah, ibunya tidak memberikan
pengakuan baik padanya dan berusaha mengubahnya menjadi seperti yang dia inginkan. Meskipun begitu,
ketika Azadeh berhasil mendapatkan penghargaan dalam kejuaraan olahraga, sang ibu menganggap
penghargaan ini sebagai peluang baru bagi putrinya dan ingin memanfaatkan penghargaan Azadeh
secara maksimal. Ibu Azadeh melakukan tindakan ekstrem untuk mendapatkan sesuatu yang dia inginkan,
yaitu memaksa Azadeh untuk diwawancara oleh seorang jurnalis

Director | Hanna Jalali

Hanna Jalali was born in Ukraine. Studied at the Institute of Journalism of
Taras Shevchenko Kyiv National University (BA in Journalism). In 2015 she
was graduated from Kyiv National I.K. Karpenko-Kary Theater, Cinema and
Television University (MA in Documentary Directing; MA in Film Production).
Her first short film “After” was officially selected in several international film
festivals and won some awards. In 2018 she was invited to participate in
the 3rd Film school Alliance in Georgia, where she took a diploma from
the masters and 3rd place audience award. In 2020 she took participation
at the Kyoto Filmmakers Lab (KFL)(Masters session online) in Japan.
Berlinale Talents 2021 alumna.
Hanna Jalali lahir di Ukraina. Ia belajar di Institute of Journalism of Taras
Shevchenko Kyiv National University jurusan jurnalistik. Pada 2015 ia lulus
dari Kyiv National I.K. Karpenko-Kary Theater, Cinema and Television
University jurusan penyutradaraan dokumenter dan produksi film. Film
pendek pertamanya “After” terpilih di beberapa festival film internasional dan memenangkan beberapa
penghargaan. Pada tahun 2018, ia diundang untuk berpartisipasi dalam di Film school Alliance ke 3 di
Georgia, di mana ia menamatkan pendidikan diploma dari para maestro dan mendapat peringkat ke-3 untuk
penghargaan penonton. Pada tahun 2020, ia berpartisipasi di the Kyoto Filmmakers Lab (KFL)(Masters
session online) di Jepang. Ia juga adalah Alumni Berlinale Talents 2021.

Contact : moeinjalalimail@gmail.com

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PERSPECTIVES BEDSORES
SHORT 24 Minutes | 2021 | India | Fiction

Synopsis
Kauri is four months pregnant & she is still doing prostitution. Her 9-year-old daughter, Guddi has her
dreams. She knows her mother will soon start preparing her for family-based prostitution. Chohan wants to
buy a girl child as his wife has again given birth to a boy & there is no one to earn bread in future. Sheetal
wants to get pregnant with a girl child. She keeps her search going with men who have more chances of
giving her a girl child. A tactical practice by this tribe to secure living & tradition as they grow old.
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Kauri sedang hamil empat bulan dan dia masih bekerja sebagai pelacur. Putrinya yang berusia 9 tahun,
Guddi memiliki cita-citanya sendiri. Dia tahu ibunya sebentar lagi akan mempersiapkannya untuk bekerja di
bisnis prostitusi keluarga. Chohan ingin membeli anak perempuan karena istrinya melahirkan anak laki-laki
lagi sehingga tidak ada yang akan mencari nafkah kelak. Sheetal ingin hamil anak perempuan. Dia terus
mencari laki-laki yang memiliki peluang lebih banyak untuk memberinya anak perempuan.Sebuah taktik
yang dilakukan oleh suku ini untuk menjamin penghidupan & tradisi seiring bertambahnya usia mereka.

Director | Navin Chandra Ganesh

I am a Mumbai based self-taught independent filmmaker. Worked as Chief Assistant Director for Kismet
Konnection, Kahaani Gudiya ki. Directed behind the scenes for Sarbjit. Worked on Oscar-nominated “Al-
Risalah” (The Message, 1976) as a Creative Supervisor for theatrical release in India in the year 2008. Film
was digitally remastered, released & distributed in India by A.R Rahman. I moved on to directing numerous
corporate videos, product print shoots & music videos. All these efforts culminated in my debut work, a short
film “The Blink of A Cursor” which screened at Byron Bay International Film Festival, Australia, Independent
Filmmakers Showcase, Los Angeles, and won three Awards at The La New Wave International Film Festival
(“Flyleaves”) a mid-length experimental film was selected at the NFDC FILM BAZAAR, GOA, 2012. It was in
the Film Bazaar recommended films section (FBR Film) viewing room. The film never got completed due to
funds. “Dark Frames” my second short film premiered at the 37th Durban International Film Festival, Lights
of Asia Competition – Jogja-NETPAC Asian Film Festival 2016-Nominated for The Blencong Awards, NFDC
Film bazaar viewing room, Signs- Federation of Film societies of India Kerala nominated for John Abraham
nation Awards. “Bedsores” is my third short film.
Saya adalah seorang pembuat film independen otodidak yang menetap di
Mumbai. Saya bekerja sebagai Asisten Direktur Utama untuk Kismet Konnection,
Kahaani Gudiya ki. Menyutradarai di balik layar film “Sarbjit”. Saya bekerja untuk
film “Al-Risalah” yang masuk nominasi Oscar (The Message, 1976) sebagai
Creative Supervisor pada perilisan kembali ke bioskop di India tahun 2008. Film
ini di-remaster secara digital, dirilis dan didistribusikan di India oleh A.R Rahman.
Saya beralih ke penyutradaraan banyak video perusahaan, pemotretan produk
& video musik. Semua upaya ini memuncak dalam karya debut saya, yaitu
sebuah film pendek yang berjudul “The Blink of A Cursor” yang diputar di Byron
Bay International Film Festival, Australia, Independent Filmmakers Showcase,
Los Angeles, dan memenangkan tiga penghargaan di The La New Wave
International Film Festival. “Flyleaves”, sebuah film eksperimental mid-length
dipilih di NFDC FILM BAZAAR, GOA, 2012. Itu di ruang menonton film yang
direkomendasikan Bazaar Film (Film FBR). Film ini tidak pernah selesai karena

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persoalan pendanaan. “Dark Frames”, film pendek kedua saya tayang perdana di 37th Durban International
Film Festival, Lights of Asia Competition, Jogja-NETPAC Asian Film Festival 2016, dinominasikan untuk The
Blencong Awards, diputar di ruang tonton bazaar Film NFDC , dinominasikan oleh Signs- Federation of Film
society of India Kerala untuk mendapatkan penghargaan negara ”John Abraham”. “Bedsores” adalah film
pendek ketiga saya.

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Contact : aquanavi@gmail.com

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SHORT YI YI
17 Minutes | 2021 | Singapore | Fiction

Synopsis
A mother, trapped in the comfort of memory and mourning, confronts her grief when she is invited to the
wedding of her late son’s childhood sweetheart.
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Seorang ibu, terjebak dalam kenyamanan kenangan dan duka, menghadapi kesedihannya ketika dia
diundang ke pernikahan kekasih masa kecil mendiang putranya.

Director | Giselle Lin

Giselle Lin is a writer-director from Singapore. She has always wanted to write (and tell) stories about
women, for women; depicting women’s passions, disappointments, and routines. She finds inspiration in
the transience of life and the impermanence of, and emotional quality present in all things, living or not.
She graduated from LASALLE College of the Arts’ Puttnam School of Film & Animation with a First Class
Bachelor’s in Film. Her thesis film “Yi yi (Time Flows in Strange Ways on Sundays)”, of which she co-wrote
and directed, had its world premiere at the 74th Locarno Film Festival in the Pardi di domani: International
Competition category. Giselle believes that art is the ordinary and the ordinary is art, and constantly looks
to the women in her life and their experiences for stories. She hopes to forever make films that arise feelings
before intellect; films that have stories filled with human truth, touch and
taste — films that people feel before understanding.
Giselle Lin adalah seorang penulis-sutradara dari Singapura. Dia selalu ingin
menulis (dan menceritakan) cerita tentang perempuan, untuk perempuan;
yang menggambarkan gairah , kekecewaan, dan rutinitas perempuan.
Dia mendapatkan inspirasi dari kefanaan hidup dan ketidakkekalan,
serta kualitas emosional yang hadir dalam semua hal, hidup atau tidak.
Dia adalah sarjana dari LASALLE College of the Arts’ Puttnam School of
Film & Animation dengan capaian akademik yang sangat memuaskan.
Film tesisnya “Yi yi (Time Flows in Strange Ways on Sundays)”, yang ia
tulis dan sutradarai, ditayangkan perdana di the 74th Locarno Film Festival
dalam kategori Pardi di Domani: Kompetisi Internasional. Giselle percaya
bahwa seni adalah sesuatu yang biasa-biasa saja dan yang biasa-biasa
saja adalah seni, dan terus-menerus mencari pada diri perempuan dalam
hidupnya dan menengok ke pengalaman mereka untuk mencari cerita.
Dia berharap untuk dapat selamanya membuat film yang memunculkan
perasaan sebelum intelektualitas; film yang memiliki cerita yang penuh
dengan kebenaran, sentuhan, dan rasa manusia — film yang dapat
dirasakan orang sebelum mereka memahaminya.

Contact : clydekam.ck@gmail.com

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PERSPECTIVES
SHORT DEAR FATHER
24 Minutes | 2021 | Malaysia | Fiction

Synopsis
Dear Father” is an experimental documentary, based on the theory of Generation Loss. It explores the
memories between a father and son through voicemails, unwritten letters and photographs of them together.
Dear Father” adalah sebuah film dokumenter eksperimental, berdasarkan teori Generation Loss. Film ini
mengeksplorasi kenangan antara ayah dan anak melalui pesan suara, surat yang belum sempat ditulis dan
foto-foto bersama mereka.

Director | Jonathan Lee, Pak Sun Man

Jonathan - Jonathan Lee is a filmmaker based in Malaysia. He has been
determined to become a film producer and is currently also trying to
direct and write whenever he feels connected to a subject. Currently, he is
pursuing his Bachelor for Cinematic Arts.
Pak Sun Man - Growing up between Hong Kong and Malaysia, Pak have
a strong passion and interest in Malaysia diaspora, Malaysian Chinese
identity, Hong Kong identity, overseas Chinese, and third culture kids story
telling.
Jonathan - Jonathan Lee adalah seorang pembuat film yang menetap di
Malaysia. Dia telah bertekad untuk menjadi produser film dan saat ini juga
sedang mencoba bidang penyutradaraan dan penulisan setiap kali dia
merasa terkoneksi dengan suatu subjek. Saat ini, ia sedang mengejar gelar
Sarjana Seni Sinematik.
Pak Sun Man - Ia tumbuh di dua negara, Hong Kong dan Malaysia, Pak
memiliki semangat dan minat yang kuat pada diaspora Malaysia, identitas
Tionghoa Malaysia, identitas Hong Kong, Tionghoa perantauan, dan cerita
tentang anak yang tumbuh di budaya yang berbeda dengan orang tuanya.

Contact : jayleejiawan@gmail.com

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ASIAN
PERSPECTIVES
SHORT
TRIS
13 minutes | 2021 | Indonesia | Fiction

Synopsis
Tristan feels useless to his family. His decision to see a psychologist made him realize something he had
never imagined before.
Tristan merasa tidak berguna bagi keluarganya. Keputusannya untuk menemui psikolog membuatnya
menyadari sesuatu yang tidak pernah ia bayangkan sebelumnya.
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Director | Djenar Maesa Ayu

Djenar has published six anthologies of short stories and a novel. Her short
story, ‘Suckling Father’ became The Best Short Story of Jurnal Perempuan
2003, while ‘Nayla’s Time’ won an award of Kompas Best Short Story in the
same year. Djenar directed her first film ‘They Say, I’m a Monkey!’ (2008)
and won Citra Award for Best Adaptation Scenario category with Indra
Herlambang and a Special Mention for Best New Director at Indonesian
Film Festival 2009. Her third film ‘Nay’, won NETPAC Award in JAFF 2015.
As an actress, Djenar won The Best Supporting Actress at Festival Film
Bandung 2017.
Djenar telah menerbitkan enam antologi cerita pendek dan sebuah novel.
Cerpennya, “Suckling Father” menjadi Cerpen Terbaik Jurnal Perempuan
2003, sedangkan “Nayla’s Time” meraih penghargaan Cerpen Terbaik
Kompas di tahun yang sama. Djenar menyutradarai film pertamanya yang
berjudul “They Say, I’m a Monkey!” (2008) dan memenangkan Penghargaan
Piala Citra untuk kategori Skenario Adaptasi Terbaik bersama Indra
Herlambang dan Penghargaan Khusus untuk Sutradara Baru Terbaik di
Festival Film Indonesia 2009. Film ketiganya “Nay”, memenangkan NETPAC
Award di JAFF 2015. Sebagai aktris, Djenar pernah memenangkan The
Pemeran Pembantu Wanita Terbaik di Festival Film Bandung 2017.

Contact : djenarsyuman@gmail.com

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SHORT
TAK BICARA BERSUARA
111 Minutes | 2021 | Indonesia | Fiction

Synopsis
One night, Monalisa is getting asked by a mysterious voice from her body.
Suatu malam, Monalisa ditanyai oleh suara misterius dari tubuhnya.

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Director | Rendro Aryo
Rendro Aryo is an Indonesian Film Director with a big passion for filmmaking.
He was born in Batam, Indonesia on October 5, 1993. He studied film
directing at the Faculty of Film and Television, Jakarta Institute of the Arts.
His short films have been selected and win in National and International
Film Festivals. He worked as Director and Writer for production companies
in Indonesia. In 2019 he established his own production company Cahaya
Films. He continues making short films, documentaries and commercials
and is now preparing his first feature film.
Rendro Aryo adalah Sutradara Film Indonesia dengan semangat yang
besar untuk membuat film. Ia lahir di Batam, Indonesia pada 5 Oktober
1993. Ia belajar menjadi sutradara film di Fakultas Film dan Televisi, Institut
Kesenian Jakarta. Film pendeknya telah terpilih dan menang di Festival
Film Nasional dan Internasional. Dia bekerja sebagai Sutradara dan
Penulis untuk beberapa rumah produksi di Indonesia. Pada tahun 2019 ia
mendirikan rumah produksinya sendiri yang bernama Cahaya Films. Dia
terus membuat film pendek, dokumenter serta iklan dan juga sekarang
sedang mempersiapkan film panjang pertamanya.

Contact : rendroaryo@gmail.com

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ASIAN
PERSPECTIVES
SHORT
UDIN INFERNO
14 minutes | 2021 | Indonesia | Fiction

Synopsis
Set in an Indonesian suburban Middle-Class neighborhood, Udin’s Inferno, tells a story about 12 years
old kid named Udin, who got traumatized after reading a comic book about a depiction of hell torture. In
the book, Udin sees a very graphic and disturbing violent depiction of tormented sinners that haunts him
throughout the day. One of the sinners in the book is a person who got a tattoo in his life. One of his friends
mocks Udin, a tattooed person in the book is Udin’s father, a guy who got tattoos all over his body. Udin
WORLD PREMIERE

thinks if he can manage to erase his father’s tattoo, he can save him and his father from getting to hell in the
afterlife. Udin tries all efforts to erase his father’s tattoo which he obviously fails. Udin cannot deal with his
obvious failure. He got even more haunted by his own depiction of hell not only when he was awake, but also
in his sleep. In the end, his fears and trauma turn into a nightmare.
Bertempat di lingkungan Kelas Menengah pinggiran kota Indonesia, Udin’s Inferno, menceritakan tentang
seorang anak berusia 12 tahun bernama Udin, yang mengalami trauma setelah membaca buku komik
tentang penggambaran penyiksaan di neraka. Dalam buku itu, Udin melihat penggambaran kekerasan
yang sangat gamblang dan menggelisahkan dari orang-orang berdosa yang tersiksa menghantuinya
sepanjang hari. Salah satu pendosa dalam buku itu adalah orang yang memiliki tato dalam hidupnya.
Salah satu temannya mengolok-olok Udin, bahwa orang yang bertato di buku itu adalah ayah Udin, ayah
Udin seorang pria yang memiliki tato di sekujur tubuhnya. Udin berpikir jika dia berhasil menghapus tato
ayahnya, dia dapat menyelamatkan dirinya dan ayahnya dari neraka di akhirat. Udin mencoba segala upaya
untuk menghapus tato ayahnya yang jelas-jelas akan mengalami kegagalan. Udin tidak bisa menghadapi
kegagalannya yang nyata. Dia semakin dihantui oleh gambaran neraka tidak hanya ketika dia bangun,
tetapi juga dalam tidurnya. Akhirnya, ketakutan dan traumanya berubah menjadi mimpi buruk

Director | Yogi S. Calam

Yogi is a filmmaker based in Jakarta, Indonesia. Yogi started his career
in 2009 as a 1st assistant director for major commercial feature films
including, 7/24 (2014), Jakarta Undercover (2017), Yowis Ben (2018), and
Yowis Ben 2 (2019). Yogi got his first directorial debut in one of the most
popular comedy TV Shows in Indonesia titled OK JEK. Yogi’s directorial
career continues as he co-directs feature film titled Melodylan (2019), and
OTT series titled Rewrite (2019). Currently, he’s working for IDN Pictures as
Film Director.
Yogi adalah seorang pembuat film yang tinggal di Jakarta, Indonesia.
Yogi memulai karirnya pada tahun 2009 sebagai asisten sutradara
pertama untuk film layar lebar komersial termasuk, “7/24” (2014), “Jakarta
Undercover” (2017), “Yowis Ben” (2018), dan “Yowis Ben 2” (2019). Yogi
mendapatkan debut penyutradaraan pertamanya di salah satu Acara
TV komedi terpopuler di Indonesia berjudul OK JEK. Karir penyutradaraan Yogi berlanjut ketika ia ikut
menyutradarai film layar lebar berjudul “Melodylan” (2019), dan serial OTT berjudul “Rewrite” (2019). Saat
ini, ia bekerja untuk IDN Pictures sebagai Sutradara Film.

Contact : filmudinsinferno@gmail.com

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ASIAN
PERSPECTIVES INDONESIAN LEARN KAPPA
SHORT HUNTING TECHNIQUES
25 Minutes | 2021 | Japan | Fiction

Synopsis
To briefly explain the story of this film, a technical intern trainee from Indonesia learns to hunt with local
hunters in Japan. “How to hunt ‘Kappa’ which is said to be effective as a traditional corona medicine. Of
course ‘Kappa’ is a fictional Japanese monster. Kotaka thinks of a fictional story about hunting Kappa whose
meat can serve as a cure for the coronavirus. All characters are played by local people, not professional
actors. This work is a mockumentary work that combines documentary and fiction. Currently the governments

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of Japan, Indonesia and around the world are preaching a lot of lies. We currently have many difficulties and
problems for which there is no solution. While viewing this work, a solution to find hope in an endless world
of pandemics may emerge.
Untuk menjelaskan secara singkat cerita film ini, Seorang trainee praktek kerja dari Indonesia belajar
berburu bersama pemburu lokal di Jepang. Bagaimana cara berburu ‘Kappa’ yang dikatakan efektif
sebagai obat tradisional corona. Tentu saja ‘Kappa’ adalah monster fiksi Jepang. Kotaka berpikir sebuah
cerita fiksi tentang berburu Kappa yang dagingnya dapat berfungsi untuk obat corona. Semua karakter
diperankan oleh orang lokal bukan aktor profesional. Karya ini merupakan karya mockumentary yang
memadukan antara dokumenter dan fiksi. Saat ini pamarintah Jepang, Indonesia dan diseluruh dunia
banyak memberitakan kebohongan. Kita saat ini banyak kesulitan dan masalah yang belum ada solusinya.
Saat melihat karya ini, solusi untuk menemukan harapan di dunia pandemi yang tak ada habisnya mungkin
muncul.
Director | Takuro Kotaka
Takuro Kotaka wasborn in Saitama, Japan in 1984) is a film director and contemporary artist who works
across media. Many of his works raise themes that are attached to daily narratives such as myths, rumors,
symbols that have started to be forgotten with links to political issues presented with humor, science
fiction and fiction/documentary approaches. His works have been included in several film festivals and art
exhibitions in various countries, the exhibitions he has participated in include ‘Bangkok Biennal 2018’ (Patani
Art Space, Patani), ‘16th Festival Film Dokumenter Yogyakarta 2017’ (Taman Budaya, Yogyakarta), ‘Jakarta
Biennale XIII ARENA 2009’ (Indonesia National Gallery, Jakarta), ‘WE!! Japanese Artist Meet Indonesia
2008’ (Selasar Sunaryo Art Space, Bandung), ‘56th International Short Film Festival Oberhausen 2009’
(Lichtburg Filmpalast, Oberhausen) In 2017-2018, he was selected in the Agency For Cultural Affair of The
Japanese Government program and in 2019-2021 Artist Program POLA Art Foundation.
Lahir di Saitama Jepang Tahun 1984 merupakan stradara film dan seniman
kontemporer yang berkarya secara lintas media. Karya-karyanya banyak
mengangkat tema yang melekat pada narasi keseharian seperti mitos, rumor,
simbol-simbol yang sudah mulai dilupakan yang memiliki keterkaitan dengan
isu politis yang disajikan dengan pendekatan humor, scient fiction dan fiksi/
dokumenter. Karyanya telah diikutsertakan di beberapa festival film dan pameran
seni di berbagai negara, pameran yang pernah diikutinya antara lain ‘Bangkok
Biennal 2018’ (Patani Art Space, Patani), ‘16th Festival Film Documenter
Yogyakarta 2017’ (Taman Budaya, Yogyakarta),’Jakarta Biennale XIII ARENA
2009’ (Indonesia National Gallery, Jakarta), ‘KITA!! Japanese Artist Meet Indonesia
2008’ (Selasar Sunaryo Art Space, Bandung), ‘56th Intemational Short Film Festival
Oberhausen 2009’ (Lichtburg Filmpalast, Oberhausen) Tahun 2017-2018 terpilih
dalam program Agency For Cultural Affair of The Japanese Goverment dan tahun
2019-2021 artis program POLA Art Foundation.

Contact : kotaka766@yahoo.co.jp 131

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ASIAN
PERSPECTIVES HOW TO DIE YOUNG
SHORT IN MANILA
20 minutes | 2021 | Philippines | Fiction

Synopsis
A teenage boy follows a group of young hustlers when he sees them on the street, thinking one of them may
be the anonymous hook-up he has arranged to meet for the night. As he anxiously finds a way to get closer,
each of the other boys inexplicably turn up as dead bodies strewn in pavements, until only one of them is left.
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Seorang remaja laki-laki mengikuti sekelompok penipu muda ketika dia melihat mereka di jalan, dia mengira
salah satu dari mereka mungkin adalah pasangan kencan buta yang telah membuat perjanjian dengannya
untuk bertemu malam itu. Saat dia gelisah mencari cara untuk mendekat, masing-masing anak laki-laki
tersebut entah kenapa sudah menjadi mayat yang berserakan di trotoar, sampai hanya ada satu dari
mereka yang tersisa.

Director | Petersen Vargas

Petersen Vargas is an alumnus of the UP Film Institute and Asian Film
Academy. His films tackle Filipino youth through a queer and regional lens.
His short Geography Lessons (2014) won Best Direction at Cinemalaya. His
feature debut 2 Cool 2 Be 4gotten (2016) won the Audience Award at Torino
LGBTQI Film Festival. His latest short, How to Die Young in Manila (2020)
world premiered at the Busan International Film Festival and has been
shown in festivals like Glasgow Shorts, Outfest, CAAMFest and Neuchetel
Fantastic Film Festival. He is developing his second feature, Some Nights
I Feel Like Walking. He lives in Quezon City with his cat, Wong Kat Wai.

Petersen Vargas adalah alumni UP Film Institute dan Asian Film

Academy. Film-filmnya menyoroti pemuda Filipina melalui perspektif
queer dan kedaerahan. Film pendeknya, “Geography Lessons’’ (2014)
memenangkan penghargaan Best Direction di Cinemalaya. Debut film panjangnya “2 Cool 2 Be 4gotten”
(2016) memenangkan Audience Award di Torino LGBTQI Film Festival. Film pendek terbarunya, “How
to Die Young in Manila” (2020) diputar perdana di Busan International Film Festival dan telah diputar di
festival-festival seperti Glasgow Shorts, Outfest, CAAMFest, dan Neuchetel Fantastic Film Festival. Saat ini,
ia sedang mengembangkan proyek film panjang keduanya, “Some Nights I Feel Like Walking”. Ia tinggal di
Kota Quezon bersama kucingnya, Wong Kat Wai.

Contact : alem@daluyong.ph

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PERSPECTIVES
SHORT
A LETTER TO MY WIFE
24 Minutes | 2021 | Indonesia | Non-Fiction

Synopsis
A short documentary about a husband’s longing for his wife presented through the longing rhymes that
adorn his bland life.
Sebuah film dokumenter pendek tentang kerinduan seorang suami kepada istrinya. Dihadirkan melalui
sebuah lantunan irama yang mengiringi kehidupan hambarnya.

Director | Muhamad Ardan Ar’razaq

Saya lahir pada tahun 1998 dan saat ini sedang kuliah di salah satu universitas
perfilman di Indonesia berfokus pada dokumenter. Surat untuk istri saya adalah film
dokumenter pendek pertama saya. Sebelumnya, saya aktif membuat film esai.

I was born in 1998 and is currently studying at one of the film universities in Indonesia
focusing on documentary. A letter to my wife was my first short documentary film.
Previously, i was active making essay films.

Contact : ardanarraz18@gmail.com

133
 XXI 2 | WED 01 DEC | 10:45
XXI 4 | FRI 30 NOV | 18:15

ASIAN
PERSPECTIVES
SHORT SEBENTAR LAGI, MALAM TIBA
14 minutes | 2020 | Indonesia | Fiction

Synopsis
As he comes home to his eroded-by-development hometown, Raka, and his girlfriend, Irma, make a tour
around their dreams to live in a modern house. The tour leads them into question about dreams and reality.
Saat dia pulang ke kampung halamannya yang terkikis oleh pembangunan, Raka, dan pacarnya, Irma,
melakukan tur di sekitar impian mereka untuk tinggal di rumah modern. Tur ini menggiring mereka ke
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pertanyaan tentang mimpi dan kenyataan.

Director | Bonaventura Ezra Pradipta

Bonaventura Ezra Pradipta is an Indonesian filmmaker who was born in
1998 and grew in a small city in the East of Java. He traveled to a fast-
growing city, Gading Serpong, for film study and freshly graduated from
Multimedia Nusantara University. He directed some short films and became
festival director of UMN Screen 2018 and programmer of UCIFEST 9-UMN
Animation and Film Festival, one of the big film festivals for college students
in the country. His film “VOX POPULI, VOX DEI”, and “THE LAST PAGE
OF NEWSPAPER” was screened at several national film festivals. And his
short film “SEGARA: REMEMBER THE SEA” will be premiere at Balinale
International Film Festival 2021.
Bonaventura Ezra Pradipta adalah seorang sineas Indonesia yang lahir
pada tahun 1998 dan besar di sebuah kota kecil di Jawa Timur. Ia melakukan
perjalanan ke kota yang berkembang dengan pesat, Gading Serpong,
untuk menempuh studi film dan baru saja lulus dari Universitas Multimedia Nusantara. Ia menyutradarai
beberapa film pendek dan menjadi direktur festival UMN Screen 2018 dan programmer UCIFEST 9-UMN
Animation and Film Festival, salah satu festival film besar bagi mahasiswa di tanah air. Filmnya “Vox Populi,
Vox Dei”, dan “The Last page of newspaper” diputar di beberapa festival film nasional. Dan film pendeknya
“Segara: Remember The Sea” akan tayang perdana di Balinale International Film Festival 2021.

Contact : stephaniecornelia@ymail.com

134
 XXI 2 | WED 01 DEC | 10:45
XXI 4 | FRI 30 NOV | 18:15

ASIAN
PERSPECTIVES
SHORT SEJENGKAL
38 Minutes | 2020 | Indonesia | Fiction

Synopsis
The story of Menas in challenging the stigma of gender discrimination within the weaving culture in the
eastern part of Indonesia. His love for his late mother puts him against his own father, a loyal supporter of the
tradition inherited by many generations before in his motherland.

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Kisah Menas ketika menantang stigma diskriminasi gender dalam budaya tenun di Indonesia bagian timur.
Cintanya kepada mendiang ibunya menempatkan dia harus melawan ayahnya sendiri, seorang pendukung
setia tradisi yang diwarisi oleh banyak generasi pendahulunya di tanah airnya.

Director | Muhammad Ariyansyah Oramahi

Born in Jakarta in 1974, Arie Oramahi began his journey in the audiovisual industry in 2004 at a production
house for commercials in Jakarta. In 2008, Arie founded his own production house. He produced various
commercials and documentaries himself and got involved in many international productions. His involvement
in narrative films began as a producer of an independent short film titled Good Boys Go To Heaven in
2016. In 2019, Arie took part as assistant director in a feature film production collaboration between the
Netherlands, Belgium, and Indonesia. In the same year, Arie also acted as assistant director in a drama
series production, currently published on an OTT platform in Indonesia. In 2020, during the Covid19
pandemic, prior to directing Sejengkal, Arie directed a short film titled Rumah (Home), where the whole
production process happened while all crew stayed at home.
Lahir di Jakarta pada tahun 1974, Arie Oromahi memulai perjalanannya
di industri audiovisual pada tahun 2004 di sebuah rumah produksi iklan
di Jakarta. Pada tahun 2008, Arie mendirikan rumah produksi sendiri. Ia
memproduksi berbagai iklan dan dokumenter sendiri dan terlibat dalam
banyak produksi internasional. Keterlibatannya dalam kancah film naratif
dimulai dengan perannya sebagai produser film pendek independen
berjudul “Good Boys Go To Heaven” pada tahun 2016. Pada 2019, Arie
menjadi asisten sutradara dalam sebuah kolaborasi produksi film layar
lebar antara Belanda, Belgia, dan Indonesia. Di tahun yang sama, Arie
juga berperan sebagai asisten sutradara dalam produksi serial drama yang
saat ini disiarkan di platform OTT di Indonesia. Pada tahun 2020, di masa
pandemi Covid19, sebelum menyutradarai “Sejengkal”, Arie menyutradarai
film pendek berjudul “Rumah (Home)”, di mana seluruh proses produksi
terjadi ketika semua kru berada di rumah.

Contact : ardanarraz18@gmail.com

135
137
Indonesian Film Showcase Notes
ALEXANDER MATIUS & GORIVANA AGEZA
Keragaman Film Indonesia
P T
rogram ini ditujukkan untuk memberi
kesempatan film-film panjang Indonesia untuk
bertemu langsung dengan penontonnya.
Penting rasanya untuk memberikan ruang bagi
film Indonesia dalam JAFF. Tahun ini, drama
keluarga hadir lewat film terbaru dari Richard Oh,
“Menunggu Bunda” dan perseteruan kakak-adik
dalam Backstage karya Guntur Soeharjanto. Jawa
dan Atambua ditampilkan dalam Simpang Masa
dan Cinta Bete, dua film yang merupakan debut
penyutradaraan film panjang bagi Subiyanto
dan Roy Lolang. Selain itu, terdapat 1200° yang
menampilkan cara bercerita baru dari Papermoon
Puppet Theatre dan Kamu Tidak Sendiri yang
bersetting dalam sebuah elevator. Terakhir kami
menggabungkan dua film pendek dan satu film
panjang yang memiliki kesamaan dalam sebuah
program: From Acting to Action! Ada tiga pekerja
seni peran yang kemudian mencoba membuat film
dari bangku sutradara. Tiga pekerja seni peran
tersebut adalah Carissa Perusset (AM), Juan Bio
(Quoi de Neuf), dan Umay Shahab (Kukira Kau
Rumah).
138
Diversity in Indonesian Films
his program aims to provide an opportunity
for Indonesian feature films to meet their
audiences in person..It is important to provide
space for Indonesian films in JAFF. This year,
Richard Oh’s latest film portrays family drama in
“Menunggu Bunda” and the feud between brothers
and sisters is explored in Guntur Soeharjanto’s
“Backstage”. Java and Atambua are featured in
Simpang Masa and Cinta Bete, two films that are
the feature-length directorial debuts for Subiyanto
and Roy Lolang respectively. Additionally,
1200°, featuring a new storytelling style from the
Papermoon Puppet Theater and You’re Not Alone, is
set entirely in an elevator. Finally we have combined
into one program two short films and one feature
film which have something in common: From Acting
to Action! There are three actors who have moved
to the director’s bench. The three actors are Carissa
Perusset (AM), Juan Bio (Quoi de Neuf), and Umay
Shahab (Kukira Kau Rumah).
 XXI 2 | FRI 03 DEC | 17:45

INDONESIAN
FILM
SHOWCASE
KAMU TIDAK SENDIRI
98 Minutes | 2020 | Indonesia | Fiction

Synopsis
Set in an office building at night, MIRA, a workaholic, ambitious and independent person works late and is
about to go home. In the elevator, she meets MIKA, a stranger who works in the same building as Mira. As
soon as they got into the elevator, there was a massive earthquake, which caused the lift to break down.
Mira had to accept the fact that this stranger was her only friend. Mira began to realize that she was very
grateful to have Mika around. But not long after, she had to face the fact that she had to fight alone because
of Mika’s death. When Mira thought everything would end tragically, a mysterious figure appeared through
a voice on the intercom. A security guard named Adrian tried to accompany her through everything. There
is a unique relationship between them, which makes Mira finally able to make peace with her past. How did
Mira survive from the elevator?
Bertempat di gedung perkantoran pada malam hari, MIRA, seorang pekerja keras, ambisius, dan mandiri
bekerja hingga larut malam dan hendak pulang. Di lift, ia bertemu MIKA, orang asing yang bekerja di gedung
yang sama dengannya. Begitu mereka masuk ke dalam lift, terjadi gempa besar, yang menyebabkan lift
tersebut rusak. Mira harus menerima kenyataan bahwa orang asing ini adalah satu-satunya temannya.
Mira mulai menyadari bahwa ia sangat bersyukur memiliki Mika. Tapi tidak lama kemudian, Mira harus
menghadapi kenyataan bahwa ia harus berjuang sendirian karena kematian Mika. Ketika Mira mengira
semuanya akan berakhir tragis, sosok misterius muncul melalui suara di interkom. Seorang satpam bernama
Adrian berusaha menemaninya melewati segala hal. Ada hubungan unik di antara mereka yang membuat
Mira akhirnya bisa berdamai dengan masa lalunya. Bagaimana Mira selamat dari lift?

Director | Arwin T Wardhana

“Begin as a Movie Casting Director (2004) and a Movie Assistant Director
(2007) Arwin has worked with several international filmmakers (Australia
& Denmark) and other well known local filmmakers (Indonesia). In the
last 10 years as a Creative and Filmmaker Arwin has made more than 18
music videos, 10 profile videos and 14 commercials. As an Independent
Filmmaker, he has made 3 short films (viddsee.com & YouTube), 1 Film for
TV (First Media Cable TV), 1 Original series as Co Director (Viu Indonesia),
and 4 Mini Web Series (KLAKLIK, MNC Pictures), 1 Mini Series (RCTI+) &
1 Feature Film (MNC Pictures).”
Ia memulai karirnya sebagai Sutradara Casting Film (2004) dan Asisten
Sutradara (2007). Arwin telah bekerja dengan beberapa pembuat film
internasional (Australia & Denmark) dan lainnya sineas Indonesia ternama.
Dalam 10 tahun terakhir, sebagai pekerja kreatif dan pembuat film
komersial, Arwin telah membuat lebih dari 18 video musik, 10 video profil
dan 14 iklan. Sebagai pembuat film independen, ia telah membuat 3 film pendek (viddsee.com & YouTube),
1 Film untuk First Media (TV Kabel), 1 original series sebagai Co Director (Viu Indonesia), dan 4 Web Series
pendek untuk KLAKLIK, MNC Pictures, 1 serial pendek untuk RCTI+ & 1 film panjang untuk MNC Pictures.

Contact : emilka.chaidir@mncgroup.com

139
 XXI 2 | MON 29 NOV | 17:45
XXI 2 | WED 30 NOV | 14:30
XXI 2 | THU 01 DEC | 13:30

INDONESIAN
FILM
SHOWCASE
BACKSTAGE
110 Minutes | 2020 | Indonesia | Fiction

Synopsis
Sandra is a very loving and caring sister to her sister Elsa. The story begins when Elsa wants to audition for
film stars but doesn’t pass, because Elsa’s acting is not impressive. However, producers were interested
in Elsa’s voice and wanted to make her a famous singer. However, in reality Elsa is not good at singing.
Precisely Sandra, the older sister who is good at singing. After all, the producers tried hard to make Elsa a
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singer. So there is a conflict between brother and sister

Sandra adalah kakak yang sangat penyayang dan perhatian kepada adiknya Elsa. Cerita dimulai ketika Elsa
ingin mengikuti audisi untuk menjadi bintang film tetapi tidak lulus, karena akting Elsa tidak mengesankan.
Namun, produser tertarik dengan suara Elsa dan ingin menjadikannya penyanyi terkenal. Namun,
pada kenyataannya Elsa tidak pandai menyanyi. Tepatnya Sandra, sang kakak yang pandai menyanyi.
Bagaimanapun, para produser tetap berusaha keras untuk menjadikan Elsa seorang penyanyi. Maka,
terjadilah konflik di antara kakak beradik ini.

Director | Guntur Soeharjanto

Guntur Soeharjanto is an Indonesian film director. His name became widely
known when his fifth television film (FTV), Juli di bulan Juni, won nine
awards at the 2005 Indonesian Film Festival, including the Best Director
category. In the following year another FTV made by him, Sebatas Aku
Mampu also won the award for Best Film at the 2006 FFI event. As a feature
film director, Guntur also made various achievements. 99 Cahaya di Langit
Eropa, is ranked the 32nd highest-grossing Indonesian film of all time with
1,189,709 viewers. His other film, Cinlok, was also included in the 100
highest-grossing Indonesian films of all time, coming in at number 68 with
652,731 viewers.
Guntur Soeharjanto adalah seorang sutradara berkebangsaan Indonesia.
Namanya mulai dikenal luas saat film televisi (FTV) kelima arahannya,
Juli di Bulan Juni, berhasil meraih sembilan penghargaan dalam Festival
Film Indonesia 2005, termasuk kategori Sutradara Terbaik. Pada tahun
berikutnya FTV besutannya yang lain, Sebatas Aku Mampu juga meraih penghargaan sebagai Film Terbaik
di ajang FFI 2006. Sebagai sutradara film layar lebar, Guntur juga menorehkan berbagai prestasi. Film
99 Cahaya di Langit Eropa, berada di peringkat ke-32 film Indonesia terlaris sepanjang masa dengan
1.189.709 penonton. Filmnya yang lain, Cinlok, juga masuk dalam 100 film Indonesia terlaris sepanjang
masa, berada di urutan ke-68 dengan 652.731 penonton.

Contact : indira@paragonpictures.id

140
 XXI 2 | SUN 28 NOV | 11:00
XXI 3 | TUE 30 NOV | 16:15

INDONESIAN
FILM
SHOWCASE
MENUNGGU BUNDA
87 Minutes | 2021 | Indonesia | Fiction

Synopsis
Mrs. Yenny suddenly falls unconscious. She’s lying in bed side by side with her three children, Alya, Alma,
Andra, and her husband who suffers from Alzheimer ‘s and slowly declining , Marsio. In one tiring night of
survival, the family secret is revealed. Alya will break the promise she swore to her mother. The other two
children, Alma and Andra are feuding with each other. During the family crisis, the children, Alya, Alma, and

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Andra realize that they don’t really know anything about their own mother. Who she really is? And who is
their father? Meanwhile, two doctors, Dr. Myra and Dr. Miyagi are struggling with the fact that medical care
is unable to face imminent death.
Bu Yenny tiba-tiba pingsan dan tidak sadarkan diri. Berbaring di tempat tidur didampingi oleh ketiga
anaknya, Alya, Alma, Andra, dan suaminya yang menderita Alzheimer, yang perlahan menurun, Marsio.
Dalam satu malam yang melelahkan untuk bertahan hidup, rahasia keluarga terungkap. Alya akan
mengingkari janji yang dia sumpah kepada ibunya akan dia tepati. Kedua anak lainnya, Alma dan Andra,
memperjuangkan perseteruan individualitas mereka. Di tengah krisis keluarga, anak-anak, Alya, Alma, dan
Andra segera menyadari bahwa mereka tidak benar-benar tahu apa-apa tentang ibu mereka sendiri. Siapa
dia sebenarnya? Dan siapa ayah mereka? Sementara itu, dua dokter, Dr. Myra dan Dr. Miyagi berkutat
dengan realita tentang ketidakmampuan perawatan medis dalam menghadapi kematian yang akan segera
terjadi.

Director | Richard Oh
Born in TebingTinggi, North Sumatera. Richard Oh went on to study
Literature & Creative Writing in University of Wisconsin and UC Berkeley.
Returning to Indonesia, he started his own advertising agency as owner
and creative writer, which lasted for 15 years. He then started a chain
of bookstores, QBWorld Books and founded Indonesia’s Literary Award
Kusala Sastra Khatulistiwa, which is now in its 21st year.
Lahir di Tebing Tinggi, Sumatera Utara. Richard Oh melanjutkan studi
Literature & Creative Writing di University of Wisconsin dan UC Berkeley.
Sekembalinya ke Indonesia, ia mendirikan biro iklan sendiri sebagai
pemilik dan penulis kreatif, yang bertahan selama 15 tahun. Dia kemudian
mendirikan waralaba toko buku, QBWorld Books dan mendirikan
Penghargaan Sastra Indonesia Kusala Sastra Khatulistiwa, yang kini telah
berjalan selama 21 tahun.

Contact : evi@falcon.co.id

141
 XXI 5 | TUE 30 NOV | 14:15
XXI 4 | WED 01 DEC | 16:00

INDONESIAN
FILM
SHOWCASE
SIMPANG MASA
90 Minutes | 2021 | Indonesia | Fiction

Synopsis
The meeting of three 19th century Javanese artists, Ronggowarsito (1802-1873), Mangkunegoro IV (1811-
1881), and Raden Saleh (circa 1811-1880). The 19th century was a difficult time for the Javanese. A
turbulent century, especially for the Javanese people who had just survived the devastating conflict known
as the Java War (1825-1830). After the Java War ended, Java entered a new order that can be called the
WORLD PREMIERE

modern era. The post-Java War and Cultuurstelsel agreement led to a decline in self-confidence, social,
economic, political, and cultural. So how did the three greatest artists of the 19th century deal with the times?
Pertemuan tiga seniman Jawa abad ke-19, Ronggowarsito (1802-1873), Mangkunegara IV (1811-
1881), dan Raden Saleh (sekitar 1811-1880). Abad ke-19 adalah masa yang sulit bagi orang
Jawa. Abad yang penuh gejolak, terutama bagi masyarakat Jawa yang baru saja selamat dari
konflik dahsyat yang dikenal dengan Perang Jawa (1825-1830). Setelah Perang Jawa berakhir,
Jawa memasuki tatanan baru yang bisa disebut era modern. Pasca Perang Jawa dan Perjanjian
Cultuurstelsel ini menyebabkan penurunan kepercayaan diri, sosial, ekonomi, politik, dan budaya.
Jadi bagaimana tiga seniman terbesar abad ke-19 menghadapi perkembangan zaman tersebut?

Director | Subiyanto
Completed film school at Jakarta Institute Of The Art (IKJ) in 2021. Worked
between the art and history.
Subiyanto menyelesaikan sekolah film di Institut Seni Jakarta (IKJ) pada
tahun 2021. Ia bekerja di bidang seni dan sejarah.

Contact : subibn@gmail.com

142
 XXI 4 | MON 29 NOV | 14:15

INDONESIAN
FILM
SHOWCASE
CINTA BETE
98 Minutes | 2021 | Indonesia | Fiction
Synopsis
Bete Kaebauk, a young woman who lives in Atambua, NTT. This beautiful woman must succumb to local customs. When she
starts getting her period, her own father will “announce”that she is ready for a marriage proposal. She watches her mother
having a difficult time as a wife. Emilio is the first man Bete fell in love with. The two are close and they both like each other.
But Emilio’s intention to become a priest makes Bete feel once again that he is destined to be a wasted woman. Alfredo’s
presence for a moment made her happy. Even though they come from different social classes which make Alfredo unable to
afford the dowry as a cost of his wedding. Bete is determined to elope with the man she idolizes. Instead of being happy, Bete
continues to experience unpleasant treatment from the man she loves. Emilio, who has finished his theological study, returns
to his village. Seeing Bete, the woman he loves, has memory problems and has lost her self-esteem. He comes to her, trying
to help. Will he remain an ordinary man who falls in love with a woman, or will he remain authentic and surrender his manly
desire to God as a servant of his religion?
Bete Kaebauk, seorang perempuan muda yang tinggal di Atambua, NTT. Perempuan cantik ini harus dikalahkan oleh adat
setempat. Ketika mulai mendapatkan menstruasi, ia sudah “diperkenalkan” oleh ayahnya sendiri, bahwa ia siap untuk
dipinang. Ia juga melihat betapa mamanya mengalami masa-masa sulit sebagai seorang istri. Emilio adalah laki-laki pertama
yang membuat Bete jatuh cinta. Keduanya dekat dan mereka sama-sama suka. Tetapi Niat Emilio yang ingin jadi pastor
membuat Bete lagi-lagi merasa bahwa memang ia ditakdirkan menjadi perempuan yang tersia-siakan. Kehadiran Alfredo
sejenak membuatnya bahagia. Meskipun mereka berbeda kelas sosial dan membuat Alfredo tidak bisa membayar mahar
untuk ongkos pernikahannya, Bete nekad untuk kawin lari dengan pria pujaannya tersebut. Alih-alih bahagia, Bete tetap
mengalami perlakuan tidak mengenakkan dari pria yang dicintainya tersebut. Emilio yang sudah selesai dengan sekolah
teologinya pulang kembali ke kampung. Melihat Bete, perempuan yang dicintainya sakit ingatan dan kehilangan harga
dirinya, ia mendekati untuk menolong. Apakah ia akan tetap menjadi manusia biasa yang kembali jatuh cinta pada perempuan
itu, ataukah ia tetap bersejati diri menyerahkan sisi kemanusiaannya kepada Tuhan sebagai abdi agamanya ?

Director | Roy Muda Dato Lolang

Roy Muda Dato Lolang S.sn. was born in Kendal, Indonesia and graduated
from the IKJ (Jakarta Institute of the Art). He is the Director of Photography
and Director of “Ada Apa dengan Cinta”, “Negeri 5 Menara”, “Cinta
1,2,3”, “Jagad Kali Code”, “Laura & Marsha”, “3 Hati 2 Dunia 1 Cinta”,
“Toba Dreams”, “Cinta 2 Hati”, “Hanum Rangga”, and others, as well as
dozens of documentaries and short films. He is also active as a member
of the Supervisory Board of ICS (Indonesian Cinematographer Society). He
became a Jury for the Indonesian Film Festival several times, and for Short
Film Festival XXI and the Piala Maya. Currently, Roy Muda Dato Lolang
gives film workshops to the film community.
Roy Muda Dato Lolang S.sn. Lahir di Kendal, Indonesia Lulusan Sarjana
Film IKJ ( Institut Kesenian Jakarta ). Adalah Director Of Photogafi dan Film
Director , telah memproduksi Film Ada Apa dengan Cinta, Negeri 5 menara,
Cinta 1,2,3,Jagad kali Code, dan Laura & Marsha, 3 Hati 2 Dunia 1 Cinta, Toba Dreams, Cinta 2 Hati, Hanum
Rangga, dll. Serta puluhan film dokumenter, Film Pendek dan dia juga aktif sebagai Dewan Pengawas ICS (
Indonesian Cinematographer Sociaty) .Beberapa kali terlibat sebagai Juri Festival Film Indonesia, Juri Short
Film Festival XXI dan Piala Maya. Saat ini Roy Muda Dato Lolang aktif dalam memberikan Workshop film
kepada komunitas komunitas pegiat film.
Contact : lenilolang69@gmail.com
143
 XXI 4 | MON 29 NOV | 16:45

INDONESIAN
FILM 1200° (TWELVE HUNDRED
SHOWCASE DEGREES)
31 Minutes | 2021 | Indonesia | Fiction

Synopsis
A little head made out of clay woke up, and found that the body parts that were put for it, was not what was
supposed to be. The little head tried to dig, to find the body parts that would meet its expectation. With lots
of help from its friends, the little head had a journey to be comforted by its own choices. Papermoon Puppet
Theatre started the process of 1200° by doing workshop with transgender communities in Yogyakarta.
Sebuah kepala kecil yang terbuat dari tanah liat terbangun dan mendapati bahwa bagian tubuh yang
terpasang padanya bukanlah yang semestinya. Kepala kecil itu berusaha menggali untuk mencari bagian
tubuh yang sesuai dengan angan-angannya. Dengan bantuan dari banyak teman-temannya, kepala kecil itu
melakukan perjalanan untuk mencari ketenangan dengan kehendaknya sendiri. Papermoon Puppet Theatre
memulai proses 1200° dengan mengadakan workshop besama komunitas transgender di Yogyakarta.

Director | Maria Tri Sulistiyani

Maria Tri Sulistyani (b.1981), is the founder and Co-Artistic Director of
Papermoon Puppet Theatre that’s based in Yogyakarta-Indonesia on 2006.
Maria who graduated with Social and Political Science degree, came with
no educational background of puppetry, makes puppetry becomes a never-
ending experimental journey for her. Papermoon made performances, visual
arts projects, and facilitate workshops with wide-range age of audiences,
and also initiated independent International Biennial Puppet Festival calls
PESTA BONEKA since 2008. The company has been travelled to meet many
people in different countries such as United States of America - Netherland,
Japan, India, South Korea, Malaysia, Singapore, Australia, UK, Scotland,
Germany, Myanmar, Pakistan, Taiwan, Philippines and Thailand. Since the
pandemic happened on 2020, Maria leads the team to do experimentation
of Papermoon’s stage pieces, switched to cinematic version. 1200° (Twelve
Hundred Degrees) is the third short films out of four, that was produced by
Papermoon Puppet Theatre for about 1 year.
Maria Tri Sulistyani (b.1981), adalah pendiri dan Co-Artistic Director Papermoon Puppet Theater yang
berbasis di Yogyakarta-Indonesia pada tahun 2006. Maria yang lulus dengan gelar Ilmu Sosial dan
Politik, datang tanpa latar belakang pendidikan pewayangan, membuat pewayangan menjadi perjalanan
eksperimental yang tidak pernah berakhir baginya. Papermoon membuat pertunjukan, proyek seni visual,
dan memfasilitasi lokakarya dengan berbagai usia audiens, dan juga memprakarsai International Biennial
Puppet Festival yang disebut PESTA BONEKA sejak 2008. Kelompok ini bertemu banyak orang di berbagai
negara seperti Amerika Serikat, Amerika - Belanda, Jepang, India, Korea Selatan, Malaysia, Singapura,
Australia, Inggris, Skotlandia, Jerman, Myanmar, Pakistan, Taiwan, Filipina, dan Thailand. Sejak pandemi
yang terjadi pada tahun 2020, Maria memimpin tim untuk melakukan eksperimen terhadap potongan-
potongan panggung Papermoon, beralih ke versi sinematik. “12000°” (Twelve Hundred Degrees) adalah
film pendek ketiga dari empat film pendek yang diproduksi oleh Papermoon Puppet Theater selama kurang
lebih 1 tahun.

Contact : papermoonpuppet@gmail.com

144
 XXI 1 | SUN 28 NOV | 12:45
XXI 2 | SAT 04 DEC | 11:00

INDONESIAN
FILM AM
SHOWCASE 10 Minutes | 2021 | Indonesia | Fiction

Synopsis
Mason, a young boy mourning the loss of his mother, shuts out the world as he drowns in his sorrows. But
a girl named Andara never gives up to try to pull him out of the abyss. Soon, she realises that only Mason
himself can come out of it in his own terms. A film that explores the idea of life, while dealing with death.
Mason, seorang bocah lelaki yang sedang berduka karena kehilangan ibunya, menutup diri dan tenggelam

WORLD PREMIERE
dalam kesedihannya. Namun seorang gadis bernama Andara tidak pernah menyerah untuk mencoba
menariknya keluar dari jurang keterpurukannya. Segera, dia akan menyadari bahwa hanya Mason seorang
yang bisa membebaskan dirinya sendiri. Sebuah film yang mengeksplorasi gagasan tentang kehidupan,
sambil berhadapan dengan kematian.

Director | Carissa Perusset

Carissa Perusset was born and raised in Jakarta Indonesia and has been
working in the entertainment industry since she was 14. When she turned
20, she starred in her first movie, a rom-com titled Antologi Rasa (2019).
This film prompted her big interest in films, and what happens behind
the scenes. Carissa has written poetry for as long as she can remember
and even published a book, but what really interested her was the art of
scriptwriting. After starring in a second film, she decided that her career
in front of the camera wasn’t one she wanted to pursue. She was given
several opportunities to write scripts, which have been very exciting and
at the end of 2020, she had eventualy written and directed her first short
film, AM.
Carissa Perusset lahir dan besar di Jakarta Indonesia dan telah
berkecimpung di dunia hiburan sejak berusia 14 tahun. Saat menginjak usia
20 tahun, ia membintangi film komedi romantis pertamanya yang berjudul
Antologi Rasa” (2019). Film ini mendorong minatnya yang besar pada film, dan seluk beluk di balik layar.
Carissa telah menulis puisi sejak ia baru bisa mengingat dan bahkan menerbitkan sebuah buku, tetapi
yang benar-benar menarik baginya adalah seni penulisan naskah. Setelah membintangi film kedua, dia
memutuskan bahwa karirnya di depan kamera bukanlah karir yang ingin dia kejar. Dia berkesempatan
menulis naskah yang sangat seru. Lalu, di penghujung tahun 2020, dia akhirnya menulis dan menyutradarai
film pendek pertamanya, “AM”.

Contact : am.shortmovie@gmail.com

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 XXI 1 | SUN 28 NOV | 12:45
XXI 2 | SAT 04 DEC | 11:00

INDONESIAN
FILM QUOI DE NEUF
SHOWCASE 3 Minutes | 2020 | Indonesia | Fiction

Synopsis
A girl is trying to escape her “home”. In her case, it’s tranquility.
Seorang gadis mencoba melarikan diri dari “rumahnya”. Menurut hematnya, ini adalah ketenangan.

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Director | Juan Bio
Started at his early age to become one of the promising young actor and
stars in many Indonesian box office films, Juan Bio One expanding his love
to cinema to begin his filmmaking career. Created Seismo to express his
interest and curiousity in filmmaking, Quoi de Neuf is his first short film.
Shot in 8mm.
Dimulai pada usia dini, ia ingin menjadi salah satu aktor muda yang
menjanjikan dan membintangi banyak film box office Indonesia, Juan
Bio One memperluas kecintaannya kepada sinema untuk memulai karir
pembuatan filmnya. Diciptakan oleh Seismo untuk mengekspresikan minat
dan rasa ingin tahunya dalam pembuatan film. “Quoi de Neuf” adalah film
pendek pertamanya. Difilmkan dalam format 8mm.

Contact : hadafirhn@gmail.com

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 XXI 1 | SUN 28 NOV | 12:45
XXI 2 | SAT 04 DEC | 11:00

INDONESIAN
FILM KUKIRA KAU RUMAH
SHOWCASE 90 Minutes | 2020 | Indonesia | Fiction

Synopsis
Pram (21) a lonely young man, his father passed away when he was still in middle school, and his mother
is busy working. Pram fills his days playing music and composing songs while working in a music cafe.
Then, Pram meets Niskala (19). Pram gets closer to Niskala, but what Pram doesn’t know about her is that

INDONESIAN PREMIERE
Niskalahas bipolar disorder. Niskala hides the fact that she pursues a college education from her father,
DEDI (50). Niskala’s only goal is to prove to his father that even with her condition, she can still excel. This
secret is only known to MELA (48), Niskala’s mother, and Niskala’s two friends, Oktavianus (20) and Dinda
(19). Her condition basically hinders Niskala. But since Pram has grown closer to Niskala, Niskala’s life
changed.
PRAM (21 tahun), seorang pemuda yang kesepian, semenjak SMP papahnya sudah meninggal, dan
mamahnya sibuk bekerja. Pram mengisi hari-harinya dengan bermain musik dan menciptakan lagu sambil
bekerja di sebuah music café. Sampai kemudian, Pram mengenal NISKALA (19 tahun). Pram pun kemudian
dekat dengan Niskala, dan satu yang belum Pram ketahui saat itu adalah; Niskala pengidap bipolar. Niskala
sebenarnya kuliah diam-diam tanpa sepengetahuan ayahnya, DEDI (50 tahun). Tujuan Niskala hanya ingin
membuktikan ke ayahnya, bahwa dengan keadaan sakitnya itu, Niskala akan tetap bisa berprestasi. Hal ini
hanya diketahui oleh MELA (48 tahun), ibunya Niskala, dan dua sahabat Niskala, OKTAVIANUS (20 tahun)
dan DINDA (19 tahun). Dengan keadaan itu, pada dasarnya keadaan Niskala sangat terbatas. Namun
semenjak Pram akrab dengan Niskala, hidup Niskala pun berubah.

Director | Umay Shahab

Umay Shahab was born in Jakarta, February 16, 2001. He started his
acting career when he was 3 years old, Umay played a role in a soap opera
titled “Wulan” in 2006. To date, Umay Shahab has acted in 9 films, including
Mencuri Raden Saleh”, “Sejuta Sayang Untuknya”, and “Pohon Terkenal.
Umay started directing when he was 14 years old, it was a short film titled
“”Cinta Di Balik Awan”” which harnessed 13 million audiences. When he
was 18 years old, he started working on his first feature film screenplay
about mental health titled “Kukira Kau Rumah”. It was nominated in 3
favorite categories at the Festival Film Indonesia and included in the 30
initial selection categories at the Festival Film Indonesia.
Umay Shahab adalah pria kelahiran Jakarta, 16 Februari 2001. Memulai
kariernya keaktorannya pada umur 3 tahun, Umay berperan dalam sebuah
sinetron yang berjudul Wulan pada 2006. Sekarang Umay Shahab sudah
bermain di 9 film, diantaranya adalah Mencuri Raden Saleh, Sejuta
Sayang Untuknya,dan Pohon Terkenal. Umay memulai karier penyutradaraan saat ia berusia 14 tahun,ia
menyutradari Short movie berjudul “Cinta Di Balik Awan” dengan penonton sebanyak 13 Juta. Saat ia
berusia 18 tahun ia mulai mengerjakan skenario film panjang pertamanya yang bercerita tentang kesehatan
mental berjudul Kukira Kau Rumah, Film Kukira Kau Rumah mendapat 3 nominasi terfavorit di Festival Film
Indonesia dan masuk 30 seleksi awal Festival Film Indonesia.

Contact : sugicompros@gmail.com

147
149
Layar Indonesiana Notes
ALEXANDER MATIUS & GORIVANA AGEZA
Menengok Sepuluh Film Terkurasi
Pemenang Kompetisi Produksi
L L
ayar Indonesiana akan menayangkan film-
film yang merupakan hasil produksi dari
sepuluh proposal film pendek yang terpilih
dalam Kompetisi Produksi Film Tahun 2021
yang diselenggarakan Kementerian Pendidikan,
Kebudayaan, Riset, dan Teknologi. Kompetisi
Produksi (Kompro) Film Tahun 2021 merupakan
wadah yang ditujukan bagi para sineas untuk
meningkatkan kreativitas dan semangat berkarya
di masa pandemi Covid-19. Kurator awal dalam
kompetisi ini adalah Ifa Isfansyah, Rahabi Mandra,
dan Anastasia Rina dan kemudian masuk Titien
Wattimena dan Gunawan Maryanto sebagai kurator
untuk memilih 10 film yang ditayangkan dalam
program ini.
150
Looking into Ten Films,
Winners of Production Funding
Competition
ayar Indonesiana will screen films produced
from ten short film proposals selected in the
2021 Film Production Competition organized
by the Ministry of Education, Culture, Research,
and Technology. The 2021 Film Production
Competition (Kompro) was made as a forum
intended for filmmakers to strengthen their creativity
and enthusiasm for working during the Covid-19
pandemic. The first stage selection curators were
Ifa Isfansyah, Rahabi Mandra, and Anastasia
Rina followed by Titien Wattimena and Gunawan
Maryanto as curators who decided on the final 10
films selected to be screened in this program.
 XXI 5 | SUN 28 NOV | 15:45

LAYAR
INDONESIANA
GANG PERMAI DUA
15 Minutes | 2021 | Indonesia | Fiction

Synopsis
Dua keluarga yang tinggal berhadapan di suatu gang tanpa sadar melakukan berbagai hal yang saling
merugikan; parkir sembarangan, suara berisik motor, kucing peliharaan yang buang kotoran sembarangan,
dan bau sampah yang menyengat. Sampai kesabaran diantara keduanya habis dan menimbulkan konflik
adu mulut hingga tak menyadari musibah yang terjadi pada masing-masing anggota keluarga terkecil

WORLD PREMIERE
mereka.
Two families living opposite to each other in an alley unknowingly do things that harm each other such
as careless parking, motorbike noises, careless disposal of cat litter, and the pungent smell of garbage.
The patience of the two families runs out and causes arguments which causes them not to realize the
calamity happened to each of their own nuclear family members.

Director | Alvin Sani

Riqhi Alvin Sani lahir di Watampone, 30 Juli 1997. Pada tahun 2019,
dia berhasil menyelesaikan program studi Film & Televisi di Institut Seni
Indonesia Yogyakarta. “Kapten PIxel” adalah karya pertamanya sebagai
sutradara yang dijadikan syarat kelulusan di program studi tersebut. Selain
itu, ia dikenal sebagai Produser daro film dokumenter pendek yang masuk
dalam program Forum Komunitas JAFF 2019 dan memenangkan Gajak
Pinilih Award pada acara Ganesha Film Festival.

Alvin was born in Watampone, 30 July 1997. He was graduated from

Indonesia Institute of Arts in 2019. His passion is become film director,
scriptwriter, and game development. Around his friend from college, he
was known for writer of Wasilah (2017), that get AFTA Award for Karya
Terpadu. “Kapten Pixel” was his first short film that he become director and
producer at once.

151
 XXI 5 | SUN 28 NOV | 15:45

LAYAR
INDONESIANA PASUKAN SEMUT
24 Minutes | 2021 | Indonesia | Fiction

Synopsis
Seorang remaja yang terpaksa mengambil risiko menjadi pembawa gula perbatasan negara Indonesia
dan Malaysia untuk membayar pengobatan Ibunya. Wilayah perbatasan di Kalimantan Barat. Demi bisa
membawa ibunya berobat, Rizal mengambil risiko sebagai pengangkut gula ilegal dari Malaysia ke
Indonesia, melalui “jalur tikus” selama beberapa hari dengan bayaran yang besar, untuk mengobati ibunya
WORLD PREMIERE

ke rumah sakit di Malaysia dan merawat adiknya. Ia ditemani oleh Iwan dan Ajung selama membawa gula
illegal melalui jalur tikus, namun perjalanan mereka terhenti saat mulai berjaga di setiap wilayah perbatasan.
Mereka bertiga akhirnya harus mengambil risiko untuk tetap membawa gula agar tetap bisa mendapatkan
uang.
This is a story about a teenager who has to take the risk of being a sugar courier at the border between
Indonesia and Malaysia to pay for his mother’s treatment. The border area is located in West Kalimantan. In
order to pay for his mother’s treatment, Rizal takes the risk of transporting unauthorised sugar from Malaysia
to Indonesia, through back alleys for several days for a large amount of fee, to pay for his mother’s treatment
at a hospital in Malaysia and take care of his younger brother. He is accompanied by Iwan and Ajung,
transporting unauthorised sugar through the back alleys, but their journey is paused intermittently to keep
watch for each other in each border area. They ultimately have to take risks to deliver sugar in pursuit of
money.

Director | Haris Supiandi

Haris Supiandi lahir di kota Pontianak, provinsi Kalimantan Barat. Telah
menyelesaikan jenjang pendidikan strata-2 (S2) tahun 2020 di Institut Seni
Indonesia (ISI) Yogyakarta pada program studi Penciptaan Seni Videografi
. Aktif memproduksi film sejak tahun 2014 hingga sekarang, selain itu
juga aktif dalam memproduksi karya audio visual dan kegiatan-kegiatan
pengembangan perfiilman di Kalimantan Barat.
“Haris Supiandi was born in Pontianak, West Kalimantan. He completed
his master’s degree education in 2020 at the Indonesian Institute of The
Art (ISI) Yogyakarta majoring in Videography Art Creation program.
He has produced films since 2014, besides that he has also produced
audio-visual works and done film development activities in West
Kalimantan.”

152
 XXI 5 | SUN 28 NOV | 15:45

LAYAR
INDONESIANA RADIO PAKCIK MAHMUD
24 Minutes | 2021 | Indonesia | Fiction

Synopsis
Pakcik Mahmud (60 th) adalah pemilik stasiun radio berbahasa melayu yang bernama “Bertuah FM”. Disaat
mengalami krisis keuangan ia berusaha mempertahakan siaran berbasis melayu di radionya.Hampir tiap
malam seorang pemuda bernama Mail selalu menelpon radio tersebut sebagai pendengar setia. Ketika
sedang makan malam, Aisyah anak sulungnya mengusulkan agar Pakcik Mahmud menerima tawaran dari

WORLD PREMIERE
Pak Bambang yang ingin membeli “Bertuah FM”. Namun Pakcik Mahmud marah besar dan Aisyah merasa
hal itu akan sulit terwujud karena Pak Bambang adalah seorang pebisnis yang selalu berpikir untung
dan rugi. Kenyataan pahit harus dihadapi Pakcik Mahmud, ketika dia mengetahui bahwa Aisyah telah
membohongi dirinya ketika siaran tengah berlangsung.
Pakcik Mahmud (60 years old) owns a Malay language radio station called “Bertuah FM”.
Despite having financial problems he tries to maintain the Malay program on his radio.
Almost every night a young man named Mail, a loyal listener, always calls the radio. While having dinner,
Aisyah, her eldest daughter, suggests that Pakcik Mahmud accept the offer from Mr. Bambang who wants
to purchase “Bertuah FM”. However, it makes Pakcik Mahmud furious and Aisyah thinks that things will
be difficult to achieve because Mr. Bambang is a businessman who always thinks about profit and loss.
Pakcik Mahmud has to face the harsh reality, when he found out that Aisyah has lied to him during the
broadcast.“

Director | Pajri Andika

Berawal dari kecintaan terhadap budaya melayu, pada tahun 2016 Pajri
memutuskan untuk membentuk komunitas film yang bernama NIFIKIWA.
NIKIFIWA sampai dengan saat ini tetap konsisten untuk terus memasukkan
unsur-unsur budaya melayu kesetiap film yang dibuat.

Starting his fascination for Malay culture, in 2016 Pajri decided to establish
a film community named NIFIKIWA. Until today, NIKIWA has remained
consistent to keep incorporating elements of Malay culture in every film
they produce.

153
 XXI 5 | SUN 28 NOV | 15:45

LAYAR
INDONESIANA CULAS
24 Minutes | 2021 | Indonesia | Fiction

Synopsis
Yana, seorang debt collector di sebuah perusahaan pinjaman online ilegal terjebak konflik kepentingan saat
terhubung dengan sahabatnya, Desi, yang menunggak pada perusahaan tempat Yana bekerja. Ketulusan
Yana diuji apakah dia memang peduli pada Desi atau mengharapkan hal lain. Pada akhirnya materi menjadi
penyekat dalam hubungan antar manusia.
Yana, a debt collector who works at an unauthorised online loan company, gets caught in a conflict of interest
because of her relationship to her best friend, Desi, who is indebted to the company where Yana works.
Yana’s sincerity is tested whether she really cares for Desi or expects something else in return. In the end,
material things draw partitions among human relations.

Director | Sabrina Rochelle Kalangie

Sabrina Rochelle Kalangie adalah seorang sutradara dan penulis yang
berbasis di Jakarta, Indonesia. Kecintaannya terhadap dunia storytelling
membuatnya mantap beralih ke industri film setelah lulus dari BINUS
School of Design di tahun 2014. Ia pun memulai karirnya sebagai sutradara
film webseries “Ben & Jody the Series” produksi Visinema pada tahun
2016. Tahun 2019, debut film panjang pertamanya sebagai sutradara
dan penulis, “Terlalu Tampan”, memberikannya Nominasi Penyutradaraan
Berbakat Piala Maya 2019 . Kini ia sedang merampungkan film panjang
keduanya, sebuah adaptasi dari sinetron populer di tahun 90-an, “Noktah
Merah Perkawinan”, bersama RAPI Films. Latar belakangnya di bidang
desain komunikasi visual menjadi salah satu ciri khas dari karya-karya film
yang dihasilkan Sabrina.
“Sabrina Rochelle Kalagie is a director and writer based in Jakarta,
Indonesia. Her love for storytelling led to her decision to switch to the film industry after graduating from
the BINUS School of Design in 2014. She started her career as a director of the web-series film “Ben
& Jody the Series” which was produced by Visinema in 2016. In 2019. Her feature-length film debut as
a director and writer, “Too Handsome”, earned her the 2019 Maya Cup Talented Directing Nomination.
She is currently completing her second feature film, an adaptation of the popular soap opera in the 90s,
“Noktah Merah Perkawinan”, with RAPI Films. Her background in visual communication design influenced
the characteristics of Sabrina’s films.

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LAYAR
INDONESIANA ADE: RIDE TO NOWHERE
23 Minutes | 2021 | Indonesia | Fiction

Synopsis
Ade, seorang wanita berumur 35 tahun baru saja kehilangan pekerjaannya dan harus membayar tunggakan
kosannya dalam waktu dekat.Dengan bantuan sahabatnya Fitri, Ade sekarang bekerja sebagai supir ojek
online bernama CABS. Di hari pertama dia bekerja sebagai driver ojek online, dia menemukan kendala.
Kebanyakan penumpangnya membatalkan pemesanan karena Ade adalah seorang perempuan. Ade tidak
menemukan titik terang hingga dia mengetahui para supir ojek online lain yang laki-laki terus menerus

WORLD PREMIERE
mendapatkan pemesanan. Melihat situasi itu, Ade memiliki sebuah rencana.
Ade, a 35-year-old woman, has just lost her job and has to pay her rent debts immediately. With the help
of her best friend Fitri, Ade now works as an online motorcycle taxi driver in a company called CABS. On
her first day of work, she encounters a problem. Most of the passengers cancel the booking because Ade
is a woman. Ade doesn’t find any luck until she finds out that male drivers kept getting orders. Seeing the
situation, A plan emerges in her mind.

Director | Khozy Rizal Putra

Saya adalah seorang sutradara, penulis, dan produser berbasis di kota
Makassar. Saya aktif menyutradarai beberapa iklan dan film pendek sejak
tahun 2018. Tahun 2018 saya memproduksi film pendek pertama saya
berjudul Annisa dan memenangkan Grand Prize International di Mobile
Film Festival dan mendapatkan dana hibah untuk memproduksi film
pendek kedua saya.Di akhir tahun 2019, saya mendirikan Hore Pictures
dan memproduksi film pendek kedua saya yang berjudul Lika Liku Laki.
I am a director, writer and producer based in Makassar city. I have directed
several commercials and short films since 2018. In 2018 I produced my
first short film, “Annisa’’ and won the International Grand Prize at the Mobile
Film Festival and received a grant to produce my second short film. At the
end of 2019, I founded Hore Pictures and produced my second short film,
“Lika Liku Laki”

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LAYAR
INDONESIANA RASA(H)
12 Minutes | 2021 | Indonesia | Fiction

Synopsis
Jenny (23, a Chinese Indonesian) and Arjuna are in a relationship but due to their different ethnicities, their
parents disapprove of their relationship. To win their hearts, they prepare a dinner serving Javanese Chinese
fusion food. The conversations that happen during dinner attempt to change everyone’s views. The casual
banquet then heats up due the tension caused by the clashing of principles.
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Jenny (23 tahun, Tionghoa) dan Arjuna (25 tahun, Jawa) menjalin hubungan asmara namun karena
perbedaan etnis, orang tua mereka tidak merestui hubungan mereka. Untuk mengambil hati kedua orang
tua mereka, sebuah jamuan makan malam yang menyajikan makanan tradisional Jawa dan Peranakan
mereka persiapkan. Percakapan dalam perjamuan berusaha mengubah pandangan tiap-tiap orang.
Perjamuan santai lalu memanas karena ketegangan prinsip masing-masing.

Director | Reni Apriliana

Reni Apriliana, is a director known from her short film directorial debut,
“Telur Setengah Matang” (2019). Currently, she is based in Surakarta and
active in the film community Kembang Gula.
Reni Apriliana, sutradara yang dikenal melalui debut film pendek
pertamanya berjudul Telur Setengah Matang (2019). Saat ini tinggal di Solo
dan bergiat di komunitas film Kembang Gula.

156
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LAYAR
INDONESIANA IBU ORA SARE
13 Minutes | 2021 | Indonesia | Fiction

Synopsis
Gogor (8 tahun) mendapat tugas dari sekolah untuk menulis tentang sosok ayah. Karena tidak punya ayah,
Gogor pun bertanya kepada ibunya. Namun, ibunya terlampau sibuk dengan pekerjaan-pekerjaan. Gogor
jadi kesal karena ia tidak bisa mengerjakan tugas menulis tentang ayahnya.

WORLD PREMIERE
Gogor (8 years old) is having an assignment from school to write about his father. Having no father, Gogor
then questions his mother. However, his mother is too busy with work. It annoys Gogor that he can’t finish his
writing assignment about his father.

Director | Gin Teguh

Gin Teguh lahir di Magelang, 7 Mei 1984 dengan nama lengkap Ginanjar
Teguh Iman. Lulus dari Fakultas Keguruan dan Ilmu Pendidikan Universitas
Tidar. Adalah penulis buku, skenario film, dan sutradara.

Gin Teguh was born in Magelang, May 7, 1984 as Ginanjar Teguh Iman. He
graduated from the Faculty of Teaching and Education, Tidar University. He
is a novelist, scriptwriter, and director.

157
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LAYAR
INDONESIANA KABAR DARI KUBUR
24 Minutes | 2021 | Indonesia | Fiction

Synopsis
Tak mau balik ke tempat gelap, Arwah Pak Hari kabur kembali ke dunia. Ia bergegas menagih doa yang
tulus kepada anak satu-satunya, Abdul. Namun wujudnya yang tak kasatmata mempersulit Arwah Pak Hari
bicara dengan Abdul.
Not wanting to go back to the dark place, Mr. Hari’s spirit escapes and returns to the world of living. He
WORLD PREMIERE

immediately asks for sincere prayers from his only child, Abdul. However, his invisibility makes it difficult for
Mr. Hari’s spirit to communicate with Abdul.

Director | Rasyid Baihaqi

Rasyid Baihaqi adalah seorang sutradara muda yang aktif membuat film
sejak 2013. Ia mengawali ketertarikannya pada film sebagai sinematografer
hingga akhirnya memutuskan menyutradarai filmnya sendiri. Ia pernah
mengikuti lokakarya tingkat menengah (kelas sinematografi) Pusbang Film
2017, Sekolah Pandang (School of Seeing) dari InDocs 2018, Kelas Cerita
dari Wahana Edukasi 2019, Storytelling Class & Screenwriting Class dari
Kinosaurus 2019. Beberapa film pendeknya berhasil menembus festival
film nasional dan internasional.
Rasyid Baihaqi is a young director who has been making films since 2013.
His interest in film started in cinematography but he ultimately decided to
direct his own films. He attended the Pusbang Film 2017’s middle-level
workshop (cinematography class), School of Seeing from InDocs 2018,
Kelas Cerita (Story Class) from Wahana Edukasi 2019, Storytelling Class &
Screenwriting Class from Kinosaurus 2019. Several of his short films found
success at national and international film festivals.

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 XXI 5 | MON 29 NOV | 15:45

LAYAR MEMBICARAKAN
INDONESIANA
KEJUJURAN DIANA
27 Minutes | 2021 | Indonesia | Fiction

Synopsis
Seorang murid SMA bernama Diana Hasyim mendadak terkenal ketika pernyataan dan sikap
kontroversialnya dalam sebuah video opini untuk tugas Bahasa Indonesia menjadi viral dan mendapat
beragam tanggapan dan kecaman publik. Dihadapkan oleh sebuah sidang yang diadakan oleh kepala
sekolahnya, dan guru Bahasa Indonesia yang bersimpati padanya, juga pihak dari Kemendikbudristek

WORLD PREMIERE
dan Lembaga Perlindungan Anak, Diana harus menunggu keputusan tentang dirinya. Bersamaan dengan
itu pula, Diana harus menghadapi kemarahan dari ibunya sendiri, yang menganggap bahwa ia telah
mempermalukannya lewat video yang mendadak viral itu.
A high school student named Diana Hasyim suddenly experiences fame when her controversial statement
and action in a video essay made for Indonesian Language assignment goes viral and triggers a public
outcry. She faces a trial convened by her school principal, and Indonesian language teachers who
sympathize with her, as well as those from the Ministry of Education and Culture and the Child Protection
Agency, Diana has to wait for them to decide her fate. At the same time, Diana has to face her mom’s anger,
she thinks that her daughter has humiliated her using the viral video.

Director | Angkasa Ramadhan

Angkasa Ramadhan adalah sutradara dan penulis naskah film Indonesia,
lahir di Pontianak, 26 April 1988. Ia mulai membuat film pendek setelah
belajar di Binus International University, Jakarta. Angkasa membuat dan
memproduksi beberapa film pendek beberapa diantaranya berhasil masuk
ke festival film internasional seperti Europe on Screen, Jogja Netpac, dan
Balinale International Film Festival. Selain menulis dan menyutradarai film
pendek, Angkasa juga menulis naskah untuk beberapa serial TV dan web-
series. Di tahun 2018, Angkasa terpilih menjadi salah satu peserta dalam
South East Asian Film Lab, Singapore International Film Festival 2018.
Angkasa juga merupakan peserta LOCK - Full Circle Lab 2019. Dan di
tahun yang sama, ia bersama Redvinn Studio, ikut dalam pengembangan
serial animasi di bawah dukungan Bekraf dan terpilih untuk mewakili
Indonesia dalam Asian Animation Summit 2019 di Korea Selatan. Saat ini,
bersama produsernya, Rien al-Anshari, Angkasa sedang mengembangkan
naskah film panjang pertamanya dalam Lokakarya Indonesiana Film 2021.

Angkasa Ramadhan is an Indonesian film director and screenwriter, born in Pontianak, 26 April 1988.
He started making short films after graduating from Binus International University, Jakarta. Some of his
short films made it into international film festivals such as Europe on Screen, Jogja Netpac, and Balinale
International Film Festival. Beside writing and directing short films, Angkasa also wrote scripts for several
TV series and web-series. In 2018, Angkasa was selected as one of the participants in the South East Asian
Film Lab, Singapore International Film Festival 2018. Angkasa was also a participant in LOCK - Full Circle
Lab 2019. In the same year, he and Redvinn Studio participated in the development of an animated series
supported by Bekraf and was selected to represent Indonesia at the 2019 Asian Animation Summit in South
Korea. Currently, with his producer, Rien al-Ansari, Angkasa is developing his first feature-length film script
at the 2021 Indonesiana Film Workshop.

159
 XXI 5 | MON 29 NOV | 15:45

LAYAR
INDONESIANA JIWO
22 Minutes | 2021 | Indonesia | Fiction

Synopsis
On his daughter’s wedding day, a father struggles with the onset of his schizophrenia and composing
himself to be the person his family needs him to be. A father who suffers from mental illness has to struggle
with his condition on his daughter’s wedding day, in the middle of a situation that needs him to be a person
who his family wants.
WORLD PREMIERE

Jiwo, seorang ayah yang menderita gangguan kejiwaan, berada dalam situasi yang sulit karena harus
menikahkan sendiri anak perempuan satu-satunya di tengah tekanan harapan yang besar dari keluarganya.

Director | Luhki Herawanayogi

Luhki Herwanayogi adalah sutradara lulusan Ilmu Komunikasi UGM. Film
pendeknya telah diputar di berbagai macam festival film international dan
memenangkan penghargaan, seperti ON FRIDAY NOON yang diputar
di Locarno Film Festival - Open Doors Screenings 2020 dan HAR yang
diproduseri oleh Nia Dinata terpilih menjadi Nominasi Piala Citra untuk Film
Pendek Terbaik di Festival Film Indonesia 2018 serta memenangkan Gold
di Viddsee Juree Awards 2020. Dia adalah alumni FLY 2014, Busan Asian
Film School 2019, dan Southeast Asian Producers Network 2020. Tahun ini
project film panjang pertamanya OUR SON terpilih untuk berpartisipasi di
Locarno Open Doors Hub 2021 dan memenangkan Locarno Open Doors
Grant.
Luhki Herwanayogi is an Indonesian film director. His short film ON FRIDAY
NOON was screened in several international film festivals including the
Locarno Film Festival - Open Doors Screenings 2020. His short film HAR was nominated as Best Short Film
in Indonesia Film Festival 2018 and won a GOLD AWARD in Viddsee Juree Awards Indonesia 2020. He was
an alumni of FLY 2014, Busan Asian Film School 2019, and participated in Producers Network SGIFF 2020.
His feature film project Our Son just won an Open Doors Grant in Locarno Open Doors Hub 2021.

160
162
Layar Komunitas Note
ARIEF AKHMAD YANI
Memetakan
Komunitas
K T
omunitas film adalah sebuah entitas dan
identitas. Setiap pergerakan yang diiringi
dengan perkembangan zaman, menjadi hal
yang muskil dihindari. Community Forum JAFF tahun
ini membawa misi mapping perkembangan film
Indonesia melalui karya-karya komunitas film yang
tidak pernah merasakan bagaimana perhelatan
sebuah festival film yang mampu menjadi ruang
eksposur mereka untuk diketahui dan dikenal
khalayak, dengan membawa ciri masing-masing.
Dampak pandemi membawa sebuah perubahan
bagi para pelaku film akan kebiasaan baru, namun
tidak menghalanginya menghasilkan karya yang
bisa diapresiasi. Setiap kali helatan JAFF, salah
satu sub-Program JAFF di divisi Community Forum
JAFF membuka ruang bagi mereka komunitas
film Indonesia untuk turut serta merasakan gegap
gempita festival filmnya dengan memutar filmnya
dan membuka ruang diskusi yang kaitannya
dengan film dan penguatan jejaring komunitas
film di Indonesia Namun dua tahun sudah hal ini
terjadi, Community Forum JAFF dalam suasana
dengan ketidakbiasaan yang belum pernah terjadi
sebelumnya. Bertemu, berkumpul, presentasi,
menonton, berdiskusi, dan kritisi karya yang bisa
dilakukan sejauh ini, namun tidak mengurangi
kehikmatan dalam penyelenggaraan JAFF itu
sendiri, Community Forum JAFF menyajikan
10 karya komunitas film dari beberapa wilayah
di Indonesia, Sumatera, Kalimantan, Sulawesi,
Kepulauan Maluku, NTT, dan Jawa. Berharap saat
film-film yang mereka karyakan bisa diapresiasi
khalayak penonton JAFF 2021 yang biasanya
disajikan dengan bertemu langsung, namun
saat ini disajikan dengan kebiasaan baru sesuai
aturan pemerintah soal COVID 19, yakni dengan
menonton berjarak ; mengingat bahwa festival juga
menjadi ruang edukasi sekaligus bagi para pemula
mendapatkan pengalaman yang lain, sehingga
memacu adrenalin mereka untuk membuat film
yang jauh lebih baik dari sebelumnya.
Komunitas:
1. Komunitas Film LX Second Ternate, Maluku
Utara
2. Komunitas Film Bitung Production, Sulawesi
Utara
3. Komunitas Film Fattah Creative, Bengkulu
4. Komunitas Film Layar Taman, Palembang,
Sumatera Selatan
5. Komunitas Film Studio Cerita, Mojokerto, Jawa
Timur
163
Mapping
Community
he film community is an entity and identity.
Every movement which is accompanied by
the progress of the times is impossible to
ignore. The mission of this year’s JAFF Community
Forum is to map the progress of Indonesian film,
through the works of film communities which have
never experienced how a film festival can provide
them with exposure through public awareness
and familiarity, by presenting their own unique
characteristics. The impact of the pandemic has
brought about change for filmmakers in adapting
to the new normal, whilst not preventing them from
producing work that deserves to be appreciated.
In every JAFF, one of the sub-programs in the
JAFF Community Forum division provides a space
for the Indonesian film community to join the
excitement of the film festival by screening films
and opening discussions related to those films as
well as strengthening film community networks in
Indonesia. However, it has been two years since
this last took place, and the JAFF Community
Forum is a phase of unprecedented unfamiliarity
that it has never faced before. Meeting, gathering,
presenting, watching, discussing, and critiquing
the works can be done for now, but without
lessening the significance of the JAFF event
itself, the JAFF Community Forum presents 10
films from communities across Indonesia such as
Sumatra, Kalimantan, Sulawesi, Maluku, East Nusa
Tenggara, and Java. The filmmakers represented
in the community forum hope that their films can
be enjoyed by audiences despite the fact that the
screenings will be online because the event has to
follow government regulations related to COVID-19
and, taking into consideration that the festival is
also an educational space which hopes to inspire
and provide experience to beginners to get into
filmmaking and make better films in future.
6. Komunitas Film Nonako Pictures, Morotai,
Maluku Utara
7. Si Ujang Gegawoon Production, Tarakan,
Kalimantan Utara
8. Komunitas Film Kincir Angin Lab X
Porta Art Project, Bantul, Yogyakarta
9. Komunitas Film Hotu-hotu, Atambua, NTT
10. Komunitas Film Sekartaji Films, Kediri, Jawa
Timur
 XXI 2 | THU 02 DEC | 10:30

LAYAR
KOMUNITAS LEGENDA TELUR PECAH
10 Minutes | 2021 | Indonesia | Fiction

Synopsis
This film tells about a folk tale in Bulungan Regency, North Kalimantan Province. Kuwanyi is the leader of the
Hupan Dayak tribe (Dayak Kayan) who lives in the Lower Kayan River. When Kuwanyi goes hunting in the
forest, he doesn’t find his prey except for a large piece of bamboo called Betung Bamboo and an egg on
a stump of Jemlay’s wood. the two things he got. brought home. When night falls, Kuwanyi and his wife are
fast asleep. Then they are awakened by the sound of a baby’s cry.
Film ini Adalah Salah satu cerita rakyat yang ada di Kabupaten Bulungan Provinsi Kalimantan Utara.
Kuwanyi adalah Pemimpin Suku Bangsa Dayak Hupan (Dayak Kayan) yang tinggal di Hilir sungai kayan.
Saat Kuwanyi pergi berburu ke Hutan, Ia tidak mendapatkan hewan buruannya kecuali seruas bambu besar
yang disebut bambu betung dan sebutir telur yang terletak diatas tunggul kayu Jemlay. kedua benda yang
didapatkannya tersebut. dibawanya pulang kerumah. Saat malam hari tiba, kuwanyi dan istrinya sedang
tertidur pulas. Kemudian mereka terbangun saat mendengar suara tangisan bayi.

Director | Mashur Macul

Mashur, known as Macul was born in Tarakan December 13, 1993. He
graduated from SMA Negeri 2 Tarakan. He is an actor, addiction counselor,
and director. His film “Sengginoki” (2019) won an award as Favorite Winner
from the National Film Competition organized by the Ministry of Social
Affairs with the theme NEW NORMAL VERSIKU . His film “Memaknai
Kemerdekaan” (2021) won 1st Place at the 76th Republic of Indonesia
Independence Day Film Contest in the Provincial level. His film “Memaknai
Kemerdekaan” (2021) won 2nd Place Winner Film Competition for the 76th
Independence Day of the Republic of Indonesia at the National level. His
film “Kuwanyi Legenda Telur Pecah” (2021) won 1st place in the Tourism
Film Competition at the Provincial level .
Mashur alias Macul lahir di Tarakan 13 Desember 1993
berpendidikan SMA Negeri 2 Tarakan, merupakan seorang Aktor,
Konselor Adiksi, Sutradara. Dengan penghargaan Juara favorit Lomba
Film Nasional yang diselenggarakan Oleh kementrian social dengan tema NEW NORMAL VERSIKU
dengan judul “”Sengginoki” (2019). Juara 1 Lomba Film HUT Kemerdekaan RI KE-76tingkat Provinsi
dengan Judul “Memaknai Kemerdekaan” (2021). Juara harapan 2 Lomba Film HUT Kemerdekaan RI KE-
76 tingkat Nasional dengan judul “Memaknai Kemerdekaan” (2021). Juara 1 lomba Film pariwisata tingkat
Provinsi dengan judul “Kuwanyi Legenda Telur Pecah” (2021).

Contact : masmashur007@gmail.com

164
 XXI 2 | THU 02 DEC | 10:30

LAYAR
KOMUNITAS SATU!
7 Minutes | 2019 | Indonesia | Fiction

Synopsis
Tells a story about a young man named Yosep, and his friends who want to return to their hometown to Papua
with a passenger ship. At the beginning of the trip they meet a man from Minahasa who loses his luggage
during transportation into the ship, due to language barrier, resulting in both of them being misunderstood,
causing a commotion. While they are in an argument, a police officer who happened to be passing by
approaches them. The policeman happened to be from the Minahasa tribe. He tries to break up their fight,
but it doesn’t turn out well because Yosep’s emotions lead him into a bad suspicion that the policeman is
more one-sided. Feeling overwhelmed, finally the policeman calls his fellow members for help, because the
situation is getting more and more chaotic and heated, another policeman comes , with him are soldiers
and ship crews. They are trying to break up their fight, but Yosep still assumes that they are on one side,
but his assumption is negated when he learns that other policemen and the soldier are from Papuan tribes,
even from several other tribes. Yosep then tells them what happened and characteristics of the perpetrators.
Immediately, the policemen, soldiers as well as ship crews and some civilians in the location try to find the
culprit among passengers on the ship which is about todepart. While the search is in progress, suddenly a
mother with her child arrives. This woman turned out to be the wife and child of a Minahasa man. Feeling
sorry and touched to see their child who appears sick, Yosep rushes to help find the culprit, so that the crime
can be solved, and the thief can be caught by their cooperation.
Menceritakan tentang Seorang pemuda bernama Yosep, dan temannya bertus yang hendak Pulang
ke kampung halaman mereka ke tanah Papua dengan menggunakan jasa Kapal Penumpang. Diawal
perjalanan mereka bertemu dengan seorang pria Asal Minahasa yang kehilangan barang bawaannya
saat diangkut kedalam kapal, dikarenakan Perbedaan bahasa yang digunakan, mengakibatkan keduanya
menjadi Salah Paham sehingga menimbulkan keributan. Disaat mereka sedang dalam Pertengkaran,
datanglah Seorang petugas Polisi yang kebetulan lewat disitu. Pak polisi yang kebetulan juga berasal dari
suku Minahasa kemudian mencoba untuk melerai pertengkaran mereka, tapi ternyata tak berjalan baik
karna Emosi Yosep membawa dia kedalam Prasangka buruk,  bahwa si Pak Polisi tersebut lebih memihak
sebelah. Karena merasa kewalahan, akhirnya sang pak polisi mencoba untuk meminta bantuan sesama
anggotanya, karena situasi sudah semakin ricuh dan memanas, datanglah anggota Polisi yang lain bersama
dengan tentara dan Kru Kapal untuk melerai pertengkaran mereka, tapi Yosep masih dengan emosinya
menganggap bahwa mereka memihak sebelah, namun semua Emosinya terpatahkan ketika Anggota Polisi
lain dan Tentara yang ada juga berasal dari suku Papua, bahkan dari beberapa suku yang lain. Yosep
pun menceritakan kronologinya beserta Ciri-ciri pelaku yang sempat dilihatnya, dengan segera Anggota
Polisi bersama Bantuan TNi juga Buruh dan Warga sipil yang ada mencoba mencari pelakunya di tengah
Kerumunan Penumpang kapal yang akan segera berangkat.Saat pencarian sedang berlangsung, tiba-tiba
datang seorang ibu bersama anaknya yang kemudian ternyata adalah istri dan anak dari pria Minahasa,
merasa Iba dan tersentuh melihat anak mereka yang Nampak sakit, Yosep pun bergegas membantu
mencari pelakunya, sehingga kejahatan tersebut boleh terungkap, dan pelaku pencurian boleh tertangkap
berkat kerjasama mereka semua.

165
 Director | Micky Jacky Sambuaga
Micky Sambuaga, a pioneering youth in Bitung city, his activities as
a photographer who make a try in audio visual medium, positioned
himself as a director and producer in the community he founded, called
Bitung Production Since 2018, Bitung Production is one of Photography
and Videography communities Bitung, and most of the members of this
community are college students.

Micky Sambuaga pemuda pelopor di kota Bitung, aktifitasnya sebagai

seorang fotografer yang merambah dunia audio visual, memposisikan
diri sebagai sutradara dan produser di komunitas yang didirikannya,
yakni Bitung Production Sejak 2018, Bitung Production adalah salah satu
komunitas yang begerak di bidang Fotografi dan Videografi di kota Bitung,
dan sebagian besar anggota yang tergabung di komunitas ini adalah
kalangan mahasiswa.

Contact : mckaylasambuaga@gmail.com

166
 XXI 2 | THU 02 DEC | 10:30

LAYAR
KOMUNITAS BEGANCANG
22 Minutes | 2021 | Indonesia | Fiction

Synopsis
Dadan (40) has a dependence on stimulants drugs to have sex with his wife, Ida (37). The problem arose
when one night in the month of Ramadhan, Dadan realized that his stimulants drug had run out. Due to
Dadan’s unable to contain his wife’s whimpers, he ordered an online motorcycle transportation to buy the
stimulants drug. However, as if the universe didn’t support him, Fikri (29), the online motorcycle driver, met
many obstacles on his way. The seconds leading up to Imsak this time were very stressful for Dadan.
Dadan (40 tahun) punya ketergantungan pada obat kuat untuk berhubungan badan dengan istrinya, Ida (37
tahun). Masalah muncul ketika suatu malam di bulan Ramadhan, Dadan baru menyadari obat andalannya
itu sudah habis. Tidak kuasa menahan rengekan sang istri, Dadan memesan ojek online untuk membeli
obat sakti itu. Namun seperti tidak didukung semesta, Fikri (29 tahun) sang tukang ojek bertemu banyak
penghalang dalam perjalanannya. Detik-detik menuju imsak kali ini terasa sangat menegangkan bagi
Dadan.
Director | Chrismadi Rahmawan
Chrismadi Rahmawan is a Director and Producer who was born on
February 4th, 1984 in the city of Semarang. Then since 2002 he moved
to Palembang, South Sumatera, to study and live until now. Starting his
career in broadcasting as a program director at a local television station
in Palembang, he made various feature programs which eventually
attracted him to dive deeper into the world of film. Then in 2014, he and
other Palembang filmmakers established a film community called Layar
Taman which until now remains productive in holding screening, education,
and film production activities. Currently, he also serves as chairman of
the film committee of the Palembang Arts Council and is a member of the
Archipelago Documentary Association (ADN). The works of short fiction
and documentary films that he has produced include; dr. Vera (2012), Cita-
cita (2014), Menukar Senyuman (2016), Kool of Ijah (2017), Pecah Bulu
(2020), Warisan (2020), Kabar Bidar (2020), Begancang (2021) and Satoe
(2021).
Chrismadi Rahmawan adalah seorang Sutradara dan Produser kelahiran 4 Februari 1984 di Kota Semarang.
Lalu sejak tahun 2002 dia pindah ke Kota Palembang untuk berkuliah dan menetap sampai sekarang.
Mengawali karir di dunia broadcasting sebagai program director di salah satu stasiun televisi lokal di
Palembang, dia membuat berbagai program feature yang akhirnya membuat dirinya tertarik untuk terjun
lebih dalam ke dunia film. Kemudian di tahun 2014 dia bersama pegiat film Palembang lainnya mendirikan
sebuah komunitas film bernama Layar Taman yang hingga kini tetap produktif mengadakan kegiatan
pemutaran, edukasi dan produksi film. Saat ini dia juga menjabat sebagai ketua komite film Dewan Kesenian
Palembang dan tergabung sebagai anggota Asosiasi Dokumenteris Nusantara (ADN). Karya-karya film
pendek fiksi maupun dokumenter yang pernah diproduksinya antara lain; dr. Vera (2012), Cita-cita (2014),
Menukar Senyuman (2016), Kool of Ijah (2017), Pecah Bulu (2020), Warisan (2020), Kabar Bidar (2020)
Begancang (2021) dan Satoe (2021).

Contact : rifqimardhani@gmail.com

167
 XXI 2 | THU 02 DEC | 10:30

LAYAR
KOMUNITAS GEMA LAMA GAMALAMA
23 Minutes | 2021 | Indonesia | Fiction

Synopsis
This film tells about the struggle of Gema, a clove farmer. Gema is trying to support his father, Mr. Yusuf, who
has gotten sick when the price of cloves falls and the clove trees have not yet entered the harvest period.
Meanwhile, cloves are their only source of income. Together with other clove farmers. Gema, Adam and
Fahmi make an innovation with cloves to make interesting Spiced Coffee and Aromatherapy to make a living.
However, they have some obstacles in the manufacturing process of the product and have disagreements
with each other. At the same time Pak Yusuf’s illness gets worse and Gema begins to be confused to find a
way out. Until Pak Yusuf suggested that they sell their clove garden. However, Gema can’t just sell it right
away. Gema feels that the clove farm has enormous sentimental value for her. While the sales of Spice
Coffee and Aromatherapy products they sell have decreased due to their unattractive packaging. They don’t
give up immediately and try to make more attractive packaging. Thanks to the tireless effort. Gema, Adam
and Fahmi are invited to be guest stars on the “Jalur Rempah” program. Investors like their Spice Coffee
and Aromatherapy Products are by and they are invited to cooperate with them. Gema, Adam and Fahmi are
excited to hear that and happy because their efforts and hard work has been paid off. Gema is also grateful
that his father is recovering quickly from his illness. They showed that using clove as the basic ingredient,
can produce more innovative clove derivative products.
Film ini menceritakan tentang perjuangan Gema yang merupakan petani cengkeh. Gema berusaha untuk
menghidupi Ayahnya, Pak Yusuf yang sedang sakit disaat harga cengkeh sedang turun dan pohon
cengkeh belum memasuki masa panen. Sedangkan, cengkeh merupakan satu-satunya sumber kehidupan
mereka. Bersama teman petani cengkeh lainnya. Gema, Adam dan Fahmi berinovasi dengan cengkeh
untuk membuat Kopi Rempah dan Aroma Terapi yang menarik untuk membiayai kehidupan mereka.
Namun, mereka memiliki kendala dalam pembuatan produk dan perselisihan satu sama lain. Disaat itu juga
sakit Pak Yusuf semakin parah dan Gema mulai kebingungan untuk mencari jalan keluar. Hingga Pak Yusuf
menyarankan untuk menjual kebun cengkeh milik mereka. Tetapi, Gema tidak bisa langsung menjualnya
begitu saja. Gema merasa bahwa kebun cengkeh memiliki nilai histori yang sangat besar. Disaat produk
Kopi Rempah dan Aroma Terapi yang mereka jual mengalami penurunan dikarenakan kemasan mereka
yang kurang menarik. Mereka tidak langsung menyerah dan berusaha membuat kemasan yang lebih
menarik. Berkat usaha yang tak patah semangat. Gema, Adam dan Fahmi diundang untuk menjadi bintang
tamu di acara “Jalur Rempah”. Produk Kopi Rempah dan Aroma Terapi mereka disukai oleh Investor dan
mereka pun diajak kerjasama oleh Investor tersebut. Gema, Adam dan Fahmi semangat mendengarnya
dan merasa senang karena, usaha dan kerja keras mereka membuahkan hasil. Gema juga bersyukur
karena, ayahnya yang lekas pulih dari sakit. Mereka menunjukkan bahwa dengan bahan dasar cengkeh
dapat diproduksi menjadi produk turunan cengkeh yang lebih berinovatif.

Director | Ryan Wanboko

Born in Tidore, 1992, Ryan Wanboko is a filmmaker who won awards for the best short films several times,
some of which are: His short film, “Marimoi” (2019), selected as the best short film in Indonesia at Kemenkop
Ukm short film festival, A year ago several films produced by lxsecond’ short film community from Ternate
City consisting of Ryan Wanboko, Hendro Painting, and Sukarman Hirto won several festival honours,
including Best 100 Indonesia Short Movie SCTV, BPK Short Movie and also the BNPT Short Film Festival. In
2021, Ryan Wanboko’s biggest mission was the Ministry of Education and Culture’s Spice Path film project,

168
 “Gema Lama Gamalama”, which has been produced and is currently
available on the Indonesiana.TV, Youtube, and Indonesian OTT platform.

Lahir di Tidore, tahun 1992,, Ryan Wanboko adalah seorang pembuat film
yang selama ini pernah beberapa kali meraih apresiasi film pendek terbaik,
beberapa diantaranya adalah : Film pendeknya, Marimoi (2019), menjadi
film pendek pilihan dewan juri sebagai film pendek terbaik di festival
film pendek kemenkopukm, Tarik setahun kebelakang beberapa film yg
diproduksi oleh lxsecond’ komunitas film pendek yang berdomisili di Kota
Ternate terdiri dari Ryan Wanboko, Hendro Lukisan, dan Sukarman Hirto
telah berhasil menyabet beberapa gelar festival, diantaranya Best 100
Indonesia Short Movie SCTV, BPK Short Movie dan juga BNPT short movie
festival. Di tahun 2021 ini, Ryan Wanboko memulai misi terbesar dengan
menangani project film jalur rempah kemdikbudristek yang diberi judul
Gema Lama Gamalama, telah selesai diproduksi dan kini bisa ditonton
baik di kanal Indonesiana.TV, Youtube, dan OTT platform lainnya.

Contact : sitiwardahannisa@gmail.com

169
 XXI 2 | THU 02 DEC | 10:30

LAYAR
KOMUNITAS BALENGKO
15 Minutes | 2021 | Indonesia | Fiction

Synopsis
Fitri, Fais, and Ifan reunited with their friend Anisa who recently returned from Jakarta after living there for 2.5
years. They decide to play truth or dare with various challenges. One of the challenges for Anisa is playing
hide and seek. Even though Anisa rejects it because it is nighttime, the game continues. The game that is
initially fun turned into a mystical one.

Fitri, Fais, dan Ifan bertemu kembali dengan kawan mereka Anisa yang baru balik dari Jakarta setelah 2,5
tahun. Mereka memutuskan untuk bermain truth or dare dengan berbagai tantangan. Salah satu tantangan
yang didapat Anisa adalah bermain petak umpet. Meski awalnya mengalami penolakan dengan alasan
sudah malam hari, namun permainan ini tetap dilanjutkan. Permainan yang awalnya seru pun berubah
menjadi mistis.
Director | Ryana Aryadita Umasugi
Ryana Aryadita Umasugi was born in Falabisahaya on November 10, 1995.
Better known as Dita, she is a mass media journalist. Even though she is
familiar with writing news, Dita has only just started her career in film since
early 2021. It was an unintentional move because several friends invited
her to establish the Nonako Pictures Community. In the beginning, Dita
wrote the script for the film Mumulaga, which was produced in March 2021.
Then, Dita took on the role as a director after releasing “Gurumi”, followed
by “Balengko”, and most recently “Ngungira”.
Ryana Aryadita Umasugi lahir di Falabisahaya pada 10 November 1995.
Wanita yang akrab disapa Dita ini merupakan seorang jurnalis media
massa. Meski terbiasa menulis berita, Dita baru saja mulai menggeluti
dunia film pada awal tahun 2021. Hal ini pun tanpa disengaja karena
diajak oleh beberapa kawan untuk mendirikan Komunitas Nonako Pictures.
Awalnya, Dita mulai menulis naskah film Mumulaga yang diproduksi pada
Maret 2021. Kemudian, peran sebagai sutradara digeluti oleh Dita sejak
film Gurumi, dilanjutkan oleh film Balengko, dan paling akhir adalah film
Ngungira.

Contact : nonakocommunity@gmail.com

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LAYAR
KOMUNITAS SANGKAR BURUNG
7 Minutes | 2020 | Indonesia | Fiction

Synopsis
A modest family survives at home at the time of the Corona virus pandemic. Dang Yung (38) is a family
head who is looking after his pet to take care of his bird named Joni. Then his wife, Ida (36) approached
and complained to her husband if the supply of food in their home was thinning and many needs were to be
met. At the same time Sanif (30) friend Dang Yung came to accompany the story and helped Dang Yung to
sell his. When Sanif goes, Pipit (15) The daughter of Dang Yung dressed in neat wants to go to her friend’s
house for a presentation in an online class because it does not have a quota package. Dang Yung who was
worried about the condition of their pandemic and the family was in economic crisis, forbidding his daughter
from going outside. When her daughter escapes, Dang Yung’s bird disappears.
Sebuah keluarga sederhana bertahan di rumah di saat pandemi virus Corona. Dang Yung (38) adalah
seorang kepala keluarga yang merawat hewan peliharaannya untuk memelihara burungnya yang bernama
Joni. Kemudian istrinya, Ida (36) menghampiri dan mengadu kepada suaminya jika persediaan makanan
di rumah mereka menipis dan banyak kebutuhan yang harus dipenuhi. Pada saat yang sama Sanif (30)
teman Dang Yung datang untuk menemani cerita dan membantu Dang Yung untuk menjual miliknya. Saat
Sanif pergi, Pipit (15) Putri Dang Yung berpakaian rapi, hendak pergi ke rumah temannya untuk presentasi
di kelas online karena tidak memiliki paket kuota. Dang Yung yang khawatir dengan kondisi pandemi dan
keluarganya dalam krisis ekonomi,ia melarang putrinya pergi keluar. Ketika putrinya melarikan diri, burung
Dang Yung menghilang.

Director | Akhmad Revaldi

Akhmad Revaldi is one of the filmmakers from Bengkulu who studied at
the Jakarta Arts Institute, Faculty of Film and Television. He started his
education at a vocational high school majoring in television broadcasting
and then became interested in focusing on the field of film arts. On campus,
he received excellent scholarship facilities organized in collaboration with
Pusbang Film and FFTV IKJ. Now he is pursuing film editing and completing
his studies.
Akhmad Revaldi salah satu dari filmmaker asal Bengkulu yang berkuliah
di Institut Kesenian Jakarta Fakultas Film dan Televisi. Ia mengawali
pendidikannya di sekolah menengah kejuruan jurusan penyiaran
pertelevisian kemudian tertarik untuk memfokuskan dirinya di bidang
seni film. Di kampus ia mendapatkan fasilitas beasiswa unggulan yang
diselenggarakan atas kerjasama Pusbang Film dan FFTV IKJ. Sekarang ia
menekuni bidang editing film dan menyelesaikan kuliahnya.

Contact : fattahcreative@gmail.com

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LAYAR
KOMUNITAS SANJANG
16 Minutes | 2020 | Indonesia | Fiction

Synopsis
Sumarni, a mother of two who works as a food seller in front of her house. She really wants her son Dio to
get a decent job so he won’t be embarrassed by his neighbors. Sumarni also did various things, including
forcing her son to ask for help from others. Sumarni’s desire did not go smoothly because she had difficulty
in forcing Dio who wanted to work as a musician. Finally, one of Sumarni’s customers changed Sumarni’s
perspective on Dio’s daily life with his friends outside.
Sumarni, ibu dua anak yang bekerja sebagai penjual makanan di depan rumahnya, Ia sangat ingin
anaknya Dio mendapatkan pekerjaan yang layak agar tidak malu dengan tetangga-tetangganya. Sumarni
pun melakukan berbagai cara termasuk memaksa anaknya untuk meminta bantuan orang lain. Keinginan
Sumarni tidak berjalan mulus karena Ia kesulitan untuk memaksa Dio yang ingin bekerja sebagai musisi.
Akhirnya, salah satu pelanggan Sumarni mengubah cara pandang Sumarni terhadap keseharian Dio
dengan teman-teman bandnya di luar.

Director | Wahyuddin Hasani Widodo

Wahyuddin Hasani Widodo, a writer and short film director who completed
his formal education at the Faculty of Film and Television in Jakarta Institute
of Arts with a focus on Directing. Started getting to know cinema since
he was in high school and actively networked with film communities in
Malang and Surabaya. During college, he also served as program director
at Sinemaflex (one of the alternative playrooms belonging to the Jakarta
Arts Institute). Since 2019, he has also been actively involved in building a
community in Mojokerto under the name Studio Cerita. Together with Studio
Cerita, he is also involved in organizing film screenings, workshops, and
short film productions.
Wahyuddin Hasani Widodo, seorang penulis dan sutradara film pendek
yang berhasil menyelesaikan pendidikan formalnya di Fakultas Film dan
Televisi Institut Kesenian Jakarta dengan fokus Penyutradaraan. Mulai
mengenal sinema sejak duduk di bangku SMA dan aktif berjejaring dengan komunitas film di Malang dan
Surabaya. Semasa kuliah, Ia juga pernah menjabat ssebagai program director di Sinemaflex (salah satu
ruang putar alternaltif milik Institut Kesenian Jakarta). Semenjak 2019, Ia juga turut aktif untuk membangun
komunitas di Mojokerto dengan nama Studio Cerita. Bersama Studio Cerita Ia turut terlibat dalam
terselenggaranya pemutaran film, workshop, dan produksi film pendek.

Contact : whasaniwidodo@gmail.com

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LAYAR
KOMUNITAS PADA SELEMBAR PESAN
18 Minutes | 2020 | Indonesia | Fiction

Synopsis
Starting with receiving a wedding invitation, Wawan (32 years old) is pressured by his mother to get married
immediately so that his life would be better. Wawan is shy and has no experience when it comes to meeting
a woman. Until finally Wawan found an unusual way.
Berawal dari undangan nikah, Wawan (32 tahun) mendapat desakan dari ibunya untuk segera menikah
supaya hidupnya menjadi lebih baik. Wawan terlampau cupu dan pemalu untuk berkenalan dengan
seorang wanita. Sampai akhirnya Wawan menemukan satu cara yang tidak biasa.

Director | Iradat Ungkai Megah

Iradat Ungkai Megah was born in Pekalongan. Since he was little, he has
been very involved in performance arts, especially music and theater at
‘Bela Studio’ studio. His artistic endeavours continued when he was in
college. Together with the theater group at his campus, he performed
various plays as an actor, director, screenwriter, and artistic director.
In 2019, he chose film as his new medium of creation. To date, he has
produced 3 films; “On a Message Sheet” (2020), “Empty Pot Ballad”
(2021), and “Not Sleeping” (2021). Apart from writing and directing, he also
responds enthusiastically at every offer to become an actor.
Iradat Ungkai Megah lahir di Pekalongan. Sejak kecil aktif terlibat di
dunia pertunjukan, khususnya musik dan teater di sanggar ‘Bela Studio’.
Aktivitas kesenian berlanjut saat kuliah, bersama teater di kampusnya, ia
mementaskan berbagai lakon sebagai aktor, sutradara, penulis naskah,
dan penata artistik. Pada tahun 2019, ia memilih film sebagai medium penciptaan baru. Sampai saat ini,
ia telah menghasilkan 3 film; Pada Selembar Pesan (2020), Balada Panci Kosong (2021), dan Belum Tidur
(2021). Selain menulis skenario dan menyutradarai, ia juga antusias pada setiap tawaran menjadi aktor.

Contact : iradatungkai@gmail.com

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LAYAR
KOMUNITAS SI’NOM
23 Minutes | 2021 | Indonesia | Fiction

Synopsis
Dudung (14 years), a child of a cultural figure who was born during the millennial period, experiences a
different perspective on how to interpret something. Long drought is happening, all villagers are experiencing
drought. The father (40 years old) planned the Tiban ritual to ask for rain from the Power. Then the mother
(38 years) discussed the food stock supply in the vicinity which could only be sufficient for the next month.
All residents are also concerned about the impact of the ongoing drought, but see the situation through
their own eyes. Dudung (14 years old) is experiencing emotional stress because of the many perspectives
that are contrary to those taught by his parents. The pressure experienced becomes a trigger for confusion
about something he is looking for. Not a few of them hurt Dudung (14 years) until a fight broke out. Some
residents in the village were very enthusiastic about watching Tiban performing arts with the same intention
that it would rain. But not for Dudung, a child who is in the phase of searching for the Self-Identity is an
important event for a new awareness because the masks shown by the Father and Mother are able to calm
the pain he feels with full affection for the creature created by the Almighty.
Dudung (14 tahun) seorang anak dari tokoh budayawan yang lahir dimasa millennial mengalami perbedaan
cara pandang memaknai sesuatu. Kemarau panjang sedang terjadi, seluruh warga desa mengalami
kekeringan. Bapak (40 tahun) merencanakan ritual Tiban meminta hujan kepada Sang Kuasa. Kemudian
Ibu (38 tahun) membicarakan persediaan stok makanan dilubung yang hanya bisa mencukupi sebulan
kedepan. Seluruh warga juga meresahkan dampak kemarau panjang yang sedang terjadi, tetapi melihat
situasi tersebut dengan kacamata masing-masing. Dudung (14 tahun) mengalami tekanan emosional karena
banyaknya cara pandang yang berseberangan dengan diajarkan oleh orang tuanya. Tekanan yang dialami
menjadi pemicu kebingungan terhadap sesuatu yang dicarinya. Tak sedikit dari mereka melukai perasaan
Dudung (14 tahun) hingga terjadi perkelahian. Beberapa warga di desa sangat antusias untuk menyaksikan
seni pertunjukkan Tiban dengan niat yang sama agar turun hujan. Namun tidak untuk Dudung seorang
anak yang berada dalam fase pencarian Jati Diri menjadi peristiwa yang penting terhadap kesadaran baru
karena dari topeng yang ditunjukkan Bapak dan Ibu mampu menenangkan kepedihan yang dirasakannya
dengan penuh kasih sayang terhadap makhluk ciptaan Sang Kuasa.

Director | Adi Chandra Ardiansyah

A young man born in Kediri, East Java, July 6, 1999, who is currently
studying his undergraduate studies at the Indonesian Institute of the
Arts, Surakarta. His interest in the film world originated from his frequent
attendance at Film Festivals so that he strongly encouraged him to be able
to make films according to his views. According to Chandra, film is the most
complex form of art for sharing the taste and intention that the maker plans
to cultivate the audience’s experience.
Pemuda kelahiran Kediri yang saat ini sedang menjalani studi S1 di Institut
Seni Indonesia Surakarta. Ketertarikannya berawal dari sering hadir dalam
Festival Film sehingga mendorong kuat untuk dapat membuat film sesuai
pandangannya. Menurut Chandra, film merupakan bentuk seni yg paling
kompleks untuk membagikan rasa dan karsa yang direncanakan pembuat
dalam menumbuhkan pengalaman penontonnya.
Contact : filmsekartaji@gmail.com
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LAYAR
KOMUNITAS LULI
15 Minutes | 2021 | Indonesia | Fiction

Synopsis
Oscar, A student who gets the task of documenting a traditional house in one of the traditional villages &
meets the traditional village guard who has warned to watch his attitude and actions but Oscar doesn’t listen
to his advice and gets karma for what he has done.
Oscar Mahasiswa yang mendapatkan tugas mendokumentasikan Rumah adat disalah satu kampung adat
& bertemu dengan Penjaga Kampung adat yang sudah diperingati agar menjada sikap dan tindakan tetapi
dilanggar oleh Oscar dan mendapatkan karma dari kesalahan tersebut.

Director | Emilio Rafael Seran

Emilio Rafael Seran (born 28 September 1993) is an Indonesian short film
director. He started his career in 2017 with the Hotu-Hotu film community in
Atambua, Belu Regency, East Nusa Tenggara with his friends.
Emilio Rafael Seran (lahir 28 September 1993) adalah seorang sutradara
film pendek berkebangsaan Indonesia. Ia memulai karier sejak tahun
2017 dengan komunitas film Hotu-Hotu di Atambua Kabupaten Belu Nusa
Tenggara Timur bersama teman-temannya.

Contact : hotuhotu.atambua@gmail.com

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 XXI 3 | SUN 28 NOV | 12:30

JFA
SHOWCASE PINDAH KE BULAN
16 Minutes | 2019 | Indonesia | Fiction

Synopsis
Pandemic belum juga selesai. Banyak negara kembali menerapkan lockdown, bahkan negara
besar berwacana akan pergi ke bulan. Seorang bocah bernama Zeldi sangat ingin pergi ke
bulan. Suatu saat Ayahnya yang pengangguran menemukan program pindah ke bulan namun
ternyata biayanya terlalu mahal. Zeldi menemukan cara agar mereka bisa membayar biayanya.
The pandemic isn’t over yet. Many countries have re-implemented lockdowns, even big countries are
planning to abandon earth and go to the moon. A boy named Zeldi really wants to go to the moon. One day,
his unemployed father found a program to move to the moon but it is too expensive. Zeldi looks for a way
for them to pay the fare.

Director | Rifky Fajar Syah Putra

Rifky fajar Syah Putra, di panggil Ikim. Lahir di Sukabumi 24 November 1999,
tertarik mendalami film sejak duduk di bangku SMK. Ia aktif memproduksi
film pendek dan juga berkomunitas. kini ia sedang menempuh pendidikan
di Jogja Film Academy, fokusnya adalah sebagai sutradara dan pembuat
cerita. Beberapa karya yang di ikuti nya mendapat apresiasi di tingkat
Nasional maupun Internasional. Melewati karya nya ia mendapat Beasiswa
untuk kuliah di Jogja Film Academy, saat ini ia akan menempuh Tugas
Akhirnya. Ia akan mengambil major Penyutradaraan.
Rifky Fajar Syah Putra, or known as Ikim was born in Sukabumi on
November 24, 1999. He has been interested in film since he was still in
vocational highschool. He is active in short film production and in the
community. Currently, he is studying at the Jogja Film Academy, focusing
as a director and story teller. Some works that he participated in received
appreciation at the National and International stages. Thanks to his work,
he received a scholarship to study at the Jogja Film Academy, currently he
is working on his final project film. He will major in Directing.

Contact :
shandrambem25@gmai.com

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 XXI 3 | SUN 28 NOV | 12:30

JFA
SHOWCASE NGIRING BELA SUNGKAWA
19 Minutes | 2018 | Indonesia | Fiction

Synopsis
Iis, 23 years old, an only child left alone by her deceased father. In the atmosphere of grief, Iis wants to
mourn father solemnly. Unfortunately her wish is hindered by mourning custom around. Iis being forced
to pay everyone who takes care of the funeral at a predetermined tariff, including the ones praying for the
deceased. Iis who since childhood lived with his grandmother, did not know of the tradition. Iis felt it was
wrong and she refused to follow. Iis continues to be pressured by her aunt and some neighbors to keep
up the tradition. Iis also experienced a dilemma, must follow the tradition for the smoothness of his father’s
burial or remain in her stand.
Iis yang sejak kecil tinggal bersama neneknya, tidak mengetahui tradisi tersebut. Iis merasa itu salah dan
dia menolak untuk mengikuti. Iis terus ditekan oleh bibinya dan beberapa tetangga untuk menjaga tradisi.
Iis juga mengalami dilema, harus mengikuti tradisi untuk kelancaran pemakaman ayahnya atau tetap
memegang pendiriannya.

Director | Praditha Blifa

Praditha Blifa Rahayu was born on January 3, 1997 in Bogor, Indonesia.
Interested in studying the film since in the vocational school. Now she
is studying at Jogja Film Academy and has made several short films.
Together with his college friends, he founded a movie community called
Aranck Project. The film makes it possible to know more about how the
human condition and its life. In addition to the movie world, Praditha is
also interested in the social world that took her to establish the Morning
Library along with her mother, a social movement that focuses on children’s
education.
Praditha Blifa Rahayu lahir pada tanggal 3 Januari 1997 di Bogor,
Indonesia. Ia tertarik mempelajari film sejak masih duduk di bangku SMK.
Sekarang dia kuliah di Jogja Film Academy dan telah membuat beberapa
film pendek. Bersama teman-teman kuliahnya, ia mendirikan komunitas
film bernama Aranck Project. Film ini memungkinkan untuk mengetahui
lebih banyak tentang kondisi manusia dan kehidupannya. Selain dunia film,
Praditha juga tertarik dengan dunia sosial yang membawanya mendirikan
Morning Library bersama ibunya, sebuah gerakan sosial yang fokus pada
pendidikan anak.

Contact : pradithabilaf@gmail.com

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 XXI 3 | SUN 28 NOV | 12:30

JFA
SHOWCASE PAMIT
17 Minutes | 2019 | Indonesia | Fiction

Synopsis
Bi Marni (40 tahun), seorang asisten rumah tangga yang sedang membujuk Kayla (7 tahun) untuk pergi
dengan kedua orang tuanya dan berjanji akan menyusul Kayla. Kayla dan orang tuanya pergi berlibur dan
tinggal Bi Marni sendiri yang di rumah. Bi Marni merasa kesepian karena Kayla pergi. Bi Marni mendapatkan
kejadian-kejadian aneh di rumah, salah satu kejadian tersebut menyebabkan Bi Marni pingsan. Ketika
majikannya pulang, Bi Marni dan keluarga mengalami kejadian aneh seperti yang dialami Bi Marni saat
sendiri di rumah. Bi Marni pingsan untuk kedua kalinya dan ketika bangun, oplisi telah dating untuk
mengabarkan bahwa majikannya telah mengalami kecelakaan.
Bi Marni (40 years), a housekeeper who is persuading Kayla (7 years) to go with her parents and promise to
follow Kayla. Kayla and her parents go on a holiday and leave Bi Marni alone at home. Bi Marni feels lonely
because Kayla is gone. Bi Marni has strange events happening at home, one of which causes Bi Marni to
faint. When her employer returns, Bi Marni and the family experience the same strange events like what
happened to Bi Marni when she was alone at home. Bi Marni fainted for the second time. When she woke
up, the police had come to inform her that her employer had an accident.

Director | M. Maulana Ridwan

Ketika masa kecil, saya mengalami peristiwa yang menarik. Peristiwa
dimana datang sebuah arwah yang sudah sebulan meninggal
mengunjungi keluarganya melalui tubuh salah satu anggota keluarganya.
Si arwah tersebut menanyakan keadaan keluarganya, meminta maaf
dan juga mengucapkan beberapa kalimat salam perpisahan yang tidak
sempat dia ucapkan sebelum meninggal dunia. Peristiwa tersebut bagi
seorang anak berusia 10 tahun merupakan hal yang menakutkan karena
berhubungan dengan kematian. Peristiwa yang tidak akan pernah
dilupakan tersebut ingin saya abadikan dalam bentuk audio visual yang
menarik dengan konsep dan treatment horor untuk menghadirkan rasa
ketakutakan saya pada saat itu dan beberapa konsep danpengadeganan
drama untuk menghadirkan kesedihan keluarga si arwah pada saat itu,
dan membagikan peristiwa pamit tersebut.
When I was a child, I experienced an interesting event. An incident where a
spirit of a person who had died the previous month came to visit his family
through the body of one of his family members. The spirit asked about how
the family has been doing, apologized and also said a few farewell sentences that he did not have time to
say before he died. That incident was a scary thing for a 10 year old child because it has something to do
with death. I want to capture the event that I will never forget in the form of an interesting audio visual with a
horror touch and treatment to show my fear when that incident happened as well as some dramatic touches
and scenes to show the spiri’s family sadness then, and share that farewell event.

Contact : official.pamit.shortmovie@gmail.com

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JFA
SHOWCASE MALAM TAHUN BARU
11 Minutes | 2019 | Indonesia | Fiction

Synopsis
Mono (45) must spend his first New Year’s Eve in a high security prison. His guilt after killing a 12 year old
girl and raping her can’t be shaken off. In the cell, he tries to redeem himself by asking his cellmates to do
the same thing he did to the girl to him
Di sebuah penjara kelas atas, Mono (45) harus menghabiskan malam tahun baru perdananya. Perasaan
bersalahnya setelah membunuh gadis berusia 12 tahun danb memerkosa gadis itu tidak bisa ia hilangkan.
Di dalam sel, ia berusaha membayar rasa bersalahnya dengan meminta teman satu selnya untuk melakukan
apa yang ia lakukan pada gadis itu.

Director | Salius Nadeak

Salius Nadeak was born in Bengkulu on May 20, 1998 and graduated
from a vocational school in Jambi and then continued his study at a Film
Academy in Yogyakarta. His film New Year’s Eve won a number of awards
and nominations, such as Winner Director Bekasi film festival, short film
nomination, Sewon Screening, and UI Film Festival nomination.

Salius Nadeak lahir di bengkulu 20 Mei 1998 lulus di salah satu SMK
di Jambi. dan kemudian melanjutkan study di salah Akademi Film di
Yogyakarta. Malam Tahun Baru merupakan karya dari Salius Nadeak yang
telah memenangkan sejumlah penghargaan dan nominasi yaitu ; Winner
Director Festival film Bekasi, Nomination short film, Sewon Screening,
Nomination UI Film Festival

Contact : trimovingpictures@gmail.com

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 XXI 3 | SUN 28 NOV | 12:30

JFA
SHOWCASE GARWO
13 Minutes | 2019 | Indonesia | Fiction

Synopsis
Narno started his morning by broken the rules that his wife, Ainur made. He often driven his wife crazy with
what he did. One day he felt exhausted and fell asleep, then his daughter, Arni called and made him sad.
Narno mengawali pagi hari dengan melanggar aturan yang telah dibuat Ainur, istrinya. Beberapa kali ulah
Narno membuat Ainur marah. Disaat Narno tertidur akibat kelelahan, putrinya Arni menelfon dan membuat
Narno bersedih. Narno teringat harus kembali mempersiapkan acara 40 hari kematian Ainur.

Director | Muhammad Bagas Satrio

Muhamad Bagas Satrio born in Jakarta, 18th of December 1997. Started
know the world of cinema since he was in senior high school. He just
completed a study film in Jogja Film Academy. Bagas with his friends
building a film community in Yogyakarta named Aranck Project.

Muhamad Bagas Satrio lahir di Jakarta, 18 Desember 1997. Mulai mengenal

dunia perfilman sejak di bangku SMA. Dia baru saja menyelesaikan studi
perfilmannya di Jogja Film Academy. Bagas bersama beberapa temannya
sedang membangun komunitas film di Yogyakarta bernama Aranck Project.

Contact : bagasatrio97@gmail.com

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 XXI 3 | SUN 28 NOV | 12:30

JFA
SHOWCASE MOBIL BAGUS
10 Minutes | 2020 | Indonesia | Fiction

Synopsis
Bagus (7) mencuri uang milik ibunya (40) demi bisa membeli mobil-mobilan seperti teman-temannya.
Namun ibunya memiliki rencana untuk membuat Bagus mendapatkan pelajaran atas perbuatannya.
Bagus (7) took his mother’s money to buy a toy car like his friends. However, His mother had a plan to teach
Bagus a lesson for what he did.

Director | Reno Muhammad

Muhammad Rheno Adde Riant Syach ia sekarang masih menempuh
pendidikan Beasiswa di Jogja Film Academy. ia memiliki ketertarikan pada
bidang film khususnya pada Sutradara, Penulis Naskah, Sinematografer.
Menjadi sutradara sekaligus sinematografer di film Ribaan Pusaka (2018),
Nyikep (2019), Darwis ( 2019 ) dan saat ini sedang mempersiapkan
film selanjutnya yang berjudul Minuman Hangat. Selain itu ia juga
mempersiapkan film panjangnya yaitu Calon Arang. Ketertarikannya
pada dunia film dimulai saat mengenyam pendidikan sekolah menengah
kejuruan jurusan multimedia.
Muhammad Rheno Adde Riant Syach is currently studying with a
scholarship at the Jogja Film Academy. He is interested in films, especially
in directing, scriptwriting, and cinematography. He was both a director and
a cinematographer in “Ribaan Pusaka” (2018), “Nyikep” (2019), “Darwis”
(2019). He is currently developing his next film project, “Minuman Hangat”.
Moreover, he is also developing a feature-length film, “Calon Arang”. His
interest in the world of film emerged when he received a vocational high
school education majoring in multimedia.

Contact :
renofilm00@gmail.com

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185
Retrospective : Gunawan Maryanto
I M
stirahatlah Kata-Kata becomes a phenomenal
film because Mas Cindhil’s ability to resurrect Wiji
Thukul. Many claims have been made that Mas
Cindhil looks similar to Wiji Thukul. Recently, I had
an odd thought, following the news and circulation
of this film. Until he left yesterday, I regret that I have
never conveyed this directly to Mas Cindhil; I was
afraid that Mas Cindhil was too closely associated
with Thukul. I am afraid that Mas Cindhil will be
disturbed by it as they are both writers and poets.
But then, I slowly brushed off that fear with another
collaboration in The Science of Fictions, he became
Siman, an astronaut from Bantul.
Tulisan ini diambil dari potongan eulogi untuk
Gunawan Maryanto yg ditulis di Facebook Yosep
Anggi Noen.
as Cindhil is a magical actor. He was able
to transform the absurd Siman character
become a fully human being. Siman,
a fictional character who moves slowly like an
astronaut in the sky looks very natural in the film;
appears just like a strange neighbor, just like when
we open the window and see someone sweeping,
nothing more nothing less. That’s the magic I felt
in front of the monitor screen while taking pictures.
He is moving slowly without words, starring without
saying words, excited while telling his story with
movement, and his body was like a thick novel full
of words in ever-important chapters.
This writing was taken from a Eulogy for Gunawan
Maryanto posted on Yosep Anggi Noen’s Facebook
page.
RETROSPECTIVE:
GUNAWAN MARYANTO
ISTIRAHATLAH
XXI 5 | MON 29 NOV | 13:15
KATA-KATA
97 Minutes | 2016 | Indonesia | Fiction
Synopsis
The Suharto regime has held power in Indonesia for over 30 years, shutting down democracy time and time
again. Highly critical of the regime and unafraid to speak his mind, Wiji Thukul is a poet whose words are
often yelled proudly by the crowd during political protests. When riots broke out in Jakarta in 1996, he and
a few other activists were accused to be responsible. Forced to flee, Wiji escaped to Pontianak in Borneo
where he hid for eight months, sometimes living with complete strangers. There, he had to change his
identity several times, but continued to write poetry and short stories under a pen name. In the meantime,
in Solo, Central Java, his wife, Sipon, lived with their two children under constant surveillance. In May 1998,
when Suharto was deposed by his own people, Wiji Thukul was declared missing.
Rezim Suharto berkuasa di Indonesia selama lebih dari 30 tahun dan terus-terusan membunuh tumbuhnya
demokrasi. Wiji Thukul, penyair yang kata-katanya sering diteriakkan dengan bangga oleh demonstran
dalam protes-protes politik, sangat kritis terhadap rezim Suharto dan tak gentar menyuarakan pikirannya.
Saat kerusuhan terjadi tahun 1996 di Jakarta, ia dan beberapa aktivis lain dianggap bertanggung jawab.
Wiji Thukul terpaksa melarikan diri ke Pontianak, Kalimantan, dan hidup dalam persembunyian selama
delapan bulan, kadang-kadang dengan orang yang sama sekali tak ia kenal. Di sana, ia harus mengubah
identitasnya beberapa kali, tetapi tetap aktif menulis puisi dan cerita pendek dengan nama pena. Sementara
itu, di Solo, Jawa Tengah, istrinya, Sipon, hidup dengan dua anak mereka di bawah pengawasan ketat.
Bulan Mei 1998, ketika Suharto dipaksa lengser oleh rakyat, Wiji Thukul dinyatakan hilang.

Director | Yosep Anggi Noen

Yosep Anggi Noen is an Indonesian film director who’s been experimenting
with cinematic narratives since mid-2000s. Born in Yogyakarta on 1983,
he studied Communications at the Socio-Politics Faculty of Yogyakarta’s
Gadjah Mada University. After directing and producing several short films,
he directed his first feature, Peculiar Vacation and Other Ilnesses (2012),
which premiered in Locarno International Film Festival.At Vancouver
International Film Festival, the film received the Special Mention Awards
followed by the Dragon and Tiger Awards for Young Cinema. His next
project, a short film titled A Lady Caddy Who Never Saw a Hole in One
(2013), won the Best Short Film at Busan International Film Festival and the
the Grand Prix of Tokyo Short Shorts Film Festival. Solo, Solitude (2016)—
his second feature—premiered in the Concorso Cineasti del Presente
Competition in Locarno International Film Festival. Two years later, his short
film, Ballad of Blood and Two White Bucket s( 2018), premiered in Toronto
International Film Festival. His latest feature, The Science of Fictions (2019)
received a Special Mention and was nominated for Best Film at the 2019
Locarno International Film Festival.
Yosep Anggi Noen adalah seorang sutradara film Indonesia yang telah bereksperimen dengan narasi
sinematik sejak pertengahan 2000-an. Lahir di Yogyakarta pada tahun 1983, ia belajar Ilmu Komunikasi
di Fakultas Sosial Politik Universitas Gadjah Mada Yogyakarta. Setelah menyutradarai dan memproduksi
beberapa film pendek, ia menyutradarai film panjang pertamanya, ”Peculiar Vacation and Other Illnesses
(2012)”, yang ditayangkan perdana di Locarno International Film Festival. Di Vancouver International Film

Contact : limaenamfilms@gmail.com
187
Festival, film tersebut menerima penghargaan Special Mention Awards, lalu the Dragon dan Tiger Awards
for Young Cinema. Proyek berikutnya, film pendek yang berjudul “A Lady Caddy Who Never Saw a Hole in
One (2013)”, memenangkan the Best Short Film di Busan International Film Festival dan Grand Prix of Tokyo
Short Shorts Film Festival. “Solo, Solitude” (2016)” adalah film panjang keduanya yang diputar perdana di
Concorso Cineasti del Presente Competition di Locarno International Film Festival. Dua tahun kemudian, film
pendeknya, “Ballad of Blood and Two White Buckets” (2018), diputar perdana di Toronto International Film
Festival. Film terbarunya, “The Science of Fictions” (2019), mendapat Special Mention dan dinominasikan
untuk Best Film di Locarno International Film Festival 2019.

188
RETROSPECTIVE:
GUNAWAN MARYANTO
THE SCIENCE
XXI 5 | TUE 30 NOV | 11:30
OF FICTIONS
106 Minutes | 2019 | Indonesia | Fiction
Synopsis
Berlatar waktu dan tempat di Indonesia tahun 1960-an, Siman adalah seorang pria pendiam yang tanpa
sengaja menyaksikan sebuah syuting pendaratan di bulan oleh para kru asing, di sebuah area yang
berhantu dan tak berpenghuni. Siman ditangkap oleh para penjaga dan lidahnya dipotong. Siman pun
menjalani hidupnya dalam slow-motion menirukan seorang astronot di luar angkasa, dianggap orang gila.
Set in 1960s Indonesia, Siman is a quiet man who accidentally discovers a moon-landing shooting by a
foreign crew, in a haunted and unpopulated area. Siman is caught by guards and his tongue cut off. Siman
goes through life in slow-motion imitating an astronaut in outer space, labeled as crazy.

Director | Yosep Anggi Noen

Yosep Anggi Noen is an Indonesian film director who’s been experimenting
with cinematic narratives since mid-2000s. Born in Yogyakarta on 1983,
he studied Communications at the Socio-Politics Faculty of Yogyakarta’s
Gadjah Mada University. After directing and producing several short films,
he directed his first feature, Peculiar Vacation and Other Ilnesses (2012),
which premiered in Locarno International Film Festival.At Vancouver
International Film Festival, the film received the Special Mention Awards
followed by the Dragon and Tiger Awards for Young Cinema. His next
project, a short film titled A Lady Caddy Who Never Saw a Hole in One
(2013), won the Best Short Film at Busan International Film Festival and the
the Grand Prix of Tokyo Short Shorts Film Festival. Solo, Solitude (2016)—
his second feature—premiered in the Concorso Cineasti del Presente
Competition in Locarno International Film Festival. Two years later, his short
film, Ballad of Blood and Two White Bucket s( 2018), premiered in Toronto
International Film Festival. His latest feature, The Science of Fictions (2019)
received a Special Mention and was nominated for Best Film at the 2019
Locarno International Film Festival.
Yosep Anggi Noen adalah seorang sutradara film Indonesia yang telah bereksperimen dengan narasi
sinematik sejak pertengahan 2000-an. Lahir di Yogyakarta pada tahun 1983, ia belajar Ilmu Komunikasi
di Fakultas Sosial Politik Universitas Gadjah Mada Yogyakarta. Setelah menyutradarai dan memproduksi
beberapa film pendek, ia menyutradarai film panjang pertamanya, ”Peculiar Vacation and Other Illnesses
(2012)”, yang ditayangkan perdana di Locarno International Film Festival. Di Vancouver International Film
Festival, film tersebut menerima penghargaan Special Mention Awards, lalu the Dragon dan Tiger Awards
for Young Cinema. Proyek berikutnya, film pendek yang berjudul “A Lady Caddy Who Never Saw a Hole in
One (2013)”, memenangkan the Best Short Film di Busan International Film Festival dan Grand Prix of Tokyo
Short Shorts Film Festival. “Solo, Solitude” (2016)” adalah film panjang keduanya yang diputar perdana di
Concorso Cineasti del Presente Competition di Locarno International Film Festival. Dua tahun kemudian, film
pendeknya, “Ballad of Blood and Two White Buckets” (2018), diputar perdana di Toronto International Film
Festival. Film terbarunya, “The Science of Fictions” (2019), mendapat Special Mention dan dinominasikan
untuk Best Film di Locarno International Film Festival 2019.
Contact : limaenamfilms@gmail.com

189
191
Classic Notes
ALEXANDER MATIUS
Menonton Ulang Oldboy
M P
enjaga warisan budaya sinema adalah hal
yang terus menerus harus dilakukan setiap
ada kesempatan. Tidak ada hal yang lebih
penting dengan memperkenalkan kembali karya-
karya terbaik pada masanya. Bukan untuk sekedar
nostalgia, tapi juga untuk membaca sejauh mana
kita, sebagai bagian dari sinema, mengenal diri
kita. Tahun ini, kami hanya dapat menayangkan
satu judul film saja akan tetapi semoga meskipun
satu film dapat menghadirkan semangat tak
putus menghadirkan warisan sinema. Kami
berkesempatan menayangkan (kembali) Oldboy,
sebuah film yang dianggap menjadi bagian penting
dari sejarah sinema Korea Selatan, Asia, bahkan
dunia yang telah direstorasi. Selamat merasakan
dunia kegelapan Oh Dae-su untuk mengungkap
misteri.
192
Revisiting Oldboy
reserving cinema as a cultural heritage is
something that must be prioritised any time
an opportunity emerges. There is nothing
more important than reintroducing the best work of
each period. Not only for the sake of nostalgia, but
also to understand how far we, as a part of cinema,
know ourselves. This year, we can only screen one
film, but hopefully, even if it’s just one, it will carry
the neverending spirit of presenting the legacy of
cinema. We have had the opportunity to (re)screen
Oldboy, a film which is considered an important part
of the history of cinema in South Korea, Asia, and
even worldwide, and has also been remastered.
Welcome to the dark world of Oh Dae-su and
unravel the mystery.
 XXI 2 | THU 02 DEC | 12:30
XXI 4 | FRI 03 DEC | 13:45

CLASSIC
OLDBOY
120 Minutes | 2003 | South Korea | Fiction

Synopsis
One day in 1988, an ordinary man named OH Dae-su, who lives with his wife and adorable daughter,
is kidnapped and later wakes up to find himself in a private makeshift prison. Dae-su makes numerous
attempts to escape and to commit suicide, but they all end up in failure. All the while Dae-su asks himself
what made a man hate him so much enough to imprison him without any reason. While suffering from his
debacle, Dae-su becomes shocked when he watches the news and hears that his beloved wife was brutally
murdered. At this very moment, Dae-su swears to take revenge on the man who destroyed his happy life.
Fifteen years have passed and Dae-su is released with a wallet filled with money and a mobile phone. An
unknown man calls Dae-su and asks him to figure out why he was imprisoned.
Suatu hari di tahun 1988, seorang pria biasa bernama OH Dae-su, yang tinggal bersama istri dan putrinya
yang menggemaskan, diculik dan terbangun dan mendapati dirinya berada di sebuah ruangan yang dibuat
seperti penjara. Dae-su melakukan banyak upaya untuk melarikan diri dan bunuh diri, tetapi semuanya
berakhir dengan kegagalan. Sementara itu Dae-su bertanya pada dirinya sendiri apa yang membuat
seseorang begitu membencinya hingga memenjarakannya tanpa alasan apapun. Saat ia sedang menderita
akibat musibah ini , Dae-su terkejut ketika dia menonton berita dan mendengar bahwa istri tercintanya
dibunuh secara brutal. Pada saat itu, Dae-su bersumpah untuk membalas dendam pada pria yang
menghancurkan hidupnya yang bahagia. Lima belas tahun telah berlalu dan Dae-su dibebaskan dengan
dompet berisi uang dan ponsel. Lalu, ada seorang pria tak dikenal memanggil Dae-su dan memintanya
untuk mencari tahu mengapa dia dipenjara.

Director | Park Chan-Wook

Park Chanwook (1963, South-Korea) studied Philosophy at Sugang
University, where he founded a film club and developed a strong interest
in film theory. His name took off in 2000 with the thriller Joint Security
Area, which became the highest-grossing film ever in South Korea at the
time. Significantly, Park is able to merge critical acclaim with commercial
success. The revenge film Oldboy (2003) was an international cult hit,
drawing audiences of over 3 million. His latest work The Handmaiden
(2016) was selected to compete for the Palme d’Or at the 2016 Cannes
Film Festival.
Park Chanwook (1963, Korea Selatan) mempelajari Filsafat di Sugang
University, dimana ia mendirikan klub film dan mengasah minat yang
kuat para teori film. Namanya melejit pada tahun 2000 dengan film thriller
“Joint Security Area”, yang menjadi film terlaris yang pernah ada di Korea
Selatan pada saat itu. Secara signifikan, Park mampu menggabungkan pujian dari para kritikus film dengan
kesuksesan komersial. Filmnya yang berjudul The revenge film Oldboy adalah cult hit internasional, yang
menarik penonton lebih dari 3 juta. Karya terbarunya yang berjudul “The Handmaiden” (2016) terpilih untuk
bersaing memperebutkan penghargaan Palme d’Or di Festival Film Cannes 2016.

193
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196
 Public Lecture

Diskusi Tema
(Tenacity)
Sunday, 28 November 2021 | 14:00 WIB
Watch it on

“Tenacity” is this year’s Jogja-NETPAC Asian Film Festival theme. Tenacity is defined as the spirit of
persistence to keep moving whatever the conditions. This theme is a reflection of society’s perseverance in
adapting to the new normal era, a consequence of the Covid-19 Pandemic which is still ongoing. Tenacity is
also a reflection of Asian Cinema creators who remain persistent in their effort to produce new work and are
able to realize brilliant achievements even under limitations.

Yulia Elvina Wregas Budi Irawanto

Bhara Bhanuteja

Yulia Elvina Bhara

Adalah produser film dan founder KawanKawan Media. Rumah produksi Film berbasis di Jakarta yang
fokus pada co-produksi internasional. Kurun waktu 2016-2020, Ia memproduseri beberapa film diantaranya:
“On the Origin Of Fear” (Venice FF 2016), “Istirahatlah Kata-Kata” (Locarno FF 2016), “The Science of
Fictions” (Locarno FF 2019), “Ballad of Blood and Two White Buckets” (Toronto FF 2018) dan dokumenter
“You And I” (DMZ Docs 2020). Proyek yang sedang dikerjakan saat ini: “Autobiography” (sutradara: Makbul
Mubarak), “Songsmith” (sutradara: Bayu Prihantoro Filemon), “Jilah and the Man With Two Names” dan
“Voice of Baceprot” (sutradara: Yosep Anggi Noen) Selain memproduseri film Indonesia, Ia juga menjadi
ko-produser beberapa proyek film di Asia Tenggara, diantaranya: “Tiger Stripes’’ (sutradara: Amanda
Nell Eu- Malaysia, L’Atelier Cannes 2020,) dan “Whether The Weather Is Fine” (sutradara: Carlo Francisco

197
Manatad-Filipina, L’Atelier Cannes 2018).
Yulia Evina Bhara is a film producer and founder of KawanKawan Media, a Jakarta based production house
which focuses on international co-productions. Between 2016-2020, she produced several films including:
“On the Origin Of Fear” (Venice FF 2016), “Rest the Words” (Locarno FF 2016), “The Science of Fictions”
(Locarno FF 2019), “Ballad of Blood and Two White Buckets” (Toronto FF 2018) and a documentary titled
“You And I” (DMZ Docs 2020). Current projects: “Autobiography” (director: Makbul Mubarak), “Songsmith”
(director: Bayu Prihantoro Filemon), “Jilah and the Man With Two Names” and “Voice of Baceprot” (director:
Yosep Anggi Noen) Beside producing Indonesian films, she also co-produced several Southeast Asian
film projects including: “Tiger Stripes” (director: Amanda Nell Eu- Malaysia, L’Atelier Cannes 2020, ) and
“Whether The Weather Is Fine” (director: Carlo Francisco Manatad-Philippines, L’Atelier Cannes 2018).

Wregas Bhanuteja
Wregas Bhanuteja lahir di Jakarta, 20 Oktober 1992. Ia lulus dari Institut Kesenian Jakarta tahun 2014 dengan
film pendek tugas karya akhir berjudul “Lemantun”. Debut pertamanya dalam festival film internasional
dimulai dengan film pendeknya berjudul “Lembusura” yang berkompetisi di Berlin International Film Festival
2015. Di tahun 2016 ia mendapat pengharagaan film pendek terbaik di Semaine de la Critique Cannes,
dengan film pendeknnya berjudul “Prenjak” sekaligus mendapat Piala Citra sebaga film pendek terbaik di
Festival Film Indonesia 2016. Di tahun 2019 ia bersama Rekata Studio membuat film pendek berjudul “Tak
Ada yang Gila di Kota Ini” yang diangkat berdasarkan cerita pendek karya Eka Kurniawan, Film itu terpilih
untuk berkompetisi di Sundance Film Festival 2020 sekaligus kembali mendapatkan Piala Citra di FFI 2019.
Di tahun 2021 akhirnya Wregas berkesempatan untuk membuat film panjang pertamanya berjudul “Penyalin
Cahaya” yang world premiere di Busan International FIlm Festival 2021, serta mendapatkan 12 Piala Citra di
FFI 2021 termasuk penghargaan untuk Sutradara Terbaik dan Film Cerita Panjang Terbaik.
Wregas Bhanuteja was born in Jakarta on October 20th 1992. He graduated from Jakarta Institute of the Arts
in 2014 with his final project film titled “Lemantun”. His debut in international film festivals started when his
short film, “Lembusura” competed in Berlin International Film Festival 2015. In 2016, he received a short film
award from Semaine de la Critique Cannes for his short film “Prenjak” which was also awarded Piala Citra
for the best short film at Film Festival Indonesia. In 2019, with Rekata Studio, he made a short film titled “Tak
Ada yang Gila di Kota Ini” which was inspired by a short story by Eka Kurniawan. The film was also selected
for competition at Sundance Film Festival 2020 and awarded Piala Citra at FFI 2019. Ultimately, in 2021,
Wregas is given the opportunity to direct his first feature film, “Penyalin Cahaya” which world-premiered in
Busan International FIlm Festival 2021 and won 12 Piala Citra categories at FFI 2021 including Best Director
and Best Feature Film.

Budi Irawanto
Budi Irawanto adalah seorang Dosen Ilmu Komunikasi Fisipol Universitas Gadjah Mada (UGM). Selain
berprofesi sebagai seorang Dosen, ia juga digunakan sebagai Festival Director di Jogja-Netpac Asian Film
Festival (JAFF) sejak Agustus 2006 hingga saat ini. Budi Irawanto adalah lulusan sarjana komunikasi dari
Universitas Gadjah Mada Yogyakarta, lalu ia melanjutkan studinya ke jenjang Master of Arts (MA), Media
and Information Studies, Curtin University, Australia. Pada tahun 2015 ia berhasil meraih gelar Doctor of
Philosophy (Ph.D.), Southeast Asian Studies di National University of Singapore / NUS.
Budi Irawanto is a Lecturer in Communication Sciences at the Faculty of Social and Political Sciences,
Gadjah Mada University (UGM). Apart from being a lecturer, he is also used as a Festival Director at the
Jogja-Netpac Asian Film Festival (JAFF) from August 2006 to the present.Budi graduated with a bachelor of
communication from Gadjah Mada University in Yogyakarta, then he continued his studies at the Master of
Arts (MA), Media and Information Studies, Curtin University, Australia. In 2015 he won a Doctor of Philosophy
(Ph.D.) degree, Southeast Asian Studies at the National University of Singapore / NUS.

198
 Public Lecture

Content &
Programming
Wednesday, 1 December 2021 | 10:00 WIB
Join the discussion on

Hadirnya festival film sebagai sebuah ruang perayaan, ajang pertemuan berbagai elemen yang memiliki
gairah dan kecintaan terhadap film semakin menguatkan pernyataan bahwa festival merupakan bagian
penting dalam industri film. Sebagai buah dari kesadaran bahwa festival film merupakan bagian dari industri
maka sudah sepantasnya jika festival film dikelola secara serius dan professional. Selain itu, festival film juga
dapat dianggap sebagai institusi yang dipercaya oleh publik untuk memberikan apresiasi pada insan dalam
industri perfilman. Festival juga menjadi ruang bagi para penonton untuk menikmati karya-karya terbaik
yang dirangkum dalam kumpulan program yang Apik
The existence of film festivals as a space for celebration, a meeting place for various groups who have
passion and love for film further strengthens the statement that festivals are an important part of the film
industry. As a result of the realization that film festivals are part of the industry, film festivals should be
managed seriously and professionally. In addition, film festivals can also be considered as institutions which
are entrusted by the public to provide appreciation to people in the film industry. The festival is also a space
for the audience to enjoy the best films, summarized in a collection of well arranged programs.

Alexander Matius John Badalu Ifa Isfansyah

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Alexander Matius
Alexander Matius (Mamat / Matius) is a film programmer/curator based in Jakarta. He’s passionate about
formulating the best film programs to influence film audiences to learn about films and learn from films.
Currently, he is programming film for Kinosaurus - a microcinema in Kemang, Jakarta while running his
small local hardware store in Jakarta. He is also a cinema programmer for FLIX Cinema. Previously, he was
the Manager of kineforum, the first alternative film screening space in Jakarta (2014-2016). In addition, he
is also experienced in film exhibition and appreciation. His crafts and experience can be seen at various
film screenings, such as RRREC Fest in the Valley and Synchronize Fest. Since 2014, he has been a part of
Cinema Poetica - a collective space for movie critics, journalists, researchers, and enthusiasts. In addition,
he completed the Film Programmer Workshop in Japan-Philippines in Tokyo, Japan, Art House Management
in Venice, Italy and Berlinale Talents, Germany. He is resilient at work, persistent to learn, and is a funny and
warm person. His extensive knowledge about film has helped him to be trusted and excel at work. Matius will
always continue learning about film, especially about exhibition and appreciation in Indonesia.
Alexander Matius (Mamat / Matius) adalah seorang programmer/kurator film yang tinggal di Jakarta. Dia
bersemangat merumuskan program film terbaik untuk mempengaruhi penonton film supaya mereka tertarik
belajar tentang film dan belajar dari film. Saat ini, ia sedang memprogram film untuk Kinosaurus - sebuah
bioskop mikro di Kemang, Jakarta sambil menjalankan toko perangkat keras lokal kecilnya di Jakarta. Dia
juga merupakan seorang programer cinema untuk FLIX Cinema. Sebelumnya, ia pernah menjadi Manajer
Kineforum, tempat pemutaran film alternatif pertama di Jakarta (2014-2016). Selain itu, ia juga memiliki
kiprah di dunia pemutaran dan apresiasi film. Keahlian dan pengalamannya ikut andil di berbagai pemutaran
film, seperti RRREC Fest in the Valley dan Synchronize Fest. Sejak 2014, ia menjadi bagian dari Cinema
Poetica - ruang kolektif untuk kritikus jurnalis, peneliti, dan penggemar film,. Selain itu, ia berpartisipasi
di workshop Japan-Philippines in Tokyo, Japan, Art House Management di Venezia di Italia dan Berlinale
Talents di Jerman. Ia ulet dalam bekerja, gigih untuk belajar, dengan kepribadian yang lucu dan hangat.
Pengetahuannya yang luas tentang film telah menjadikannya orang yang dipercaya dan unggul dalam
pekerjaan. Matius akan terus belajar tentang film, khususnya tentang pemutaran dan apresiasi di Indonesia.

John Badalu
Before working in the film industry, Badalu has had various jobs in other arts-related institutions such as
Goethe-Institut Jakarta as the Theater Manager, Cultural Officer at Istituto Italiano di Cultura Jakarta. He got
selected for an arts internship for Arts Management at The Performance Space Sydney in 2000. He is also
the recipient of Ashoka Foundation Fellowship for his work in LGBT activism through arts with the Q! Film
Festival that he co-founded in 2002. He was also a part-time lecturer in London School of Public Relation,
Jakarta. His early job includes Account Executive at Ogilvy Advertising Agency and Brights Communication
in Jakarta. Besides working as a film programmer and a producer, Badalu gives film workshops and
consultancy from time to time.
Sebelum berkecimpung di dunia perfilman, Badalu memiliki berbagai pekerjaan di institusi cabang kesenian
lain seperti Goethe-Institut Jakarta sebagai Manajer Teater, dan Cultural Officer di Istituto Italiano di Cultura
Jakarta. Dia pernah menjalani program magang seni untuk Manajemen Seni di Arts Management at The
Performance Space Sydney pada tahun 2000. Dia juga menerima penghargaan dari Ashoka Foundation
Fellowship untuk kiprahnya dalam aktivisme LGBT melalui seni melalui Q! Festival Film yang ia dirikan pada
tahun 2002. Ia juga pernah menjadi dosen paruh waktu di London School of Public Relation, Jakarta. Dulu, ia
juga pernah bekerja sebagai Account Executive di Ogilvy Advertising Agency dan Brights Communication
di Jakarta. Selain bekerja sebagai programmer dan produser film, Badalu juga memberikan workshop dan
konsultasi film dari waktu ke waktu.

Ifa Isfansyah
IFA ISFANSYAH graduated from the Television Department of Indonesian Institute of Art Jogjakarta. He
began his career in cinema as Producer and Director of several short films, including BE QUIET, EXAM
IS IN PROGRESS! (Tokyo ShortShort, Competition, 2006) and HALF TEASPOON (Grand Prize Hong Kong
Independent Film Video Award & competition, IFFR 2008). In 2001, he started his company Fourcolours
Films with other local filmmakers in order to produce and support Indonesian filmmakers. He was selected
by the Asian Film Academy BUSAN in 2006 and got a scholarship to attend the Im Kwon Taek College
of Film & Performing Arts, KOREA. Then back to Indonesia, he directed his first feature film, Garuda Di
Dadaku (2009), which encountered great commercial success. His second film, The Dancer (2011) was
awarded Best Director and Best Picture at the Indonesian Film Festival. Since then he has produced SITI

200
(Eddie CAHYONO, TELLURIDE 2015), TURAH (Wicaksono Wisnu LEGOWO, Indonesian Official Entry for
OSCAR 2018), THE SEEN AND UNSEEN (Kamila ANDINI, TORONTO IFF 2017), MEMORIES OF MY BODY
(Garin NUGROHO, VENICE Orizzonti 2018) and YUNI (Kamila ANDINI, TORONTO IFF 2021). His latest film
LOSMEN BU BROTO adapted from a legendary TV Series in the 1980 era.
IFA ISFANSYAH lulus dari Jurusan Televisi Institut Seni Indonesia Yogyakarta. Ia memulai karirnya di dunia
perfilman sebagai Produser dan Sutradara dari beberapa film pendek, antara lain BE QUIET, EXAM IS
IN PROGRESS! (Tokyo ShortShort, Competition, 2006) dan HALF TEHPOON (Penghargaan Utama Hong
Kong Independent Film Video Award & kompetisi, IFFR 2008). Pada tahun 2001, ia memulai perusahaannya
Fourcolours Films dengan pembuat film lokal lainnya untuk memproduksi dan mendukung pembuat film
Indonesia. Ia dipilih oleh Asian Film Academy BUSAN pada tahun 2006 dan mendapat beasiswa untuk
menghadiri Im Kwon Taek College of Film & Performing Arts, KOREA. Kemudian kembali ke Indonesia,
ia menyutradarai film fitur pertamanya, Garuda Di Dadaku (2009), yang meraih sukses komersial yang
besar. Film keduanya, The Dancer (2011) mendapatkan penghargaan Sutradara Terbaik dan Film Terbaik di
Festival Film Indonesia. Sejak itu ia telah menghasilkan SITI (Eddie CAHYONO, TELLURIDE 2015), TURAH
(Wicaksono Wisnu LEGOWO, Entri Resmi Indonesia untuk OSCAR 2018), THE SEEN AND UNSEEN (Kamila
ANDINI, TORONTO IFF 2017), MEMORIES OF MY BODY (Garin NUGROHO, VENICE Orizzonti 2018) dan
YUNI (Kamila ANDINI, TORONTO IFF 2021). Film terbarunya LOSMEN BU BROTO diadaptasi dari Serial TV
legendaris di era 1980.

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 Public Lecture
Southeast Asia
Cinema Nowadays
Friday, 3 December 2021 | 14:00 WIB
Join the discussion on

Prestasi-prestasi yang diraih oleh pelaku Sinema di Asia patut dirayakan dalam sebuah diskusi yang akan
memperlihatkan semangat dan kegigihan untuk berkarya meskipun dalam keterbatasan. Bangkitnya industri
perfilman memberikan harapan bagi industri di tengah-tengah Pandemi Covid-19. Special Discussion
akan mengajak penonton bertemu dengan Apichatpong Werasethakul sutradara asal Thailand peraih
penghargaan tertinggi di Cannes Film Festival pengan Kamila Andini sutradara perempuan Indonesia yang
pada tahun 2021 karyanya berjudul YUNI meraih Platform Prize di Toronto International Film Festival.
The achievements of the Asian film community deserve to be celebrated with discussion that shows enthusiasm
and tenacity for their work despite limitations. The rise of the film industry gives hope to the industry during
the Covid-19 Pandemic. The Special Discussion will invite the audience to meet Apichatpong Werasethakul,
the Thai director who won the most regarded award at the Cannes Film Festival and Kamila Andini, the
Indonesian female director, whose film, “Yuni” won the Platform Prize at the 2021 Toronto International Film
Festival.

Kamila Andini Apichatpong

Weerasethakul

Kamila Andini
Kamila Andini is a mother and filmmaker based in Jakarta, Indonesia. Her concern of social culture, gender
equality and environmental issues lead her passion to make films with a distinctive perspective of telling a

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story. In 2011, she released her debut feature film ‘The Mirror Never Lies’, which portrays the life of a sea
wanderer in the Indonesian ocean. And in 2017, She released her second feature ‘The Seen and Unseen’; a
cinematic universe of dualism based on Balinese philosophy Sekala Niskala. Both films had traveled through
more than 50 film festivals around the world and received about 30 awards nationally and Internationally,
including Grand Prix winner best feature film in Berlinale Generation kplus 2018. Her third feature about an
Indonesian teenage story called ‘Yuni’, premiered at the Toronto International Film Festival 2021 and won the
Platform Prize. This is an Indonesian, Singapore, French, Australian production which is now in distribution
stage.
Kamila Andini adalah seorang ibu dan pembuat film yang tinggal di Jakarta, Indonesia. Kepeduliannya
terhadap sosial budaya, kesetaraan gender, dan isu-isu lingkungan mendorong hasratnya untuk membuat
film dengan cerita perspektif yang khas. Pada tahun 2011, ia merilis film fitur debutnya “The Mirror Never
Lies”, yang menggambarkan kehidupan seorang pengembara di lautan Indonesia. Dan pada tahun 2017, Dia
merilis film panjang keduanya, “The Seen and Unseen”; suatu alam semesta sinema dualistik berdasarkan
filosofi Bali Sekala Niskala. Kedua film tersebut telah diputar di lebih dari 50 festival film di seluruh dunia
dan mendapatkan sekitar 30 penghargaan nasional dan Internasional, termasuk pemenang Grand Prix
winner Best Feature Film di Berlinale Generation kplus 2018. Film ketiganya tentang kisah remaja Indonesia
berjudul ‘Yuni’, ditayangkan perdana di Toronto International Film Festival 2021 dan memenangkan Platform
Prize. Film ini adalah produksi Indonesia, Singapura, Perancis, Australia yang saat ini sedang dalam tahap
distribusi.

Apichatpong Weerasethakul
Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making film and video shorts in
1994, and completed his first feature in 2000. He has also mounted exhibitions and installations in many
countries since 1998. Often non-linear, with a strong sense of dislocation, his works deal with memory, subtly
addressed personal politics and social issues.His art projects and feature films have won him widespread
recognition and numerous festival prizes, including two prizes (Special Jury Prize, and Palme d’Or) from the
Cannes Film Festival. In 2012, he is invited to participate in Documenta (13), one of the most well-known art
exhibitions in Kassel, Germany. In 2016, a retrospective of his films wa s presented at Tate Modern, London.
He was the Principal Laureate of the 2016 Prince Claus Awards, the Netherlands. In 2019, Apichatpong was
awarded the Artes Mundi prize, the UK’s largest prize for international contemporary art. His on-going project
includes Fever Room, a projection performance about displaced consciousness. It has been presented
at Kunstenfestivaldesarts, Brussels (2016), Festival d’Automne, Paris (2016), Volksbühne, Berlin (2017),
Wiener Festwochen, Vienna (2019), among others. Since 2016, a large scale retrospective of his visual
artworks has been held at various countries, starting at MAIIAM Contemporary Art Museum, Chiang Mai, The
Museum of Contemporary Art and Design (MCAD), Manila, Oklahoma City Museum of Art, and Taipei Fine
Arts Museum. His latest film, Memoria, sets in Colombia and features an actress Tilda Swinton, won the Jury
Prize at Cannes Film Festival in 2021. Apichatpong lives in Chiang Mai, Thailand.Apichatpong dibesarkan
di Khon Kaen di timur laut Thailand. Ia mulai membuat film pendek dan video pendek pada tahun 1994,
dan menyelesaikan film panjang pertamanya pada tahun 2000. Ia juga telah menyelenggarakan pameran
dan instalasi di banyak negara sejak tahun 1998. Seringkali non-linier, dengan rasa dislokasi yang kuat,
karya-karyanya berhubungan dengan memori, secara halus menyoroti masalah politik dan sosial personal.
Proyek seni dan film panjangnya telah memberinya pengakuan luas dan berbagai penghargaan dari
festival, termasuk dua penghargaan (Special Jury Prize, and Palme d’Or) dari Cannes Film Festival.
Pada tahun 2012, ia diundang untuk berpartisipasi dalam Documenta (13), salah satu pameran seni
paling terkenal di Kassel, Jerman. Pada tahun 2016, program retrospektif film-filmnya dipresentasikan di
Tate Modern, London. Ia adalah Principal Laureate dari Prince Claus Awards 2016, Belanda. Pada tahun
2019, Apichatpong dianugerahi penghargaan Artes Mundi, penghargaan terbesar di Inggris di bidang
seni kontemporer internasional. Proyeknya yang sedang berjalan yaitu Fever Room, pertunjukan proyeksi
tentang kesadaran yang terlupakan. Film ini telah dipertontonkan di Kunstenfestivaldesarts, Brussels (2016),
Festival d’Automne, Paris (2016), Volksbühne, Berlin (2017), Wiener Festwochen, Wina (2019). Sejak tahun
2016, program retrospeksi besar-besaran karya visualnya telah diadakan di berbagai negara, mulai dari
MAIIAM Contemporary Art Museum, Chiang Mai, The Museum of Contemporary Art and Design (MCAD),
Manila, Oklahoma City Museum of Art, dan Taipei Fine Arts Museum. Film terbarunya, Memoria, berlatar
belakang lokasi di Kolombia, menampilkan aktris Tilda Swinton, dan memenangkan Penghargaan the Jury
Prize di Cannes Film Festival tahun 2021. Saat ini Apichatpong tinggal di Chiang Mai, Thailand.

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Selected Awards & Honours:
• The Gold Hugo for Best Film, Chicago International Film Festival, USA, 2021 (Memoria)
• Grand Prix d’Honneur, FIDMarseille International Film Festival, France, 2021 (Memoria)
• Prix du Jury, Cannes Film Festival, France, 2021 (Memoria)
• Artes Mundi Prize, UK, 2019 • FIAF (International Federation of Film Archives) Award, 2018
• Mikeldi Honor Award, Zinebi Film Festival, Spain 2018
• Commandeur de l’ordre des arts et des lettres, France, 2017
• The Prince Claus Awards, The Netherlands, 2016 (Principal Laureate)
• Grand Prize, Bildrausch Film Festival, Basel, Switzerland 2016 (Cemetery of Splendour)
• Asia Pacific Screen Award, Australia 2016 (Cemetery of Splendour)
• Gijon Film Festival Award, Spain 2015
• The Yanghyun Art Prize, Korea, 2014
• The Silver Mirror Honorary Award, Films From the South Festival, Norway, 2013
• Fukuoka Prize (Art and Culture), Fukuoka, Japan, 2013
• The Sharjah Biennial Prize, Sharjah Biennial 11th, UAE, 2013
• Officiers de l’ordre des arts et des lettres, France, 2011
• Palme d’Or, Cannes Film Festival, France, 2010 (Uncle Boonmee Who Can Recall His Past Lives)
• Winner of Asia Art Award Forum, Seoul, Korea, 2010
• One of the shortlisted for Hugo Boss Award, Guggenheim Foundation and Museum, New York, USA,
2010
• Syndromes and a Century was voted the best film of the decade from a poll conducted with international
film scholars by Cinematheque Ontario, Canada, 2009
• Chevalier de l’ordre des arts et des lettres, France, 2008
• The Fine Prize, for outstanding emerging artist, The 55th Carnegie International, USA, 2008 (Unknown
Forces installation)
• Best Film Award, 9th Deauville Asian Film Festival, France, 2007 (Syndromes and a Century)
• Silpatorn Award, Thailand’s Ministry of Culture, Office of Contemporary Arts, 2005
• Special Jury Prize, Singapore International Film Festival, Singapore, 2005. (Tropical Malady)
• Best Film and Special Jury Prize, The 20th International Gay & Lesbian Film Festival, Turin, 2005 (Tropical
Malady)
• Prix du Jury, Cannes Film Festival, France, 2004 (Tropical Malady)
• Grand Prize, Tokyo Filmex, Tokyo, 2004 (Tropical Malady)
• L’Age d’or Prize, Cine-decouvertes, Belgium 2004 (Tropical Malady)
• The International Critics’ Award (FIPRESCI Prize), Buenos Aires Film Festival, 2003 (Blissfully Yours)
• Silver Screen Award: Young Cinema Award, Singapore International Film Festival, Singapore, 2003
(Blissfully Yours)
• Prix Un Certain Regard, Cannes Film Festival, France, 2002 (Blissfully Yours)

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 Empire XXI Studio 3
Sunday, 28 November 2021 | 15:00 WIB

Myra Suraryo Dian Sasmita Ajish Dibyo

Senior Vice President Head of Original Production, Executive Director
Marketing, Indonesia - Viu Indonesia - Viu JAFF

Viu Pitching Forum adalah program yang didedikasikan untuk memfasilitasi dan
mengembangkan project yang diajukan oleh pembuat film Indonesia berbakat kepada ahli
dari Industri. Program ini merupakan kontribusi Viu bagi industri perfilman Indonesia melalui
pendampingan dan pemberian kesempatan bagi talenta Indonesia untuk menampilkan karya
mereka di “panggung” global.
Sejumlah drama Viu Original ternama yang diangkat dari konsep pemenang VPF adalah
Knock Out Girl, Halustik dan Star Stealer yang merebut penghargaan Asian Academy Creative
Awards. Viu Original dari pemenang VPF juga akan ditayangkan di 16 negara di mana Viu
beroperasi.
Kini Viu Pitching Forum kembali mencari talenta muda berbakat yang akan membanggakan
Indonesia di pentas dunia. Untuk pengajuan konsep dan info lebih lengkap: https://bit.
ly/3Hubw0D

Viu Pitching Forum is a program dedicated to facilitating and developing projects submitted
by talented Indonesian filmmakers to industry experts. This program is Viu’s contribution to the
Indonesian film industry through mentoring and providing opportunities for Indonesian talents
to showcase their work to the world.
A number of well-known Viu Original dramas which are produced from VPF winners’ concepts
are Knock Out Girl, Halustik and Star Stealer which won the Asian Academy Creative Awards.
Viu Originals from VPF winners will also be broadcasted in the 16 countries where Viu operates.
Now the Viu Pitching Forum is looking for talented young talents who will make Indonesia proud
on the world stage. For concept submissions and more complete info: https://bit.ly/3Hubw0D

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 XXI 3 | FRI 03 DEC | 11:00

Special Screening JOURNEY OF INSPIRATION

109 Menit | 2021 | Indonesia | Fiction

Synopsis
Journey of Inspiration: MLDSPOT Stage Bus Jazz
Tour 2021 is a Bus Tour presenting famous Indonesian
musicians and featuring a Bus which can be converted
into a Stage, transporting the show closer to its
audience as an intimate concert. The Stage Bus Jazz
Tour has become its own icon as well as part of the
“Jazz Music Ecosystem” built by MLDSPOT.
The MLDSPOT Stage Bus Jazz Tour has been active
since 2015, and is a highly anticipated event attracting enthusiasm from musicians and Jazz music lovers
throughout Indonesia. It has brought music to Jazz lovers in Sumatra, Java, Bali and Lombok to Kalimantan.
In 2015, 2016, 2017, 2018 and 2019, a series of tours took place with 17 cities visited each year.
In 2021, Mikha, Lea and Daru have revived the spirit of their fellow talented musicians to perform on the
JOURNEY OF INSPIRATION: MLDSPOT Stage Bus Jazz Tour. Mikha, Lea and Daru travelled from Jakarta to
Bali, taking with them many well-known Indonesian musicians such as Sal Priadi, Danilla, Pamungkas, Fariz
RM, Adikara Fardy, Syaharani, Mocca, Nonaria, Barry Likumahuwa, Moneva, Adra Karim Quartet, Angel
Pieters, Jazz Ngisor Ringin, Adoria (MLDJAZZPROJECT Season 1) and MLDJAZZPROJECT Season 4 live
from the best places in Indonesia. While recording stories about Inspiring People, Inspiring Communities,
Inspiring Products and Inspiring Places, it also gave talented musicians in several cities the opportunity to
showcase their original work. The 30 day trip inspired, informed and cured the longing to enjoy music and
performances from Indonesian musicians thanks to the MLDSPOT Stage Bus Jazz Tour.
You can enjoy the entirety of Mikha, Lea and Daru’s journey on JOURNEY OF INSPIRATION from home via
the Youtube channel, MLDSPOT TV which so far has been enjoyed by more than 12,000,000 viewers. For
more info, log on www.MLDSPOT.com

Journey of Inspiration: MLDSPOT Stage Bus Jazz Tour 2021 adalah Perjalanan Bus yang menghadirkan
musisi-musisi ternama Indonesia. Dengan konsep Bus yang dapat dialih fungsikan sebagai Stage serta
konsep dekat dengan penonton membuat SBJT hadir menjadi konser dengan konsep yang intimate. Stage
Bus Jazz Tour telah menjadi Icon tersendiri sekaligus bagian dari “Ekosistem Music Jazz” yang di bangun
oleh MLDSPOT
MLDSPOT Stage Bus Jazz Tour hadir sejak tahun 2015, Event yang sangat dinanti dan menarik antusias
para musisi dan penikmat musik Jazz di Indonesia. Hadir secara langsung di hadapan penikmat musik
Jazz dari pulau Sumatera, Jawa, Bali, Lombok hingga Kalimantan. Pada 2015, 2016, 2017, 2018 dan 2019,
dalam satu rangkaian perjalanan tidak kurang dari 17 kota tiap tahunnya di singgahi.
Pada 2021, Mikha, Lea dan Daru menghidupkan kembali semangat teman-teman mereka yang memiliki
talenta dan karya dalam bermusik, untuk tampil di JOURNEY OF INSPIRATION: MLDSPOT Stage Bus Jazz
Tour. Mikha, Lea dan Daru melakukan perjalanan dari Jakarta sampai Bali, mengajak musisi Indonesia
ternama seperti Sal Priadi, Danilla, Pamungkas, Fariz RM, Adikara Fardy, Syaharani, Mocca, Nonaria, Barry

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Likumahuwa, Moneva, Adra Karim Quartet, Angel Pieters, Jazz Ngisor Ringin, Adoria (MLDJAZZPROJECT
Season 1) dan MLDJAZZPROJECT Season 4 dari tempat-tempat terbaik di Indonesia. Merekam cerita
tentang Inspiring People, Inspiring Communities, Inspiring Product dan Inspiring Places. Juga memberi
kesempatan pada musisi-musisi berbakat di beberapa kota untuk menampilkan karya-karya orisinil mereka.
Perjalanan 30 hari yang memberikan banyak inspirasi, informasi dan mengobati kerinduan akan menikmati
musik dan penampilan dari para musisi Indonesia melalui MLDSPOT Stage Bus Jazz Tour.
Seluruh Perjalanan Mikha, Lea dan Daru pada JOURNEY OF INSPIRATION dapat dinikmati dari rumah
melalui Youtube MLDSPOT TV, yang hingga saat ini Journey of Inspiration sudah dinikmati lebih dari
12.000.000 penonton. For more info, log on www.MLDSPOT.com

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 LEGENDS
1. XXI Empire
2. LPP Yogyakarta
3. Ayam Goreng Tojoyo 3
4. Ayam Geprek Sa’i
5. Gudang Kopi
6. Lombok Idjo
7. Duta Minang
8. Horison Hotel

FESTIVALMAPS
9. De Laxston Hotel
10. Demangan Market
11. Lippo Mall

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