In ARKIPEL 2017 - Penal Colony, Candrawala, Film Show, News
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Candrawala Gambar Bergerak di Indonesia Tahun 2017

Jumat, 25 Agustus 2016, sebuah program pemutaran spesial diselenggarakan di ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival, 2017. Pada sesi pemutaran filem kali ini, ARKIPEL menghadirkan beberapa filem garapan filmmaker lokal untuk melihat dan mengobservasi temuan baru dan tren produksi gambar bergerak serta spekulasi-spekulasi yang dapat diambil dari praktik-praktik yang dilakukan para sutradara terkait perkembangan teknologi di era digital. Manshur Zikri selaku kurator filem tersebut memaparkan bahwa pemilihan keenam filem tersebut diharapkan dapat merefleksikan situasi atau fenomena yang tengah berkembang di masyarakat Indonesia. Pemutaran ini diselenggarakan di Goethe-Institute, Menteng, Jakarta, pada pukul 19:30.

Manshur ZIkri (Kurator Candrawala).

Dalam kerangka kuratorial ini, sebagaimana dijelaskan di dalam katalog ARKIPEL, terdapat pengkategorisasian enam filem yang dikurasikan dalam sesi pemutaran filem bertajuk “catatan tengah”. Dua kategori tersebut adalah “biografi antropologis” dan “penceritaan taktis”. Melalui pemaparan tentang dua aspek tersebut, irisan keduanya dapat dibentuk untuk membuat relevansi konteks lampau ke dalam strategi visual atas imajinasi yang melampaui kemampuan infrastruktur yang dimilki para sineas.

Filem pertama yang diputar adalah Travel Bag (2016) karya Timoteus Anggawan Kusno. Filem ini menggambarkan suasana perkotaan di Tokyo dari balik jendela kereta dengan diiringi percakapan seorang gadis dan pria yang membahas masa kelam si gadis yang ditinggal oleh keluarganya pada masa perang. Si gadis yang terbiasa kesepian, terdidik untuk menyiasati kesepiannya dengan membaur dalam hiruk pikuk keramaian di kereta. Konstruksi narasi percakapan antara si gadis dan pria berhasil membentuk puisi visual yang menyajikan momen renungan. Lantunan piano oleh Gardika Gigih agaknya berhasil menyempurnakan suasana melankolis di setiap scene filem ini.

Filem kedua adalah Awal: Nasib Manusia (2016) karya Bayu Santoso. Filem dokumenter biografis ini menceritakan kisah hidup Awal Uzhara, seorang sineas Indonesia yang sempat menghabiskan waktunya di Rusia. Kepergiannya ke Rusia disebabkan karena situasi dan arah politik Orba yang melabelkan negatif komunis kala itu. Pemaparan foto-foto arsip yang dianimasikan memberikan citra memori yang diangkat ke dalam filem ini. Di akhir karya dokumenter ini, terdapat kutipan bertuliskan “Country is Identity; Ideology is Stigma; Exile is Faith” yang menurut saya cukup tepat merefleksikan keseluruhan cerita mengenai Awal Uzhara.

Dessy TAB (sutradara Pulang ke Indonesia).

Filem ketiga adalah Pulang ke Indonesia (2016) karya Dessy TAB. Filem ini menceritakan kisah sederhana yang diangkat dari memori sutradara waktu kecil yang berpindah lokasi tinggal dari Prancis ke Indonesia. Kompleksitas akulturasi budaya yang dimunculkan melalui penyajian filem dalam bentuk ilustrasi hiperbolis dengan gaya pembahasaan yang sangat sederhana, membuat filem ini mudah untuk dipahami, terutama terkait narasi mengenai kesulitan yang pernah dialami (dan menariknya, ia menyebut filem ini berdasarkan “kenangan nyata”, bukan “kisah nyata”) sang sutradara.

Jaka Sepriyana (sutradara Data Diri).

Filem keempat adalah Data Diri (2017) karya Jaka Sepriyana. Filem ini disusun dari footage-footage milik sutradara yang dikumpulkannya selama setahun hingga perayaan pergantian tahun. Footagefootage tersebut kemudian dirangkai kembali sehingga memunculkan konstruksi menarik yang secara tidak langsung menuturkan relevansi dari tren aktivitas bermedia terkini yang berbasis pada smartphone.

Aditya Suwandi (sutradara Pesan Dari Barat).

Filem kelima adalah Pesan Dari Barat (2016) karya Aditya Suwandi. Filem ini mencoba menawarkan realitas kehidupan di Indonesia dalam merefleksikan kritik sosial atas kondisi masyarakat komtemporer pasca kemerdekaan Indonesia yang ke-72. Kehadiran narasi ke kenyataan hari ini memunculkan perpektif baru atas kesulitan masyarakat untuk memaknai arti “kemerdekaan” itu sendiri. Menurut saya pribadi, kehadiran karakter tentara-tentara ke kenyataan hari ini, sebagaimanya yang dicertiakan dalam filem, sepertinya merefleksikan bentuk perjuangan atas pengaruh westernisasi yang kita hadapi sekarang.

Bambang Kuntara Murti (sutradara Amarta (Gadis dan Air)).

Filem keenam adalah Amarta (Gadis dan Air) (2015) karya Bambang Kuntara Murti. Filem ini mencoba memodifikasi (atau menciptakan secara baru) salah satu mitologi tentang Amarta—tapi disebut bahwa belum ada literatur Jawa yang benar-benar mengisahkan tentang “Dewi Amarta”. Dalam konteks filem ini, Dewi Amarta dipercaya sebagai penjaga mata air dan pemberi berkah kehidupan di masyarakat setempat. Namun, hilangnya Dewi Amarta menimbulkan kesengsaraan bagi penduduk kota yang terpaksa harus menggantungkan sumber daya airnya pada seorang penguasa lalim. Melalui gaya penceritaan dan penyuntingan yang memanfaatkan objek-objek artistik dari teater, saya kira filem ini berhasil menggambarkan dan memperkaya imajinasi penonton sekaligus—sebagaimana pendapat si kurator, Manshur Zikri—mengabstraksikan ekspektasi penonton.

Kemudian sesi diskusi pun dilanjutkan. Empat dari enam filmmaker yang malam itu hadir di acara pemutaran, dipersilakan untuk berdiri di depan, agar bisa berdiskusi dengan para penonton. Keempat sutradara tersebut, yakni Suwardi Aditya (sutradara Pesan dari Barat), Dessy TAB (sutradara Pulang ke Indonesia), Jaka Sepriyana (sutradara Data Diri), dan Bambang Kuntara Murti (sutradara Amarta). Keempatnya diminta oleh kurator untuk berbagi cerita tentang proses di balik penggarapan masing-masing filem.

Dessy TAB menceritakan bahwa filem yang ia garap merupakan pengalaman yang ia alami saat merasa kesulitan untuk beradaptadsi, saat ia diputuskan untuk kembali tinggal di Indonesia bersama keluarganya. Kemudian Bambang Kuntara Murti selaku sutrada Amarta menceritakan pengalamannya dalam menggarap filem Amarta (Gadis dan Air). Ia berkata bahwa sosok Dewi Amarta yang ia hasilkan merupakan bentuk modifikasi dewi-dewi mitologi di Jawa yang tidak pernah menjadikan “air” sebagai bentuk kekuatan. Dari situ, ide itu tercetus dan ia pun mulai melakukan penggarapan filem Dewi Amarta.

Pemutaran filem pada sesi ini menjadi penghujung dari seluruh rangkaian ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival, 2017. Sesi pemutaran ini pun ditutup dengan kehadiran 58 pengunjung. Setelah para pengunjung meninggalkan audoritum GoetheHaus, diskusi-diskusi kecil pun masih dilanjutkan di luar auditorium. ***

English

Candrawala of Moving Images in Indonesia on 2017

Friday, August 25th 2016, a special screening program was held in ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival, 2017. In the screening session this time, ARKIPEL presented several films made by local filmmakers to see and observe the new findings as well as moving image production trends and speculations which can be taken from practices done by the directors regarding the development of technology in the digital era. Manshur Zikri as the curator of this program elaborated that the selection of these four films was expected to reflect a situation and phenomenon which are growing in the society of Indonesia. This screening was held in Goethe Institute, Menteng Jakarta, at 19:30.

Manshur ZIkri (the curator of Candrawala).

In this curatorial framework was explained that there was categorization on the six films curated in the film screening entitled Candrawala. The two categorizations are “anthropological biography” and “tactical storytelling”. Through these two aspects, the incision of them can be established to create the relevance of the past context into the visual strategy of imagination beyond the capability of the infrastructure possessed by the filmmakers.

The first film screened was Travel Bag (2016) by Timoteus Anggawan Kusno. This film depicted the urban atmosphere of Tokyo from behind a train window accompanied by the conversation of a girl and a man discussing the dark past of the girl who was left behind by her family during the time of war. The girl was used to feel lonely, educated to make a strategy on her loneliness by blending in the hustle bustle of crowd in train. The narrative construction in the conversation between the girl and the man successfully form a visual poetry presenting the moment of reflection.  Rhymes of piano by Gardika Gigih seemed to be able to complement the melancholic atmosphere in every scene of this film.

The second film was Awal: Nasib Manusia (2016) by Bayu Santoso. This biographic documentary narrated the life story of Awal Uzahara, an Indonesia filmmaker who once spent his life in Russia. His journey to Russia was due to the situation and director of New Order politic which labeled the communist negatively. Exposure of archival photographs were animated by giving image of memory and then made into this film. In the end of this documentary, there was a quotation saying “Country is Identity; Ideology is Stigma; Exile is Faith” which in my opinion, befittingly reflected the entire story about Awal Uzhara.

Dessy TAB (filmmaker of Pulang ke Indonesia).

The third film was Pulang ke Indonesia (2016) by Dessy TAB. This film narrated a simple story from the childhood memory of the director who moved from her stay in France to Indonesia. Complexity of cultural acculturation which is raised through the presentation of film in hyperbolic illustration form with a very simple style of discussion, making this film was easy to understand, especially related to the narration about the difficulties once experienced (and interestingly, she called this film was based on “real memory”, instead of “real story”) by the director.

Jaka Sepriyana (filmmaker of Data Diri).

The fourth film was Data Diri (2017) by Jaka Sepriyana. This film was made from footages of the director within one year until the celebration of New Year. Those footages were re-arranged to bring an interesting construction which indirectly narrated the relevance from trend of current media-related activities which were based on smartphones.

Aditya Suwardi (filmmaker of Pesan Dari Barat).

The fifth film was Pesan Dari Barat (2016) by Aditya Suwardi. This film tries to offer the reality of life in Indonesia by reflecting the social critics on the 72nd post-independence Indonesia’s contemporary life. The presence of narration on the reality today raises new perspectives on the adversity of society to give meaning on “independence” itself. In my personal opinion, the presence of army into the reality today, as told through the film, seem to reflect on the expression of the struggle over the influence of westernization we faced today.

Bambang Kuntara Murti (filmmaker of Amarta (Gadis dan Air)).

The sixth film was Amarta (Gadis dan Air) (2015) by Bambang Kuntara Murti. This film tries to modify (or create in a new way) one of the mythologies about Amarta – but it was mentioned that the Javanese literature narrating the tale of “Goddess Amarta” is not available yet.  In the context of this film, Goddess Amarta was believed to be the keeper of water well and giver of blessings for the community. However, the loss of Goddess Amarta caused misery for the city dwellers that were forced to hang their source of water to a ruthless ruler. Through the narrating and editing style which utilized the artistic objects from theatre, in my opinion this film was capable of depicting and enriching the imagination of the audiences as well as – like the opinion of the curator, Manshur Zikri – abstracting the expectation of the audience.

Then the discussion was continued. Four out of six filmmakers who came that night, was allowed to stand in the front, to be able to discuss with the audiences. The four directors were Suwardi Aditya (director of Pesan dari Barat), Dessy TAB (director of Pulang ke Indonesia), Jaka Sepriyana (director of Data Diri), and Bambang Kuntara Murti (director of Amarta). They were asked by the curator to share the behind the scene stories of each filmmaking process.

Dessy TAB said that the film she made was her experience when she was in difficulties to adapt, when she was set to return to Indonesia with her family. Then Bambang Kuntara Murti as the director of Amarta (Gadis dan Air) told his experience in making that film. He said that the figure of Goddess Amarta he produced, was a modification of goddess in the mythology of Java that never makes the “water” as a form of power. From that, the idea emerged and he started to make the film.

The screening of this session was the end of the entire screening sessions of ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival, 2017. This session was closed by the presence of 58 audiences. After the audiences left the auditorium of GoetheHaus, small discussions were continued outside the auditorium. ***

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