{"id":11277,"date":"2021-12-14T21:12:30","date_gmt":"2021-12-14T14:12:30","guid":{"rendered":"https:\/\/arkipel.org\/?p=11277"},"modified":"2021-12-14T21:13:56","modified_gmt":"2021-12-14T14:13:56","slug":"sensory-chaos-in-everyday-scenes","status":"publish","type":"post","link":"https:\/\/arkipel.org\/sensory-chaos-in-everyday-scenes\/","title":{"rendered":"International Competition 09: Sensory Chaos in Everyday Scenes"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”Keriuhan Inderawi dari Adegan Sehari-hari” css=”.vc_custom_1639491232133{margin-bottom: 0px !important;}”]Pemutaran program <\/span>International Competition <\/span><\/i>9 dihelat secara daring pada 12 Desember 2021. Sebelumnya program ini sudah dihelat secara luring di Bioskop Forum Lenteng pada 6 Desember 2021. Filem yang disajikan dalam kuratorial <\/span>Dhanurendra Pandji<\/b> yang berjudul <\/span>\u201cTableaux Vivants\u201d di Era Pasca <\/span><\/i>menghadirkan 6 filem yang berasal dari Lituania, Vietnam, Meksiko, Austria, dan Spanyol. 6 Filem itu adalah <\/span>Golden Minutes <\/span><\/i>(Saulius Baradnikas),<\/span> Selected Milk Added from Reconstituted Milk Powder Whole Pasteurized Homogenized <\/span><\/i>(Jos\u00e9 Luis Ducid) <\/span>Curupira, creator of the woods <\/span><\/i>(F\u00e9lix Blume), <\/span>Ink In Milk <\/span><\/i>(Gernot Wieland), <\/span>Community Garden (<\/span><\/i>Vytauts Katkus), dan <\/span>Stay Awake, Be Ready\u00a0 <\/span><\/i>(Pham Thien An).<\/span><\/p>\n

Pada dua kuratorial yang saya ulas sebelumnya (<\/span>Kompetisi Internasional 01<\/span><\/a> dan <\/span>Kompetisi Internasional 04<\/span><\/a>), saya cenderung mendapatkan filem yang memiliki tempo pelan, suara latar sunyi nan senyap dan membuat kantuk menyerang. Pada kuratorial ini, cukup menarik karena saya menemukan filem-filem yang lebih \u201cmeletup-letup\u201d dan \u201cramai\u201d. Dua kata sifat yang saya gunakan di kalimat sebelumnya dapat dijelaskan oleh filem pembuka pada kuratorial ini yaitu <\/span>Stay Awake, Be Ready. <\/span><\/i>Saya sudah mengetahui informasi soal filem ini sejak perhelatan Jogja-NETPAC Asian Film Festival (JAFF) 2019 silam namun baru memiliki kesempatan untuk menontonnya sekarang. Filem ini dibuka dengan <\/span>shot <\/span><\/i>kota Saigon yang ramai; pinggir jalan sesak penuh dengan pelanggan yang memesan makanan dan sebelah kiri jalan terdapat sesekali kendaraan masuk. Kamera tidak bergerak sama sekali, tapi filem terasa penuh energi dengan muatan yang ada di dalamnya. Sepanjang filem, kamera terus bergerak tanpa potongan, menyorot sudut kota Saigon yang penuh dengan kejutan.\u00a0<\/span><\/p>\n

Kejutan pertama hadir saat dari sebelah kiri terdengar suara kecelakaan kendaraan yang mengakibatkan semua orang menghadap ke arah kiri. Setelah itu, hadir seorang bocah yang menegak bensin dan menyemburkannya dengan api. Beberapa adegan setelah itu, seorang lelaki mengejar bocah penegak bensin karena telah mencuri uangnya tercecer terjatuh dan ada luka goresan kakinya yang sejajar dengan makanan. Kamera tidak pernah terhenti oleh potongan, ia tetap jalan, hampir sama dengan atensi yang saya kerahkan di sepanjang filem. Filem ini membahas bagaimana keutuhan masyarakat di suatu wilayah kota Saigon menyatu dengan lingkungan di sekitarnya, menciptakan suatu lanskap persoalan kompleks.<\/span><\/p>\n

Filem kedua adalah <\/span>Community Garden <\/span><\/i>yang memiliki pola mirip dengan <\/span>Stay Awake, Be Ready. <\/span><\/i>Walaupun tempo filem ini tidak secepat dan rusuh seperti <\/span>Stay Awake, Be Ready, <\/span><\/i>ia masih menyimpan ruh yang sama mengenai khalayak luas dan lingkungan sekitar membentuk suatu lanskap persoalan kompleks. Filem ini menempatkan rumah terbakar di lingkungan sekitar sebagai objek tontonan, bukan suatu hal genting yang harus diselamatkan. Sepasang ayah dan anak yang menjadi tokoh utama di filem ini menghadiri rumah terbakar tersebut dengan perasaan datar, bahkan sang ayah sempat bersenda gurau dengan tetangganya. Seperti <\/span>Stay Awake, Be Ready<\/span><\/i>, saat adegan rumah terbakar, pembuat filem memilih untuk menahan kamera dalam satu ambilan dan mengobservasi seluruh perkara kejadian yang ada di <\/span>frame.<\/span><\/i><\/p>\n

Filem ketiga adalah <\/span>Ink In Milk <\/span><\/i>yang memiliki pendekatan berbeda dengan dua filem sebelumnya. Jika dua filem sebelumnya mengandalkan kamera sebagai alat pengobservasi objek dan subjek, filem ini menggabungkan medium rekaman kamera dengan animasi untuk mengeksplor cerita si subjek filem. Si subjek pencerita merefleksikan pengalaman masa kecilnya<\/span> terhadap institusi pendidikan melalui gambar masa kecil dan sketsa. Selanjutnya, narasi meluas kepada kehidupan sehari-hari, ranah psikologis, hingga pengalaman genting mendekati kematian.<\/span> Selain gambar dan sketsa, filem ini menggambarkan narasinya melalui model tanah liat. Penggabungan medium-medium ini dengan foto dan filem merupakan hal terunik yang saya jumpai dibandingkan dengan program sebelum-sebelumnya.<\/span><\/p>\n

Filem keempat dari pilihan kuratorial ini adalah <\/span>Selected Milk Added from Reconstituted Milk Powder Whole Pasteurized Homogenized <\/span><\/i>(Jos\u00e9 Luis Ducid). Filem ini sedikit mirip dengan filem <\/span>Rocky Trails of Occupation <\/span><\/i>yang saya tonton di program <\/span>Kompetisi Internasional<\/span> 4<\/span><\/a> pekan lalu. Ia menggunakan cuplikan gambar dan narasi suara yang digabung menjadi satu. Berbeda dengan <\/span>Rocky Trails of Occupation <\/span><\/i>filem ini menggunakan musik dan suara efek yang sesuai dengan peristiwa yang sedang dinarasikan. Standar operasional pemasaran produk susu menjadi senjata utama dalam metode penyampaian filem ini, berperan sebagai penanda babak. Standar operasional pemasaran ini disampaikan dalam narasi suara dan dihadirkan dalam cara yang komikal dalam mengkritik sisa-sisa artefak konsumsi publik yang sudah dikomodifikasi.<\/span><\/p>\n

Filem kelima adalah <\/span>Curupira, creature of woods <\/span><\/i>yang menceritakan soal legenda Curupira yang melegenda di kalangan komunitas hutan Amazon di Brasil. Filem ini menggunakan penataan suara dari suasana hutan Amazon; kokokan ayam, gemericik air, kepakan burung, suara jangkrik dan lain-lain. Pembuat filem setidaknya ingin merekam hal yang tak tampak ini dari perekaman suara. Rekaman suara ini digabungkan dengan rekaman para penduduk yang sedang mendengarkan alunanan rekaman suara dan narasi suara penduduk mengenai legenda Curupira.<\/span><\/p>\n

Filem keenam adalah <\/span>Golden Minutes <\/span><\/i>yang memiliki pola mirip dengan dua filem pertama. Filem ini menjadikan kamera sebagai pengamat yang merekam kejadian yang ada di layar. Dibuka dengan pria paruh baya yang ingin bunuh diri dengan menggantungkan diri yang akhirnya gagal karena dinding plafonnya runtuh. Kamera mengikuti pria paruh baya tersebut berjalan ke pembuangan sampah dan mendadak jatuh karena serangan jantung. Melalui susnan visual yang ritmis, filem ini mengajak untuk penonton kepada refleksi kepekaan masyarakat modern yang sistematis yang malah menghambat pekerjaan itu sendiri.<\/span><\/p>\n

Rangkaian program Kompetisi Internasional 09 <\/span>dapat diakses sampai 18 Desember 2021<\/strong> di website <\/span>festival ARKIPEL<\/a>.<\/strong><\/p>\n

 <\/p>\n

Terjemahan Bahasa Inggris oleh Agatha Danastri Pertiwi<\/span><\/i>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”Sensory Chaos in Everyday Scenes” css=”.vc_custom_1639490723538{margin-bottom: 0px !important;}”]The screening of the <\/span>International Competition 9<\/span><\/i> program was held online since December 12, 2021. Previously this program had been held offline at Forum Lenteng cinema on December 6, 2021. <\/span>Dhanurendra Pandji<\/b>‘s curatorial entitled <\/span>“Tableaux Vivants” in the Post- Era<\/span><\/i> presented 6 films from Lithuania, Vietnam, Mexico, Austria and Spain: <\/span>Golden Minutes <\/span><\/i>(Saulius Baradnikas)<\/b>, <\/span>Selected Milk Added from Reconstituted Milk Powder Whole Pasteurized Homogenized<\/span><\/i> (Jos\u00e9 Luis Ducid)<\/b>, <\/span>Curupira, creator of the woods<\/span><\/i> (F\u00e9lix Blume)<\/b>, <\/span>Ink In Milk<\/span><\/i> (Gernot Wieland)<\/b>, <\/span>Community Garden<\/span><\/i> (Vytauts Katkus)<\/b>, and <\/span>Stay Awake, Be Ready <\/span><\/i>(Pham Thien An).<\/b><\/p>\n

In the two curatorials that I reviewed earlier (<\/span>International Competition 01<\/span><\/a> and <\/span>International Competition 04<\/span><\/a>), the tempo of the films were slow, the background sounds were quiet, and made me sleepy. I found this curatorial quite interesting because the films were more \u201cexplosive\u201d and \u201ccrowded\u201d rather than the previous ones. The two adjectives I used in the previous sentence can be explained by the opening film in this curatorial, <\/span>Stay Awake, Be Ready. <\/span><\/i>I’ve known information about this film since Jogja-NETPAC Asian Film Festival (JAFF) 2019, but only had the opportunity to watch it now. This film was opened with shots of the bustling city of Saigon; the side of the road is crowded with customers ordering food and on the left side of the road there are occasional vehicles entering. The camera doesn’t move at all, but I can feel the energy within this film with the payload inside. Throughout the film, the camera continues to move without cutting, highlighting the corner of Saigon that is full of surprises.<\/span><\/p>\n

The first surprise was when the sound of a car crash came from the left, which caused the spectators to turn to the left. After that, there was a boy who drank gasoline and sprayed it with fire. A few scenes after that, a man chases the boy for stealing his money and there was a scratch on his leg that was parallel to the food. The camera never cuts, it keeps going, like the attention I mustered throughout the film. This film discusses how the totality of the people in a neighborhood in Saigon blends with their surrounding environment, creating a complex landscape of problem.<\/span><\/p>\n

The second film is <\/span>Community Garden<\/span><\/i>, which has a similar pattern as <\/span>Stay Awake, Be Ready<\/span><\/i>. Although the tempo of this film is not as fast and chaotic as <\/span>Stay Awake, Be Ready<\/span><\/i>, it still has the same spirit regarding the wider audience and the surrounding environment, forming a complex landscape of issues. This film places the burning house in the surrounding area as an object of spectacle, not an urgent matter that must be saved. A father and son who are the main characters in this film attended the burning house with a flat feeling, even the father had time to joke with his neighbors. Like <\/span>Stay Awake, Be Ready<\/span><\/i>, when the house is on fire, the filmmaker chooses to hold the camera in one shot and observe all the events in the frame.<\/span><\/p>\n

The third film is <\/span>Ink In Milk<\/span><\/i>, which has a different approach to the two previous films. While the previous two films relied on the camera as a tool for observing objects and subjects, this film combines the medium of camera recording with animation to explore the story of the film’s subject. The narrator’s subject reflects on his childhood experiences of educational institutions through childhood drawings and sketches. Furthermore, the narrative extends to everyday life, the psychological realm, to the critical experience of approaching death. In addition to drawings and sketches, this film depicts the narrative through clay models. The combination of these mediums with photos and films is the most unique thing that I have encountered compared to previous programs.<\/span><\/p>\n

The fourth film from this curatorial selection is <\/span>Selected Milk Added from Reconstituted Milk Powder Whole Pasteurized Homogenized<\/span><\/i> by Jos\u00e9 Luis Ducid. This film is slightly similar to <\/span>Rocky Trails of Occupation, <\/span><\/i>a film that I watched at the <\/span>International Competition 04<\/span><\/a> last week. This film uses snippets of images and voice narrations that are combined into one. Unlike<\/span> Rocky Trails of Occupation<\/span><\/i>, this film uses music and sound effects that match the events being narrated. The operational standard of dairy product marketing is the main weapon in the method of delivering this film, acting as a marker between each chapters. This marketing operational standard is presented in a voice narration and presented in a comical way in criticizing the remains of commodified public consumption artifacts.<\/span><\/p>\n

The fifth film is <\/span>Curupira<\/span><\/i>, <\/span>a creature of woods<\/span><\/i> that tells the story of the legendary Curupira among the Amazon forest communities in Brazil. This film uses the sound design of the Amazon forest atmosphere; rooster crows, gurgling water, bird flapping, the sound of crickets and others. The filmmakers wanted to capture the invisible through sound recording. It is combined with the footage of the residents listening to the strains of the voice recording and their voice narration of the legend of Curupira.<\/span><\/p>\n

The sixth film is <\/span>Golden Minutes<\/span><\/i> which has a similar pattern to the first two films. This film uses the camera as an observer who records the events on the screen. In the opening, there\u2019s a middle-aged man who was ultimately fail to commit suicide by hanging himself because the ceiling wall collapses. The camera follows the middle-aged man walking to the garbage disposal and suddenly falls from a heart attack. Through a rhythmic visual arrangement, this film invites the audience to a systematic reflection of modern society’s sensitivities that actually hinder the work itself.<\/span><\/p>\n

The films in International Competition 09 can be accessed until <\/span>December 18, 2021<\/b> on the <\/span>ARKIPEL festival<\/b><\/a> website.<\/span><\/p>\n

 <\/p>\n

English translation by Agatha Danastri Pertiwi<\/span><\/i>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”11280,11281,11283,11284,11285,11286″ img_size=”large”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

The screening of the International Competition 9 program was held online since December 12, 2021. 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Peserta Lokakarya Kritik Film 2020 Festival Film Dokumenter x Cinema Poetica, dan Akademi ARKIPEL 2020. Tumbuh bersama komunitas film di Pekanbaru. Pernah jadi salah satu anggota komunitas film Sinelayu dan juru program di Palagan Films. Saat ini tengah menyelesaikan studi Ekonomi Islam di UII Yogyakarta.   Galih Pramudito is the founder of Mania Cinema\u2014a collective which writes film reviews and aims to spread information on cinema to the widest audience. A participant of Film Critique Workshop 2020 held by Festival Film Dokumenter x Cinema Poetica, and Akademi ARKIPEL 2020. He grew with film collectives in Pekanbaru. He had been a member of Sinelayu film collective and a programmer in Palagan Films. 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