In ARKIPEL 2017 - Penal Colony, Film Show, International Competition, News
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"Diskusi Tanpa Narasi", Visual Mengungkap Dirinya Sendiri

21 Agustus 2017, program pemutaran filem sesi Kompetisi Internasional 6 di Festival ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival, 2017, diadakan di Goethe-Institut, daerah Menteng, Jakarta. Acara pemutaran dimulai pada pukul 19:00 di dalam Auditorium GoetheHaus dan dihadiri oleh 35 orang penonton.

Otty Widasari, selaku kurator (perwakilan dari tim selektor) membuka acara pemutaran filem malam itu. Berjudul “Portal-Intervier with Self Disclosure”, Otty Widasari mengawali penjelasan kuratorialnya dengan membacakan kutipan dari salah satu paragraf yang sudah ia tulis di katalog ARKIPEL Penal Colony untuk mamaparkan sedikit tentang makna dari “self-disclosure”.

“……sejak lahirnya generasi yang memiliki mekanisme mandiri untuk mengatur dirinya seniri, maka keadaan sosial masyrakat berkembang menuju situasi yang tidak memerlukan kontrol kuasa penuh yang bersifat vertikal.”

Melalui kutipan di atas, dia menjelaskan bahwa pada halnya individu-individu sudahlah terkonstruksi dan menjadi mekanisme mandiri dengan menghadirkan diri sendiri dan melakukan pengungkapan diri. Sudah tidak lagi diperlukan yang namanya kontrol kuasa. Melalui perkembangan teknologi, media-media menjadi perahu yang membawa individu-individu menyeberangi koridor peradaban yang tak berujung.

Otty Widasari, salah satu anggota tim selektor untuk Kompetisi Internasional ARKIPEL Penal Colony, memberikan pengantar tentang program filem yang akan ditonton malam itu.

Terdapat 7 filem pendek yang diputar dalam sesi pemutaran filem malam itu. Filem pertama yang diputar adalah filem asal Prancis berjudul Final Gathering (2016) karya Alain Escalle. Filem yang berdurasi 14 menit ini menampilkan visual dari gambaran buram tanpa narasi.

Filem kedua berjudul Mikveh (2016) karya Adrian Garcia Gomez yang menceritakan ritual adat upacara pembersihan yang dilakukan dua pasang laki-laki Yahudi yang menikah. Filem ketiga adalah Promenade (2016) karya Philip Cartelli, yang mengambil gambaran situasi kerumunan turis atau wisatawan. Pengambilan frame dilakukan pada filem ini juga tak luput dari sentuhan humor. Gambaran-gambaran yang dihasilkan dari penyuntingan filem menghasilkan bingkaian “lukisan-lukisan” yang terasa hidup dan bergerak.

Filem keempat yang diputarkan adalah filem Les Trois Hirondelles atau (The Three Swallows, 2016) karya Jorge Caderia. Filem ini menceritakan situasi sosial yang terjadi di Georgia, tentang bagaimana isu-isu migrasi penduduk, konflik politik, dan keberagaman etnis disajikan melalui percakapan dan keseharian mereka di masing-masing tiga lokasi yang berbeda, yakni spa laki-laki, tempat pangkas rambut, dan sebuah rumah kosong .

Filem kelima adalah In Memory of The Chinatown (2016) karya Chun-Tien Chen. Filem ini menyoroti salah satu distrik pecinan di Tainan yang semakin redup. Kehidupan di pecinan yang menjadi identitas kecinaan di Taiwan semakin luntur akibat peradaban.

Filem keenam adalah filem Hangover, Cardboard and Chacha (2016) karya Samuel Patthey dan Silvian Monney. Keseluruhan, filem berdurasi 3 menit ini memaparkan gambaran-gambaran di atas potongan amplop ataupun sobekan kardus yand dilakukan secara berulang melalui gambaran animasi.

Dan yang terakhir adalah filem berjudul Softman (2016) karya Pietro Librizzi yang bercerita tentang dua pemuda yang “kesulitan” untuk membuat keputusan pergi ke pantai. Melalui visual yang lamban dan narasi yang minim, filem ini agaknya mencoba merefleksikan sejumlah kemungkinan tindakan yang mungin terjadi.

Melalui penyuntingan filem yang, menurut amatan saya, dilakukan secara abstrak, saya merasa tergugah untuk mengeksplorasi bagaimana penyampaian filem tersebut hanya berdasarkan visual dan tanpa narasi. Mungkin itu juga yang dirasakan pengunjung lainnya. Setelah sesi pemutaran filem selesai, tepukan tangan para pengunjung memeriahkan penutupan pemutaran filem malam itu. ***

English

"The Unnarrative" Discussions, Visuals Reveal Themselves

August 21, 2017, the screening of International Competition 6 of the ARKIPEL Penal Colony – 5th Jakarta International Documentary and Experimental Film Festival, 2017, was held at Goethe-Institut, Menteng, Jakarta. The screening was started at 7:00 pm in the GoetheHaus Auditorium and were attended by 35 audiences.

Otty Widasari, as the curator (representative of the selectors) opened the screening that night. Entitled “Portal-Interview with Self Disclosure”, Otty Widasari started her curatorial explanation by reciting a quote from one of the paragraphs she had written in the catalogue of ARKIPEL Penal Colony to briefly describe the meaning of “self-disclosure”.

“……since the birth of the automatic self-regulatory generation, the social state of society has evolved into a situation that does not require full vertical control of power.”

Through the quotation above, she explained that the individuals indeed have been constructed and became an independent mechanism by self-presenting and self-disclosure. A control of power is no longer necessary. Through technological development, the media became boats carrying individuals across endless corridors of civilization.

Otty Widasari, a member of the team of selectors for the International Competition ARKIPEL Penal Colony, gave an introduction to the film program to be watched that night.

There were 7 short films screened in film’s screening session that night. The first film was a French film entitled Final Gathering (2016) by Alain Escalle. This 14-minute film featured a visual of a blurred image without narration.

The second film was entitled Mikveh (2016) by Adrian Garcia Gomez about the traditional ritual of a cleansing ceremony conducted by two pairs of married Jewish men. The third film was Promenade (2016) by Philip Cartelli, which took the depiction of a crowd of tourists. The way of framing on this film also did not escape a touch of humor. The images resulting from the editing process produced frame of “paintings” that feel alive and moving.

The fourth film screened was Les Trois Hirondelles or (The Three Swallows, 2016) by Jorge Caderia. This film was about the social situation occurred in Georgia, on how issues of population migration, political conflict, and ethnic diversity were presented through their conversations and daily lives in each of the three different locations: male spa, hair bar and an empty house.

The fifth film was In Memory of The Chinatown (2016) by Chun-Tien Chen. The film highlighted one of Tainan’s districts which gradually got somber. Life in Chinatown that became the identity of the Chinese in Taiwan was gradually fading due to civilization.

The sixth film was Hangover, Cardboard and Chacha (2016) by Samuel Patthey and Silvian Monney. Overall, this 3-minute film exposed pictures on envelopes or torn pieces of cardboards repeated through animated images.

And the last film was entitled Softman (2016) by Pietro Librizzi about two young men who “had trouble” to make the decision to go to the beach. Through slow visuals and minimal narratives, the film seemed to be trying to reflect a number of possible actions that might occur.

Through film editing which, in my observation, was done abstractly, I was intrigued to explore how the presentation of the film was based solely on visual and without narration. Perhaps that was also felt by other visitors. After the screening was over, applause of the audiences enliven the closing of screening session that night. ***

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