{"id":12654,"date":"2024-08-30T18:01:52","date_gmt":"2024-08-30T11:01:52","guid":{"rendered":"https:\/\/arkipel.org\/?p=12654"},"modified":"2024-08-30T18:01:52","modified_gmt":"2024-08-30T11:01:52","slug":"cw","status":"publish","type":"post","link":"https:\/\/arkipel.org\/cw\/","title":{"rendered":"Candrawala"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724255257766{margin-bottom: 0px !important;}”]\n

Perpanjangan Hasrat Bertutur<\/b><\/h1>\n

The Extension of the Desire to Tell<\/b><\/em><\/h1>\n

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Host: Wahyu Budiman Dasta<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Saturday, August 31, 2024 | 19:00 | Bioskopforlen<\/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_1724255269907{margin-bottom: 0px !important;}”]Hasrat yang muncul dalam sebuah harapan atau keinginan sering kali terletak di dalam wilayah ketidaksadaran, menjadi dasar yang mendorong tindakan seseorang dalam upayanya mencari dan memenuhi kebutuhan. Dalam konteks dunia modern, perkembangan pencarian tersebut lewat media sosial telah membawa perubahan dalam cara manusia berinteraksi dan mengekspresikan diri.<\/span><\/p>\n

Hasrat bermedia sosial menciptakan visual telah mengubah cara pandang melihat realitas. Setiap momen dapat diabadikan dan dibagikan dalam hitungan detik, menjadikan visual sebagai bahasa universal keseharian. Tentu saja visual-visual yang beredar di media sosial ini berfungsi sebagai bentuk ekspresi pribadi yang mencerminkan pola tren sosial yang terus berkembang. Sehingga media perekaman yang digunakan dalam kehidupan sehari-hari menjadi cermin pembentuk identitas mereka dan status sosial.<\/span><\/p>\n

Sutradara menyadari bahwa media sosial telah mengubah cara orang memandang dan memahami dunia melalui gambar dan video yang mereka konsumsi setiap hari. Oleh karena itu, ia mengadopsi estetika dan gaya visual yang popular sebagai titik tumpu yang menentukan bagaimana narasi disampaikan. Hasrat ini menjadi inti dari prinsip sinematik, di mana setiap gerakan dan keputusan visual tidak hanya berfungsi untuk menangkap aksi, tetapi juga untuk memperdalam pemahaman penonton tentang karakter, suasana, dan tema yang diangkat.<\/span><\/p>\n

Dalam program Candrawala 2024, filem-filem yang terpilih dapat dibaca sebagai penjelajahan inderawi melalui filem dokumenter dan eksperimental. Filem-filem yang dipilih untuk program ini menawarkan beragam perspektif dan pendekatan visual, mengundang penonton untuk terlibat dalam eksplorasi ruang dan waktu. Setiap karya menjadi bagian dari mosaik yang lebih besar, yang bersama-sama menciptakan gambaran kompleks tentang hasrat manusia untuk merekam dan memahami realitas mereka.<\/span><\/p>\n

Filem <\/span>Lamun<\/span><\/i> yang disutradarai oleh Shelvira Alyya (2022), dengan cermat mengatur susunan perspektif dan keputusan teknisnya, mencerminkan hasrat yang sama dengan seorang <\/span>vlogger <\/span><\/i>YouTube, yang berusaha menangkap dan menyajikan realitas sebuah ritual pernikahan dengan cara yang kontemporer dan personal. Dalam filem ini, hasrat untuk merekam dari pengalaman visual di media sosial menjadi titik tumpu yang signifikan, di mana setiap keputusan visual\u2014mulai dari pembingkaian hingga perpindahan kamera \u2014dirancang untuk menciptakan kamera yang berfungsi sebagai mata penonton, mengarahkan perhatian mereka secara langsung kepada pengantin wanita, memperlihatkan perannya yang dominan dan menonjol dalam upacara budaya pernikahan tersebut. Sutradara yang sekaligus pengantin wanita mengarahkan filem dari tengah-tengah keseluruhan peristiwa yang direkam. Sebagaimana yang terjadi di ranah media sosial, kehadiran diri penting dalam usaha untuk pembangunan narasi.\u00a0<\/span><\/p>\n

Peristiwa dalam filem <\/span>Difraksi <\/span><\/i>(2024), karya Sigat Rambito, seperti disutradarai langsung oleh lokasi yang menjadi latar cerita. Lokasi tersebut memainkan peran penting dalam mengekspresikan narasi, dengan titik tumpu yang terletak pada sudut pandang strategis yang memungkinkan kamera selalu menangkap visual di jalur penyeberangan orang (<\/span>skywalk<\/span><\/i>). Titik tumpu ini berfungsi seperti engsel pada tripod, memberikan fleksibilitas untuk melakukan <\/span>tilt<\/span><\/i> ke atas dan ke bawah, juga <\/span>panning<\/span><\/i> ke kanan dan ke kiri dengan mulus, sehingga setiap pergerakan dan perubahan <\/span>scene <\/span><\/i>tanpa<\/span> cut <\/span><\/i>dilihat dari satu titik sudut pandang, dapat mengikuti aksi dan interaksi para karakter secara alamiah. Melalui penggunaan sudut pandang ini, filem mampu menangkap momen-momen yang sepertinya spontan dan tak terduga, serta menyoroti detail-detail penting yang mungkin terlewatkan jika dilihat dari sudut pandang statis tanpa aksi <\/span>tilting<\/span><\/i> dan <\/span>panning<\/span><\/i>. Hal ini bagaikan seseorang yang merekam dengan sadar sebagai catatan visual harian untuk ditampilkan pada <\/span>story<\/span><\/i> Instagram, melihat aksi keributan dari beberapa orang, percakapan sepasang kekasih, dan pertemuan orang-orang yang baru kenal di lokasi tersebut.<\/span><\/p>\n

Kerja kamera dalam filem <\/span>Outside the Frame<\/span><\/i>, karya Micko Boanerges tahun 2023, dengan sengaja menitik-beratkan sorotan pada satu lokasi di wilayah Jakarta. Hal ini mencerminkan hasrat merekam kota dengan posisi sudut pandang <\/span>establish<\/span><\/i>, yang membiarkan tangkapan esensi dari setiap momen bekerja sendiri. Hiruk-pikuk jalanan dan suara latar percakapan intim dari beberapa orang menjadi narasi pendukung filem ini. Percakapan yang dituturkan dalam bahasa bukan Jakarta, menunjukkan sebuah situasi <\/span>displacement<\/span><\/i> di sebuah kota. Pendekatan ini menjadi titik tumpu perekaman. Estetika tidak hanya berfokus pada pengambilan gambar statis, tetapi juga pada elemen-elemen dinamis. Videotron yang menampilkan iklan di gedung-gedung, gerakan kendaraan yang berlalu lalang, dapat memicu penonton untuk mendengar dan merasakan denyut aktivitas kehidupan kota secara tegas. Keindahan sekaligus kekacauan dalam <\/span>frame<\/span><\/i> menegaskan hasrat\u00a0 merekam sutradara yang terangkum hanya dalam satu <\/span>take <\/span><\/i>pengambilan gambar.<\/span><\/p>\n

Filem <\/span>Rest in God’s Light<\/span><\/i> (2023) karya Made Virgie Avianthy, tidak hanya berfokus pada visual yang indah atau momen penting, tetapi juga mengeksplorasi konsep waktu dan durasi. Ada dua titik tumpu melalui dua <\/span>frame<\/span><\/i> yang disajikan untuk menjelaskan konsep waktu dalam filem ini. Kedua <\/span>frame<\/span><\/i> ini dirancang untuk menunjukkan alur waktu yang berbeda, maju sesuai kronologi waktu dan mundur melawan alur waktu konvensional. Proses <\/span>ngaben<\/span><\/i> digambarkan oleh sinema melalui dua esensi waktu yang berlawanan, mengindikasikan tubuh yang mati dan tubuh-tubuh yang hidup sekaligus.<\/span><\/p>\n

Mengarsip, seperti juga merekam adalah kesamaan hasrat mendasar untuk bertutur. Keduanya bertujuan untuk mencatat, menyampaikan, dan melestarikan pengalaman serta pengetahuan dari satu generasi ke generasi berikutnya. Dalam filem <\/span>Batu Tinjang<\/span><\/i> (2023) karya Alya Maolani, budaya tutur atau oral menjadi cara utama bagi masyarakat untuk mendistribusikan cerita, mitos, sejarah, dan nilai-nilai budaya mereka. Setiap cerita yang dituturkan dari mulut ke mulut bukan hanya sekadar peristiwa, tetapi juga cara untuk memperkuat identitas komunitas dan menanamkan rasa memiliki di antara anggota-anggotanya.<\/span><\/p>\n

Sebagaimana tradisi tutur, penggunaan kamera adalah perpanjangan dari hasrat mendokumentasikan realitas untuk mempertahankan memori kolektif dan membagikan pengalaman hidup. Menggunakan gambar kartun yang direkam, penceritaan dan penyampaian emosi yang potensial mengundang respons dari penonton, serupa dengan bagaimana kata-kata dalam cerita lisan dapat menginspirasi dan mempengaruhi pendengarnya.\u00a0<\/span><\/p>\n

Dengan demikian, sinema kontemporer terus berfungsi sebagai medium reflektif yang menghubungkan pengalaman individual dan kolektif, memperkaya budaya tutur modern dengan teknologi visual yang ada. Perkembangan media sosial sedikit banyak mengubah cara manusia memenuhi hasrat merekam, hal itu menjadikan kamera sebagai perpanjangan alamiah dari tradisi lisan, yang memungkinkan manusia dan budayanya untuk terus berkembang.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724255280199{margin-bottom: 0px !important;}”]The desire that emerges in a wish or craving often lies within the realm of the unconscious, becoming the basis that drives one’s actions to seek and fulfill needs. In the context of the modern world, the development of such seeking through social media has brought about changes in the way humans interact and express themselves.<\/span><\/p>\n

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The desire for social media to create visuals has changed the perspective of seeing reality. Every moment can be captured and shared in seconds, making visuals the universal language of everyday life. Of course, these visuals circulating on social media serve as a way of personal expression that reflects the evolving patterns of social trends. So, the recording media used in everyday life becomes a mirror that shapes their identity and social status.<\/span><\/p>\n

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The directors realized that social media has changed the way people perceive and understand the world through the images and videos they consume every day. Therefore, they adopted popular visual aesthetics and styles as the fulcrum determining how the narrative is delivered. This desire became the core of the cinematic principle, where every movement and visual decision serves not only to capture the action, but also to deepen the audience’s understanding of the characters, atmosphere, and themes.<\/span><\/p>\n

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In the Candrawala 2024 program, the selected films can be read as sensory explorations through documentary and experimental films. The films selected for this program offer a variety of perspectives and visual approaches, inviting the audience to engage in an exploration of space and time. Each work becomes part of a larger mosaic, creating a complex picture of the human desire to record and understand their reality.<\/span><\/p>\n

 <\/p>\n

Lamun<\/span><\/i>, directed by Shelvira Alyya (2022), carefully organizes its composition of perspectives and technical decisions, reflecting the same desire as a YouTube vlogger, who seeks to capture and present the reality of a wedding ritual in a contemporary and personal way. In this film, the desire to record from a visual experience on social media becomes a significant fulcrum, where every visual decision\u2014from framing to camera movement\u2014is designed to create a camera that functions as the viewer’s eye, directing their attention directly to the bride, exposing her dominant and prominent role in the cultural wedding ceremony. The director, who is also the bride, directs the film from the center of the entire event. As is the case in the realm of social media, self-presence is important in the construction of narratives.<\/span><\/p>\n

 <\/p>\n

The events in Sigat Rambito’s film <\/span>Diffraction<\/span><\/i> (2024) seem to be directed directly by the location that serves as the setting for the story. The location plays an important role in expressing the narrative, with the fulcrum located at a strategic viewpoint that allows the camera to always capture visuals on the skywalk. This fulcrum functions like a tripod hinge, providing the flexibility to tilt up and down, as well as panning right and left seamlessly, so that every movement and scene change without a cut is viewed from a single point of view, following the actions and interactions of the characters naturally. Through the use of this point of view, the film can capture moments that seem spontaneous and unexpected, and highlight important details that might be missed if viewed from a static point of view without tilting and panning. It is like someone who is consciously recording as a daily visual record to be posted on an Instagram story, seeing the commotion of some people, the conversation of a couple, and the meeting of new people in the location.<\/span><\/p>\n

 <\/p>\n

The camera work in Micko Boanerges’ <\/span>Outside the Frame<\/span><\/i> (2023) purposefully focuses on a single location in the Jakarta area. This reflects the desire to record the city from an establishing point of view, allowing the capture of the essence of each moment to work itself out. The hustle and bustle of the streets and the background sounds of intimate conversations between several people become the supporting narrative of this film. The conversations are spoken in a non-Jakarta language, showing a situation of displacement in a city. This approach becomes the fulcrum of the recording. The aesthetics do not only focus on static shots but also dynamic elements. Videotrons displaying advertisements on buildings, and the movement of vehicles passing by, can trigger the audience to hear and feel the pulse of city life activities explicitly. The beauty and chaos in the frame emphasize the director’s recording desires that are summarized in just one take.<\/span><\/p>\n

 <\/p>\n

Made Virgie Avianthy’s <\/span>Rest in God’s Light<\/span><\/i> (2023) not only focuses on beautiful visuals or important moments but also explores the concept of time and duration. There are two fulcrums through two frames presented to explain the concept of time in this film. These two frames are designed to show a different flow of time, going forward according to the chronology of time and backwards against the conventional flow of time. The process of <\/span>ngaben<\/span><\/i> is depicted by cinema through two opposing time essences, indicating dead bodies and living bodies at the same time.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Archiving, like recording, shares a fundamental desire for storytelling. Both aim to record, convey, and preserve experiences and knowledge from one generation to the next. In Alya Maolani’s film <\/span>Batu Tinjang<\/span><\/i> (2023), oral culture becomes the main way for people to distribute their stories, myths, history, and cultural values. Each story told by word of mouth is not just an event, but also a way to strengthen community identity and instill a sense of belonging among its members.<\/span><\/p>\n

 <\/p>\n

Like the storytelling tradition, the use of the camera is an extension of the desire to document reality to preserve collective memory and share life experiences. Using recorded cartoon images, storytelling and the potential conveyance of emotion invites a response from the audience, similar to how the words in an oral story can inspire and influence the listener.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

In this way, contemporary cinema continues to function as a reflective medium that connects individual and collective experiences, enriching modern oral culture with existing visual technologies. The development of social media has more or less changed the way humans fulfill their desire to record, making the camera a natural extension of the oral tradition, allowing humans and their culture to continue to evolve.<\/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=”1724254069945-3c423f62-5f3a”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12656″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724255456484{margin-bottom: 0px !important;}”]\n

LAMUN \/ IF<\/strong><\/h2>\n

Filmmaker Shelvira Alyya<\/b><\/em>
\nInternational Title<\/em> IF
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em>\u00a0 Sunda
\n<\/strong>Subtitle Engish<\/strong><\/em><\/p>\n

8 min, Stereo, Screening One Channel, 16:9, HD, Color, 2022<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724255462321{margin-bottom: 0px !important;}”]Filem ini menyajikan sebuah perspektif kontemporer dan personal terhadap ritual pernikahan tradisional, mencerminkan hasrat untuk menangkap dan menyajikan realitas sebagaimana yang biasa dilakukan oleh seorang <\/span>vlogger<\/span><\/i> YouTube. Keputusan-keputusan teknis, seperti pembingkaian dan perpindahan kamera, dirancang untuk menciptakan pengalaman yang intens dan dekat, menyerupai pengalaman visual di media sosial.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724255371913{margin-bottom: 0px !important;}”]Lamun<\/span><\/i> presents a contemporary and personal perspective on traditional wedding rituals, reflecting the desire to capture and present reality in a manner akin to a YouTube vlogger. Technical decisions, such as framing and camera movements, are designed to create an intense and close experience, resembling the visual experience often seen on social media.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724254070085-ccac9165-70a8″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12657″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724255587851{margin-bottom: 0px !important;}”]Shelvira Alyya<\/strong> (b.1999, Bandung) is an artist and graduate of the Film and Television study program, Universitas Pendidikan Indonesia. In her practice of exploring herself through artistic and research spaces inside and outside academia, she has made several film works with fiction, documentary, and experimental genres with a focus on women’s themes and environmental phenomena.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724255605903{margin-bottom: 0px !important;}”]Shelvira Alyya<\/strong> (lahir 1999, Bandung) adalah seorang seniman dan lulusan program studi Film dan Televisi, Universitas Pendidikan Indonesia. Dalam praktiknya mengeksplorasi diri melalui ruang-ruang artistik dan riset di dalam dan di luar akademis, ia telah membuat beberapa karya filem bergenre fiksi, dokumenter, dan eksperimental dengan fokus pada tema-tema perempuan dan fenomena lingkungan.<\/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=”1724255632409-17c6d5de-0c40″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12658″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724255770171{margin-bottom: 0px !important;}”]\n

Difraksi \/ Diffraction<\/strong><\/h2>\n

Filmmaker Sigat Rambito<\/b><\/em>
\nInternational Title<\/em> Diffraction
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em>\u00a0 Indonesia
\n<\/strong>Subtitle Engish<\/strong><\/em><\/p>\n

13 min, Mono, h.264, 4:3, HD, Color, 2024<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724255795393{margin-bottom: 0px !important;}”]Filem ini menggunakan sudut pandang strategis yang memungkinkan kamera mengikuti aksi dan interaksi karakter tanpa <\/span>cut<\/span><\/i>. Titik tumpu kamera berfungsi seperti engsel pada tripod, memberikan fleksibilitas untuk menangkap momen-momen spontan dan tak terduga yang terjadi di lokasi tersebut. Filem ini menggambarkan dinamika lokasi melalui aksi keributan, percakapan intim, dan pertemuan orang-orang baru, yang semuanya diabadikan dari satu sudut pandang.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724255809857{margin-bottom: 0px !important;}”]This film employs a strategic viewpoint that allows the camera to follow the actions and interactions of the characters without any cuts. The camera’s focal point functions like a hinge on a tripod, providing flexibility to capture spontaneous and unexpected moments occurring in the location. The film portrays the dynamics of the location through scenes of commotion, intimate conversations, and encounters between new acquaintances, all captured from a single perspective.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724255632511-5ae1feb7-acec”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12659″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724255853828{margin-bottom: 0px !important;}”]Sigat Rambito<\/strong>, a self taught director who has an interest in exploring visual language, especially a connection between humanity and the inanimate.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724255865383{margin-bottom: 0px !important;}”]Sigat Rambito<\/strong>, sutradara otodidak yang memiliki ketertarikan untuk mengeksplorasi bahasa visual, terutama hubungan antara manusia dan benda-benda.<\/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=”1724256481249-8882d5b8-d955″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12660″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724256705940{margin-bottom: 0px !important;}”]\n

Outside the Frame<\/strong><\/h2>\n

Filmmaker Micko Boanerges<\/b><\/em>
\nInternational Title<\/em> Outside the Frame
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em>\u00a0 Bangka-Indonesia
\n<\/strong>Subtitle Engish<\/strong><\/em><\/p>\n

5 min, Stereo, DCP, H264, 16:9, HD, Color, 2023<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724256720481{margin-bottom: 0px !important;}”]Filem ini menyoroti satu lokasi di Jakarta dengan pendekatan sinematik yang menekankan keindahan sekaligus kekacauan kota. Estetika filem ini tidak hanya fokus pada gambar statis tetapi juga pada elemen-elemen dinamis yang memicu penonton untuk mendengar dan merasakan denyut kehidupan kota. Semua ini terangkum dalam satu pengambilan gambar, menegaskan hasrat sutradara untuk menangkap esensi momen dalam satu bingkai yang utuh.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724256736520{margin-bottom: 0px !important;}”]This film highlights a specific location in Jakarta with a cinematic approach that emphasizes both the beauty and chaos of the city. The film\u2019s aesthetics focus not only on static images but also on dynamic elements that encourage viewers to listen to and feel the pulse of urban life. All of this is captured in a single take, reflecting the director’s desire to encapsulate the essence of the moment in one complete frame.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724256481363-d648d436-0a00″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12661″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724256778961{margin-bottom: 0px !important;}”]Micko Boanerges<\/strong> (born 2002, Bangka) is an Indonesian filmmaker. He has been passionate about film and filmmaking since he was in high school. He is currently studying at the Jakarta Institute of Arts with a major in film, although he prefers to make films in ways that are not taught in school.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724256793692{margin-bottom: 0px !important;}”]Micko Boanerges<\/strong> (lahir 2002, Bangka) adalah filmmaker asal Indonesia. Dia mulai menyukai filem dan pembuatan filem sejak duduk di masa SMK. Saat ini, dia sedang menjalankan studi di Institut Kesenian Jakarta dengan jurusan filem, walau sebetulnya ia lebih suka membuat filem dengan cara-cara yang tidak diajarkan sekolahya.\u00a0<\/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=”1724256824845-f0761082-f800″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12662″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724256963526{margin-bottom: 0px !important;}”]\n

Batu Tinjang<\/strong><\/h2>\n

Filmmaker Alya Maolani<\/b><\/em>
\nInternational Title<\/em> Batu Tinjang
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em>\u00a0 Sasak (Indonesia)
\n<\/strong>Subtitle Engish<\/strong><\/em><\/p>\n

22 min, Mono, DCP, 16:9, HD, Color, 2023<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724256977160{margin-bottom: 0px !important;}”]Filem ini menggali kedalaman budaya tutur dalam masyarakat melalui lensa yang merekam realitas dan memperpanjang hasrat mendokumentasikan kehidupan. Filem ini menyoroti bagaimana cerita-cerita, mitos, sejarah, dan nilai-nilai budaya yang disampaikan secara lisan dari satu generasi ke generasi berikutnya tidak hanya sebagai peristiwa, tetapi sebagai sarana untuk memperkuat identitas komunitas dan menanamkan rasa memiliki.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724256991996{margin-bottom: 0px !important;}”]Batu Tinjang<\/span><\/i> delves into the depth of oral traditions within a community through a lens that documents reality and extends the desire to preserve life. The film highlights how stories, myths, history, and cultural values passed down orally from one generation to the next are not merely events but serve as a means to strengthen community identity and instill a sense of belonging.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724256824980-e009693f-1d0d”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12663″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724257022071{margin-bottom: 0px !important;}”]Alya Maolani<\/strong> (born 1999) is one of the Participants of Arkipel-Jakarta International Documentary & Experimental Film Festival 2020. In 2020, in collaboration with Muhammad Rusli, she directed a documentary film titled <\/span>The Song of Guru Ali<\/span><\/i>. In 2023, he directed a Comic Film project based on <\/span>waran <\/span><\/i>(folklore). The result of this project is 15 comic films containing 15 different <\/span>waran<\/span><\/i> spread throughout the districts in North Lombok. He is currently active in Yayasan Pasirputih.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724257031009{margin-bottom: 0px !important;}”]Alya Maolani<\/strong> (lahir 1999) merupakan salah satu Partisipan Arkipel-Jakarta International Documentary & Experimental Film Festival 2020. Pada 2020, bekerja sama dengan Muhammad Rusli, ia menyutradarai filem dokumenter berjudul <\/span>The Song of Guru Ali<\/span><\/i>. Tahun 2023, ia memimpin dan menyutradarai proyek Film Komik berdasarkan <\/span>waran<\/span><\/i> (cerita rakyat). Hasil dari proyek ini adalah 15 filem komik yang berisi 15 <\/span>waran<\/span><\/i> berbeda yang tersebar di seluruh kabupaten di Lombok Utara. Saat ini ia aktif berkegiatan di Yayasan Pasirputih.<\/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=”1724257035670-157b0b22-531e”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12665″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724257225614{margin-bottom: 0px !important;}”]\n

Amor Ing Acintya<\/strong><\/h2>\n

Filmmaker Made Virgie Avianthy<\/b><\/em>
\nInternational Title<\/em> Rest in God’s Light
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em>\u00a0 Balinese
\n<\/strong>Subtitle Engish<\/strong><\/em><\/p>\n

11 min, Mono, .mp4, 16:9, HD, Color, 2023<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724257239482{margin-bottom: 0px !important;}”]Filem ini mengeksplorasi konsep waktu dan durasi melalui dua <\/span>frame<\/span><\/i> yang kontras. Filem ini tidak hanya menampilkan visual dari upacara ngaben, tetapi juga menyoroti dua alur waktu yang berbeda\u2014satu bergerak maju sesuai kronologi, sementara yang lain mundur melawan alur waktu konvensional. Dengan pendekatan ini, filem menggambarkan esensi waktu yang berlawanan untuk mencerminkan pertemuan antara kehidupan dan kematian. Di satu sisi, tubuh-tubuh yang hidup terus bergerak maju, sementara tubuh yang mati terperangkap dalam waktu yang bergerak mundur, menciptakan sebuah refleksi mendalam tentang siklus kehidupan dan kematian.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724257248040{margin-bottom: 0px !important;}”]This film explores the concept of time and duration through two contrasting frames. It not only showcases visuals of the <\/span>ngaben<\/span><\/i> ceremony but also highlights two different time flows\u2014one moving forward chronologically, while the other moves backward against conventional time. Through this approach, the film illustrates opposing time essences to reflect the intersection of life and death. On one side, the living bodies continue to move forward, while the deceased body is trapped in reverse time, creating a profound reflection on the cycle of life and death.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724257035802-f984f143-4e28″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12664″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724257281191{margin-bottom: 0px !important;}”]Made Virgie<\/strong> is a film student currently studying at an Indonesian educational university, majoring in film and television with a concentration in documentary and experimental film studios. Have an interest in culture and history as an issue in making film projects as a form of preservation and awareness of human identity in traditions and beliefs.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724257301791{margin-bottom: 0px !important;}”]Made Virgie<\/strong> adalah seorang mahasiswa film yang saat ini sedang menempuh pendidikan di salah satu universitas pendidikan di Indonesia, jurusan film dan televisi dengan konsentrasi studio filem dokumenter dan eksperimental. Memiliki ketertarikan pada budaya dan sejarah sebagai isu dalam pembuatan proyek filem sebagai bentuk pelestarian dan penyadaran akan identitas manusia dalam tradisi dan kepercayaan.<\/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=”12666″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724257417286{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b> (Jakarta, 2 Januari 1992), biasa dipanggil Walay, adalah seorang seniman, sutradara, peneliti arsip, dan art handler yang saat ini tinggal dan bekerja di Jakarta. Salah satu anggota Forum Lenteng dan bertanggung jawab sebagai Manajer Ruang dan Divisi Produksi, dan juga menjadi tim pengarsipan. Ia juga terlibat sebagai partisipan dalam platform MILISIFILEM Collective dan SIGISORA.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724257426648{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b> (Jakarta, January 2, 1992), usually called Walay, is an artist, director, archivist, and art handler who currently lives and works in Jakarta. One of the members of Forum Lenteng, he is responsible for the Space Manager and Production Division, and is also part of the archiving team. He is also involved as a participant in MILISIFILEM Collective and SIGISORA.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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