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ARKIPEL
Jakarta
Documentary
&
Experimental
Film Festival
2024

Garden
of
Earthly
Delights

FILM
SELECTION

INTRODUCTION

I’m not interested in seeing a film just made by a woman – not, unless she is looking for new images.

—Agnes Varda

 

 

Varda is not willing to compromise. For her, to show their quality, women must position themselves at the top, no matter what. It seems that the quality of a woman’s work, to Varda, has nothing to do with her femininity. Instead, Varda offers some kind of radicalism that is ‘different’ in their work, which can only be done by herself, as women.

Aparna Sen, a Bengali director, once said that male directors should utilize their feminine side to develop their female gaze, as for her, the world has been managed by the aggressive male, and ends up in ruins. This view clearly pokes around the subject of civilization, which is quite accurate if we see it through the films in this program, where we would see that if being seen from the perspective of a female director, civilization is born from the womb of a mother. From the ancestral mother of a mother of a mother of anyone; let another perspective find its way in the recycled reservoir of ideas. Moreover, as the citizen proposes strategies to weave themselves into the systematic threads of power, women propose an ‘error’ or glitch, to shield themselves from the cyberbullying towards the female body; as for the rest, let them seek their own way through the reservoir of data.

The International Competition Program in Arkipel Garden of Earthly Delights -Jakarta International Documentary and Experimental Film Festival 2024 itself is about the development within cinema which contests the perspective of power and collective memory of the people. Viewpoints given by the intentional cameras from the people formed an archeography of the location that is in abundant due to the ease of digital technology. All of the collective perception, when combined, marks the location of different kinds of issues throughout the world—like a map. This map will also guide us to the harsh reality of a civilization that has fallen several times but people rebuilt nevertheless. A proposition to non-human agency also appears in several works that come from a monument of memories.

Today, along with Forum Lenteng’s 21st anniversary, we present a collection of archeography of civilization, and perhaps it is time for our civilization to be given to a feminine gaze, to prevent it from its cyclical doom.

 

Jakarta, July 13th 2024

I’m not interested in seeing a film just made by a woman – not, unless she is looking for new images.

—Agnes Varda

 

Varda tidak mau berkompromi. Baginya, dalam menunjukkan kualitasnya, perempuan harus berada di puncak tertinggi, bukan yang lainnya. Tampaknya kualitas seorang perempuan dalam berkarya, bagi Varda tak ada hubungannya dengan ‘keperempuanan’. Namun sesunguhnya ia mengajukan sebuah radikalisme yang ‘berbeda’ dalam berkarya, yang hanya bisa dilakukan olehnya sendiri, seorang perempuan.

Seorang sutradara perempuan Bengali, Aparna Sen, pernah mengatakan bahwa pembuat film laki-laki perlu memanfaatkan sisi keperempuanan mereka untuk mengembangkan ‘female gaze’ mereka, karena menurutnya, dunia telah dijalankan oleh laki-laki yang agresif dan berakhir dalam kekacauan. Pendapat ini sudah jelas menyoal peradaban, dan ini cukup akurat jika menilik beberapa film dalam program ini, di mana jika peradaban dilihat melalui perspektif sutradara perempuan, maka ia lahir dari rahim ibu. Dari ibu-moyangnya ibunya ibu dari siapapun; pendapat yang lainnya, biarlah mencari jalannya sendiri di waduk daur ulang ide. Bahkan, sebagaimana warga mengusulkan siasat untuk berkelindan dengan sistemasi kekuasaan, perempuan pun mengusulkan ‘kesalahan’, atau glitch, untuk terlindung dari perundungan-siber terhadap tubuh perempuan; sisanya, biarlah mereka mencari jalannya sendiri dalam waduk data.

Progam Kompetisi Internasional Garden of Earthly Delight dalam Arkipel-Jakarta International Documentary and Experimental Film Festival 2024 ini juga berkisar pada persoalan perkembangan dengan sinema yang mengontestasikan antara tatapan kekuasaan dengan ingatan warga. Tatapan pengintaian oleh kamera—kamera intensional milik warga ternyata membentuk arkeografi lokasi yang meruah akibat kemudahan teknologi digital. Semua persepsi kewargaan tersebut, saat dihimpun, layaknya sebuah peta, menandai lokasi berbagai persoalan di dunia. Peta tersebut juga akan mengarahkan kita pada kenyataan pahit peradaban yang jatuh berkali-kali, namun tak juga tak membuat jera. Usulan untuk berpaling pada keagensian non-manusia juga muncul dalam beberapa karya yang justru membangun monumen dari ingatan manusia.

Hari ini, bertepatan dengan ulangtahun Forum Lenteng ke 21, kami menyajikan kumpulan arkeografi peradaban, dan mungkin ini saatnya saatnya peradaban diserahkan pada tatapan yang feminin untuk menjaganya dari kejatuhan yang berulang-ulang.

 

Jakarta, 13 Juli 2024

INTERNATIONAL COMPETITION

Moi aussi, je regarde

BELGIUM/FRANCE
Ingel Vaikla (2024)

March 8th 2020, A Memoir

NETHERLANDS, TURKEY
Fırat Yücel (2023)

Luminous Shores

PARAGUAY/ARGENTINA
Maira Ayala (2023)

Light of Light

GREECE
Neritan Zinxhiria (2023)

La Panadella

SPAIN
Joel Jimenez (2023)

The Kitten’s Tea Party

Canada
MilleFeuille (2022)

Joy

GERMANY
Ezekiel Morgan (2023)

Just a Thing

GERMANY
Marc Einsiedel (2024)

In Flanders Fields

BELGIUM
Sachin Sachin (2023)

The Hook You Will Not Bite

ARGENTINA
José David Apel (2021)

Harvesting The Net. A Tale of Digital Gardening

GERMANY
Alessandro Y. Longo & Anna Fasolato (2023)

Good Morning Young Body

SINGAPORE
Charmaine Poh (2023)

Elegy for a Village

CHINA
Weipeng Huang (2024)

The Diagonal Force

BELGIUM
Annik Leroy, Julie Morel (2023)

Dust is a Whale, is Sunlight

BELGIUM, PORTUGAL, HUNGARY
María Casas Castillo (2023)

Difraksi

INDONESIA
Sigat Rambito (2024)

Death in Jenin

USA/PALESTINE
Chris Giamo (2024)

De Occulta Imagine

ITALY
Stefano P. Testa (2024)

Chasing The Sun: El Shat

CROATIA, EGYPT
Ana Bilankov (2023)

Bleared Eyes of Blue Glass

KOREA, REPUBLIC OF
Kyujae Park (2023)

Això També Passarà

SPAIN
Iñaki Antuñano San Luis, Pepe Ábalos Galcerá (2023)

373, Pasteur Street

TUNISIA
ismaël (2023)

Motorrodillo

COLOMBIA
Alba Jaramillo (2022)

Ocean Mud Pickle

INDIA
Paribartana Mohanty (2024)

Of Times and Memories

SPAIN
Jaime Marqués Cordero (2024)

The Seagull

CROATIA
David Lušičić (2024)

The Skin of Mars

SPAIN
Maite Redondo Gaztelu (2022)

Staying Put

NETHERLANDS/ETHIOPIA
Nico Bunnik (2023)

Sweet Plastic

INDONESIA
Alfred Banze (2024)

Togoland Projections

GHANA/TOGO
Jürgen Ellinghaus (2023)

There’s Not Much We Can Do

UNITED KINGDOM
Erica Monde (2022)

A Town of One’s Own

FRANCE
Aude Thuries (2023)

Trágame Nube

SPAIN
Esperanza Collado (2023)

When the Crows Walk Home

UNITED KINGDOM
Rosa Prosser (2023)

Vague du Midi

BELGIUM
Sylvain Dufayard (2023)

CANDRAWALA

Pengarahan perpindahan kamera dalam film dikendalikan oleh sutradara sebagai titik tumpu visual yang menentukan bagaimana narasi disampaikan. Sebagai pengarah, sutradara mengantarkan perspektif dan keputusan teknisnya kepada kamerawan—seperti pergerakan kamera, pengaturan jarak gambar, dan perubahan sudut pandang—untuk mencerminkan hasratnya terhadap realitas dan narasi film, lewat perekaman. Hasrat ini menjadi inti dari prinsip sinematik. Kumpulan film dalam program Candrawala kali ini menggambarkan dialektika antara waktu dan durasi. ARKIPEL-Jakarta Documentary & Experimental Film Festival ‘Garden of Earthly Delights’ 2024 akan membaca hasrat merekam tersebut sebagai bentuk penjelajahan indrawi dan refleksi duniawi

The direction of camera movement in a film is controlled by the director as the visual fulcrum that determines how the narrative is conveyed. As the director, he or she delivers his or her perspective and technical decisions to the cameraman-such as camera movements, juxtaposition, and point-of-view changes-to reflect his or her desire for reality and the film’s narrative through recording. This desire is at the core of the cinematic principle. The collection of films in this Candrawala program illustrates the dialectic between time and duration. ARKIPEL-Jakarta Documentary & Experimental Film Festival ‘Garden of Earthly Delights’ 2024 will read this desire to record as a form of sensory exploration and worldly reflection.

Difraksi

INDONESIA
Sigat Rambito (2024)

Lamun

INDONESIA
Shelvira Alyya (2022)

Outside the Frame

INDONESIA
Micko Boanerges (2023)

Rest In God’s Light

INDONESIA
Made Virgie Avianthy (2023)

Batu Tinjang

INDONESIA
Alya Maolani (2023)

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