\u2014Agnes Varda <\/em><\/p>\n <\/p>\n <\/p>\n 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\u2019s work, to Varda, has nothing to do with her femininity. Instead, Varda offers some kind of radicalism that is \u2018different\u2019 in their work, which can only be done by herself, as women.<\/p>\n 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 \u2018error\u2019 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.<\/p>\n The International Competition Program in Arkipel<\/strong> Garden of Earthly Delights<\/strong><\/em> -Jakarta International Documentary and Experimental Film Festival<\/strong> 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<\/em> 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\u2014like 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.<\/p>\n Today, along with Forum Lenteng\u2019s 21st<\/sup> 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.<\/p>\n <\/p>\n Jakarta, July 13th<\/sup> 2024[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Bahasa Indonesia” tab_id=”1708682488012-ebe49d09-0171″][vc_column_text css=”.vc_custom_1720879000916{margin-bottom: 0px !important;}”]I\u2019m not interested in seeing a film just made by a woman \u2013 not, unless she is looking for new images. <\/em><\/p>\n \u2014Agnes Varda <\/em><\/p>\n <\/p>\n 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 \u2018keperempuanan\u2019. Namun sesunguhnya ia mengajukan sebuah radikalisme yang \u2018berbeda\u2019 dalam berkarya, yang hanya bisa dilakukan olehnya sendiri, seorang perempuan.<\/p>\n Seorang sutradara perempuan Bengali, Aparna Sen, pernah mengatakan bahwa pembuat film laki-laki perlu memanfaatkan sisi keperempuanan mereka untuk mengembangkan \u2018female gaze\u2019<\/em> 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 \u2018kesalahan\u2019, atau glitch<\/em>, untuk terlindung dari perundungan-siber terhadap tubuh perempuan; sisanya, biarlah mereka mencari jalannya sendiri dalam waduk data.<\/p>\n Progam Kompetisi Internasional Garden of Earthly Delight<\/em> dalam Arkipel-Jakarta International Documentary and Experimental Film Festival<\/strong> 2024 ini juga berkisar pada persoalan perkembangan dengan sinema yang mengontestasikan antara tatapan kekuasaan dengan ingatan warga. Tatapan pengintaian oleh kamera\u2014kamera 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.<\/p>\n 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.<\/p>\n <\/p>\n Jakarta, 13 Juli 2024[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720866896592{margin-bottom: 0px !important;}”]\n [vc_row][vc_column][rev_slider_vc alias=”goed-international-competition”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_custom_heading text=”ARKIPEL Jakarta Documentary & Experimental Film Festival 2024″ font_container=”tag:p|font_size:20|text_align:left|line_height:1″ google_fonts=”font_family:Hind%3A300%2Cregular%2C500%2C600%2C700|font_style:600%20bold%20regular%3A600%3Anormal”][vc_empty_space][vc_custom_heading text=”Garden of Earthly Delights” font_container=”tag:p|font_size:60|text_align:left|color:%23000000|line_height:1″ google_fonts=”font_family:Noto%20Sans%3Aregular%2Citalic%2C700%2C700italic|font_style:700%20bold%20regular%3A700%3Anormal”][vc_empty_space height=”64px”][vc_custom_heading text=”INTERNATIONAL COMPETITION” font_container=”tag:p|font_size:60|text_align:left|color:%23000000|line_height:1″ google_fonts=”font_family:Noto%20Sans%3Aregular%2Citalic%2C700%2C700italic|font_style:700%20bold%20regular%3A700%3Anormal”][\/vc_column][vc_column width=”3\/4″][vc_custom_heading text=”INTRODUCTION” font_container=”tag:p|font_size:30|text_align:left|color:%23000000|line_height:1″ google_fonts=”font_family:Noto%20Sans%3Aregular%2Citalic%2C700%2C700italic|font_style:700%20bold%20regular%3A700%3Anormal”][vc_tta_tabs active_section=”2″][vc_tta_section title=”English” tab_id=”1708682488024-0083395f-fe25″][vc_column_text css=”.vc_custom_1720879043564{margin-bottom: 0px !important;}”]I\u2019m not interested in seeing a film just made by a woman \u2013 not, unless she is looking for new images. \u2014Agnes […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"yoast_head":"\n373, Pasteur Street<\/h1>\n
TUNISIA
\nisma\u00ebl (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12347″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720866903468{margin-bottom: 0px !important;}”]\nAix\u00f2 Tamb\u00e9 Passar\u00e0<\/h1>\n
SPAIN
\nI\u00f1aki Antu\u00f1ano San Luis, Pepe \u00c1balos Galcer\u00e1 (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12346″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720866920085{margin-bottom: 0px !important;}”]\nBleared Eyes of Blue Glass<\/h1>\n
KOREA, REPUBLIC OF
\nKyujae Park (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12348″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720867119101{margin-bottom: 0px !important;}”]\nChasing The Sun: El Shat<\/h1>\n
CROATIA, EGYPT
\nAna Bilankov (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12349″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720867430528{margin-bottom: 0px !important;}”]\nDe Occulta Imagine<\/h1>\n
ITALY
\nStefano P. Testa (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12351″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720867639461{margin-bottom: 0px !important;}”]\nDeath in Jenin<\/h1>\n
USA\/PALESTINE
\nChris Giamo (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12352″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720867836604{margin-bottom: 0px !important;}”]\nDifraksi<\/h1>\n
INDONESIA
\nSigat Rambito (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12353″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720879268679{margin-bottom: 0px !important;}”]\nDust is a Whale, is Sunlight<\/h1>\n
BELGIUM, PORTUGAL, HUNGARY
\nMar\u00eda Casas Castillo (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12355″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720879204195{margin-bottom: 0px !important;}”]\nThe Diagonal Force<\/h1>\n
BELGIUM
\nAnnik Leroy, Julie Morel (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12357″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720868546287{margin-bottom: 0px !important;}”]\nElegy for a Village<\/h1>\n
CHINA
\nWeipeng Huang (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12358″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720868748656{margin-bottom: 0px !important;}”]\nGood Morning Young Body<\/h1>\n
SINGAPORE
\nCharmaine Poh (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12359″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720868921585{margin-bottom: 0px !important;}”]\nHarvesting The Net. A Tale of Digital Gardening<\/h1>\n
GERMANY
\nAlessandro Y. Longo & Anna Fasolato (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12360″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720869119596{margin-bottom: 0px !important;}”]\nThe Hook You Will Not Bite<\/h1>\n
ARGENTINA
\nJos\u00e9 David Apel (2021)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12361″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720869712923{margin-bottom: 0px !important;}”]\nIn Flanders Fields<\/h1>\n
BELGIUM
\nSachin Sachin (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12364″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720869967489{margin-bottom: 0px !important;}”]\nJust a Thing<\/h1>\n
GERMANY
\nMarc Einsiedel (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12363″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720870490377{margin-bottom: 0px !important;}”]\nJoy<\/h1>\n
GERMANY
\nEzekiel Morgan (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12388″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720870709531{margin-bottom: 0px !important;}”]\nThe Kitten’s Tea Party<\/h1>\n
Canada
\nMilleFeuille (2022)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12365″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720870884310{margin-bottom: 0px !important;}”]\nLa Panadella<\/h1>\n
SPAIN
\nJoel Jimenez (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12366″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720872850716{margin-bottom: 0px !important;}”]\nLight of Light<\/h1>\n
GREECE
\nNeritan Zinxhiria (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12371″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720871641654{margin-bottom: 0px !important;}”]\nLuminous Shores<\/h1>\n
PARAGUAY\/ARGENTINA
\nMaira Ayala (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12367″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720871999677{margin-bottom: 0px !important;}”]\nMarch 8th 2020, A Memoir<\/h1>\n
NETHERLANDS, TURKEY
\nF\u0131rat Y\u00fccel (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12368″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720872256644{margin-bottom: 0px !important;}”]\nMoi aussi, je regarde<\/h1>\n
BELGIUM\/FRANCE
\nIngel Vaikla (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12370″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720872549718{margin-bottom: 0px !important;}”]\nMotorrodillo<\/h1>\n
COLOMBIA
\nAlba Jaramillo (2022)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12369″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720873095826{margin-bottom: 0px !important;}”]\nOcean Mud Pickle<\/h1>\n
INDIA
\nParibartana Mohanty (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12372″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720873272558{margin-bottom: 0px !important;}”]\nOf Times and Memories<\/h1>\n
SPAIN
\nJaime Marqu\u00e9s Cordero (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12373″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720873693742{margin-bottom: 0px !important;}”]\nThe Seagull<\/h1>\n
CROATIA
\nDavid Lu\u0161i\u010di\u0107 (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12374″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720874110720{margin-bottom: 0px !important;}”]\nThe Skin of Mars<\/h1>\n
SPAIN
\nMaite Redondo Gaztelu (2022)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12375″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720874316933{margin-bottom: 0px !important;}”]\nStaying Put<\/h1>\n
NETHERLANDS\/ETHIOPIA
\nNico Bunnik (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12376″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720874419480{margin-bottom: 0px !important;}”]\nSweet Plastic<\/h1>\n
INDONESIA
\nAlfred Banze (2024)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12377″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720874913508{margin-bottom: 0px !important;}”]\nTogoland Projections<\/h1>\n
GHANA\/TOGO
\nJ\u00fcrgen Ellinghaus (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12379″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720875175979{margin-bottom: 0px !important;}”]\nThere’s Not Much We Can Do<\/h1>\n
UNITED KINGDOM
\nErica Monde (2022)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12380″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720875366484{margin-bottom: 0px !important;}”]\nA Town of One’s Own<\/h1>\n
FRANCE
\nAude Thuries (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12381″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720875504289{margin-bottom: 0px !important;}”]\nTr\u00e1game Nube<\/h1>\n
SPAIN
\nEsperanza Collado (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12382″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720875624586{margin-bottom: 0px !important;}”]\nWhen the Crows Walk Home<\/h1>\n
UNITED KINGDOM
\nRossa Prosser (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12383″ img_size=”large”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1720875866893{margin-bottom: 0px !important;}”]\nVague du Midi<\/h1>\n
BELGIUM
\nSylvain Dufayard (2023)<\/h3>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”12384″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"