{"id":11449,"date":"2022-11-22T19:37:21","date_gmt":"2022-11-22T12:37:21","guid":{"rendered":"https:\/\/arkipel.org\/?p=11449"},"modified":"2022-11-22T19:37:21","modified_gmt":"2022-11-22T12:37:21","slug":"catch-22-international-competition-6","status":"publish","type":"post","link":"https:\/\/arkipel.org\/catch-22-international-competition-6\/","title":{"rendered":"Catch 22 – International Competition 6"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1669119314792{margin-bottom: 0px !important;}”]\n

Membingkai Penyakit Sosial
\n<\/b><\/strong>Framing Social Maladies<\/b><\/em><\/span><\/h1>\n

Host<\/em> Hafiz Rancajale<\/strong><\/p>\n

Senin, 28 Nov 2022 \u2013 13:00<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669119353230{margin-bottom: 0px !important;}”]Dalam kehidupan kita, ada hal-hal yang perlu diingat dan dituturkan kembali sebagai sebuah kenangan atau pengetahuan bagi orang lain dan generasi selanjutnya. Ingatan-ingatan itu bisa saja dituturkan secara naratif dan informatif, juga melalui kemasan yang memberikan makna baru pada sebuah kenangan di masa tertentu. Persoalan mengingat dan menuturkan kembali ini juga menjadi tantangan tersendiri, karena tiap individu mempunyai kemampuan mengingat dan berkomunikasi yang berbeda-beda. Batas ingatan dan tuturan yang disampaikan juga sering mengalami distorsi berlebihan, ataupun mengalami penyusutan hingga tak mampu dikeluarkan oleh individu-individu tertentu. Dalam sinema, jarak antara peristiwa, hingga aksi mengingat dan menuturkan kembali adalah potensi filemis yang dapat dieksplorasi oleh sutradara dalam memasukkan muatan subjektifnya dalam filem.\u00a0<\/span><\/p>\n

Dua filem yang ditampilkan dalam sesi ini mencoba menganalogikan persoalan ingatan-ingatan melalui simbol objek yang mempunyai kedekatan dengan masyarakat kontemporer. Pada filem pertama, <\/span>Broca’s Aphasia<\/span><\/i> (2022) karya Ming-Yen Su, mengajak kita mengikuti dan mengalami sekelompok orang bisnis penyewaan boneka seks di sebuah hotel di Taiwan. Boneka-boneka itu bertemu dan menjadi \u201cperekam\u201d rahasia-rahasia para pelanggannya. Mereka menjadi saksi dan tempat menerima berbagai keresahan para lelaki perkotaan yang kesepian, namun tak dapat mengungkapkan atau menuturkan kembali apa yang \u201cterekam\u201d itu kepada orang lain. Mereka adalah penjaga rahasia yang sesungguhnya. Dalam dunia medis istilah \u2018broca aphasia\u2019 adalah sebuah gejala neurotik dalam berkomunikasi, di mana penderita mengalami kesulitan menyampaikan atau mengutarakan sesuatu. Beberapa ahli mengatakan penyebabnya adalah kerusakan bagian otak atau kelainan genetis bawaan. Dalam filem ini tentu saja istilah itu dipakai sebagai sebuah analogi yang metaforis tentang penyakit sosial yang disampaikan secara prosaik dalam filem; bahwa boneka-boneka seks itu menjadi saksi sesungguh peristiwa-peristiwa besar yang terjadi pada satu masyarakat yang tak bisa dibongkar.\u00a0<\/span><\/p>\n

Filem kedua, <\/span>Sedap Malam\/Agave Amica<\/span><\/i> (2022) karya Gembong Nusantara, sebuah filem yang berhasil membingkai peristiwa besar menjadi puisi visual yang indah. Filem ini merekam persoalan pandemi Covid-19 dengan perspektif sangat intim dan penuh makna kemanusiaan yang jenial. Sang sutradara mengikuti perjalanan distribusi bunga sedap malam dari petani hingga ke kota, yang dijukstaposisikan dengan aktivitas pemakaman korban-korban pandemi. Filem ini berhasil menjadikan bunga sebagai \u201cnarator tak bersuara\u201d dalam menarasikan persoalan yang sangat kompleks dari persoalan kemanusiaan di masa pandemi.\u00a0<\/span><\/p>\n

Sinema akan selalu mencari cara untuk \u201cmenuturkan\u201d hal-hal yang tak tersampaikan dari kesakitan sosial yang diderita sebuah masyarakat dengan caranya sendiri. Dalam sejarah, filem telah membuka berbagai tabir rahasia yang tersimpan karena kesakitan sosial itu. Meskipun pahit, ingatan yang disampaikan sinema akan selalu memberikan refleksi yang menggugah kita untuk berbuat lebih baik pada peradaban ini.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1669119375791{margin-bottom: 0px !important;}”]In life, there are things that need to be remembered and retold as a memory or knowledge for other people and the next generation. The memories can be told in a narrative and informative manner, also through a framing that gives new meaning to a memory at a certain time. The problem of remembering and retelling is also a challenge in itself, because each individual has different recall and communication skills. The limits of memory and speech conveyed are also often distorted too much, or shrinking to the point that certain individuals are unable to extract them. In cinema, the distance between events up until the act of remembering and retelling is a filmic potential that can be explored by the director in including his subjective material in the film.<\/span><\/p>\n

The two films presented in this program attempt to analogize the problem of memories through object symbols containing a certain affinity with contemporary society. The first film, <\/span>Broca’s Aphasia<\/span><\/i> (2022) by Ming-Yen Su, invites us to follow and experience a group of people in the sex doll rental business at a hotel in Taiwan. The dolls meet and become \u201crecorders\u201d of their customers’ secrets. They become witnesses and a place to release the various concerns of lonely urban men, but it can’t express or retell what is “recorded” to others. They are the true keeper of secrets. In the medical field, the term ‘broca aphasia’ is a neurotic symptom in communication, in which sufferers have difficulty conveying or expressing something. Some experts say the causes are brain damage or inherited genetic disorders. In this film, of course, the term is used as a metaphorical analogy about social maladies conveyed prosaically in the film; that the sex dolls bear witness to major events happening in a society that can’t be uncovered.<\/span><\/p>\n

The second film, <\/span>Sedap Malam\/Agave Amica<\/span><\/i> (2022) by Gembong Nusantara, succeeds in framing a major event into a beautiful visual poem. This film records the problem of the COVID-19 pandemic with a very intimate perspective, full of genial and humane meaning. The director follows the tuberose flower sales distribution scheme from farmers to the city, which is juxtaposed with funeral activities for the victims of the pandemic. This film manages to turn tuberose flowers into \u201ca voiceless narrator\u201d in narrating such complex issues of humanity during the pandemic.<\/span><\/p>\n

Cinema, in its own style, will always look for ways to “tell” things that can’t be conveyed from the social maladies suffered by society. In history, film has uncovered various secrets that are kept due to the social maladies in question. However bitter, the memories conveyed by cinema will always provide reflections that animate us to do better for this civilization.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11362″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669119682783{margin-bottom: 0px !important;}”]\n

\u5e03\u6d1b\u5361\u5340<\/i><\/b><\/h2>\n

Filmmaker <\/em>Su Ming-yen<\/strong>
\n<\/span>International Title\u00a0<\/em>Broca’s Aphasia<\/strong>
\nCountry of Production<\/em> Taiwan
\n<\/strong>Language <\/em>Chinese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

85 min, stereo, HD, color, 2022<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669119762634{margin-bottom: 0px !important;}”]Ada banyak rahasia yang tersimpan di sebuah hotel tua di pusat kota. Orang-orang penyimpan rahasia ini diberi nomor. Nomor-nomor itu tersimpan dengan aman di hotel. Ada nomor unik, yang menyembunyikan rahasia di hotel, tempat kenangan dengan kekasih tetap utuh. Saat hotel tua itu dipindahkan, semua rahasia pun hilang.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669119782151{margin-bottom: 0px !important;}”]Many secrets are hidden in an old hotel downtown. These secret keepers are numbered. The numbers are kept securely in the hotel. There is a unique number, which hides a secret in the hotel, where memories with lovers remain intact. When the old hotel is relocated, all the secrets are lost.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11455″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669120099722{margin-bottom: 0px !important;}”]Su Ming-yen memperoleh gelar sarjana di bidang Jurnalisme. Namun demikian, ia telah kehilangan kepercayaannya pada berita dan percaya bahwa sinema, yang tampaknya penuh dengan mimpi dan fantasi, lebih dekat dengan kenyataan. Karya-karyanya tampil dan menerima penghargaan di banyak festival film, termasuk Kaohsiung Film Festival, South Taiwan Film Festival, Urban Nomad Film Festival dan Taiwan International Documentary Festival. <\/span>In Their Teens<\/span><\/i>, yang disunting oleh Su, memenangkan Best Documentary Short Film di Golden Horse Awards, Grand Prize di Golden Harvest Awards dan \u00c9tude dan memenangkan penghargaan pertama di New Taipei City Documentary Awards. Su mendirikan Flow Pictures Production Ltd. bersama sutradara Chou Shang-ting.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669120129745{margin-bottom: 0px !important;}”]Su Ming-yen obtained a bachelor\u2019s degree in Journalism. Nevertheless, he has lost his trust in the news reports and believes that cinema, which seems full of dream and fantasy, is closer to the reality. His works were shown and awarded at many film festivals, including Kaohsiung Film Festival, South Taiwan Film Festival, Urban Nomad Film Festival and Taiwan International Documentary Festival. In Their Teens, on which Su worked as editor, won Best Documentary Short Film at the Golden Horse Awards, the Grand Prize at the Golden Harvest Awards and \u00c9tude won the First Place at the New Taipei City Documentary Awards. Together with director Chou Shang-ting, Su founded Flow Pictures Production Ltd.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1669116310884-5cbe4a1b-c9a3″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11363″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669120372061{margin-bottom: 0px !important;}”]\n

Sedap Malam (Agave Amica)<\/i><\/b><\/h2>\n

Filmmaker <\/em>Gembong Nusantara<\/strong>
\n<\/span>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em> Indonesian, Sundanese, Javanese
\n<\/strong>Subtitle<\/em>\u00a0 English<\/strong><\/p>\n

14 min, stereo, HD, color, 2022<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669120396956{margin-bottom: 0px !important;}”]Filem ini merekam perjalanan bunga sedap malam <\/span>(agave amica) <\/span><\/i>dari penyiangan oleh para petani bunga hingga distribusinya ke kota di masa pandemi. Sutradara menyajikan sebuah puisi yang indah tentang persoalan pandemi yang dibungkus dalam jalur distribusi penjualan bunga sedap malam yang menjadi persembahan karangan bunga bagi kematian.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1669120413389{margin-bottom: 0px !important;}”]This film records the journey of the tuberose flower (<\/span>Agave amica<\/span><\/i>) from its weeding by the floral farmers to its distribution to the city during the pandemic. The director presents a beautiful poem about the problem of the pandemic wrapped in a sales distribution scheme of tuberose flowers that become a condolence wreath offering for the dead.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1669116311149-b3a22ae6-cc6d”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11458″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669120573321{margin-bottom: 0px !important;}”]Gembong menerima pendidikan di Danish School of Media and Journalism, Denmark; dan Diploma of Photojournalism Ateneo de Manila, Philippines. Sebagai jurnalis visual, ia direpresentasikan oleh Agentur Focus Germany, dan pernah bekerja dengan Al Jazeera, SEA Globe, TIME, Washington Post, Internazionale, Roads and Kingdoms CNN, USAID, International Republican Institute, World Animal Protection, International Monetary Fund, Society Magazine, Global Citizen, The Bureau of Investigative Journalism, dan lain-lain. <\/span>Agave Amica<\/span><\/i> adalah debutnya sebagai penulis dan sutradara. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669120594505{margin-bottom: 0px !important;}”]Gembong attended Danish School of Media and Journalism, Denmark and Diploma of Photojournalism Ateneo de Manila, Philippines. As a visual journalist, he is represented by Agentur Focus Germany and has been commissioned by Al Jazeera, SEA Globe, TIME, Washington Post, Internazionale, Roads and Kingdoms CNN, USAID, International Republican Institute, World Animal Protection, International Monetary Fund, Society Magazine, Global Citizen, The Bureau of Investigative Journalism, and others. Agave Amica is his debut as a writer and director.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”11445″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669118771108{margin-bottom: 0px !important;}”]Hafiz Rancajale<\/b> (Pekanbaru, 1971) adalah seniman, pembuat filem, kurator, dan salah satu pendiri Forum Lenteng. Menamatkan pendidikan Seni Murni di Institut Kesenian Jakarta (IKJ), dan kini menjadi Ketua Forum Lenteng dan juga Direktur Artistik ARKIPEL. Tahun 2017 dan 2018, ia adalah kurator Pekan Seni Media yang diadakan oleh Kementerian Pendidikan dan Kebudayaan bekerja sama dengan Forum Lenteng.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1669118811471{margin-bottom: 0px !important;}”]Hafiz Rancajale<\/b> (Pekanbaru, 1971) is an artist, filmmaker, curator, and co-founder of Forum Lenteng. He graduated from the Jakarta Institute for the Arts (IKJ) and is currently the Chairman of Forum Lenteng and the Artistic Director of ARKIPEL. In 2017 and 2018, he was the curator of Pekan Seni Media, organized by the Ministry of Education and Culture, in cooperation with Forum Lenteng.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah’s existential trait in the society.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[618,344],"tags":[621,620,192],"jetpack_publicize_connections":[],"yoast_head":"\nCatch 22 - International Competition 6 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Cinema, in its own style, will always look for ways to "tell" things that can't be conveyed from the social maladies suffered by society. In history, film has uncovered various secrets that are kept due to the social maladies in question. 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