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Manshur Zikri memberikan pengantar sebulum penayangan filem Pedro Costa \/ Manshur Zikri gave an introduction before the screening.<\/p><\/div>\n
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Dalam In Vanda\u2019s Room<\/em>, sutradara yang pernah mendapat pengharagaan sebagai Foreign Cineaste of the Year (France Culture Award) 2002 dan Independent\/Experimental Prize (Los Angeles Film Critics Association) 2008 ini mengungkapkan kisah kehidupan Vanda dan saudaranya, pecandu heroin yang penuh depresi sebagai warga asli di Distrik Fontainhas, daerah kumuh di pinggiran Lisbon.<\/p>\n Ia menggunakan bidikan statis berdurasi cukup panjang, mengindikasikan kualitas peristiwa seadanya. Bunyi-bunyi yang dihadirkan menjadikan layaknya teka-teki untuk penonton pecahkan dalam menggunggaah kesadaran akan kisah mereka. Banyaknya karakter mengucapkan dialog-dialog yang melimpah dan luas juga menjadi sulit untuk dimengerti dan ditarik relasinya dalam keseluruhan filem ini. Namun, itulah yang menjadi kekuatan Costa dalam memperlihatkan kisah warga Distrik Fountainhas, tanpa perlu memakai cara bernaratif seperti filem-filem konvensional.<\/p>\n Lain dengan In Vanda\u2019s Room, <\/em>dua filem setelahnya, Colossal Youth <\/em>dan Horse Money<\/em>, berfokus pada kisah Ventura, imigran Cape Verde yang dihantui trauma Revolusi Anyelir. Dalam Colossal Youth<\/em>, Ventura sedang mencari rumah baru yang berasal dari proyek pembangunan pemerintah Portugis sebagai tempat barunya untuk tingggal pasca meninggalkan rumah lamanya karena bertengkar dengan istri. Kegiatan ini diselingi oleh perjalanannya mengunjungi anak-anaknya, di mana obrolan mereka membawa memori tentang kehidupan dan masa lalunya kembali. Sedangkan Horse Money<\/em> mengisahkan fase kelanjutan dari kehidupan Ventura yang dihantui oleh kejadian yang pernah dialaminya, tentang perseteruan, kehilangan, kegilaan, dan luka-luka industrial. Ia melawan hal tersebut dalam kondisi mengidap skizofrenia.<\/p>\n Kedua filem ini lebih terasa fiksional daripada filem pertama yang ditayangkan. Terlebih lagi, setiap shot yang diambil, terutama dalam Horse Money<\/em>, kental nuansa teatrikalnya. Hal tersebut bisa dilihat dari pencahayaan dan tatanan komposisi spektakular di dalam frame.<\/p>\n Tiga hari program kuratorial ini berjalan, antusiasme penonton terlihat menurun. Pada hari pertama 25 orang hadir untuk menonon. Pada hari kedua, 13 penonton hadir. Beberapa diantaranya sudah tertidur di permulaan filem, dan kemudian keluar ruangan setelah terbangun dari tidurnya, menyisakan 7 orang di dalam ruangan.<\/p>\n Sesi tanya jawab setelah penayangan filem. \/ Q&A session.<\/p><\/div>\n Kurangnya antusias penonton mungkin disebabkan dari gaya bercerita Costa. Untuk yang terbiasa menonton filem-filem bioskop komersil, inti cerita selalu disajikan dengan jelas tanpa harus mengunggah kesadaran penonton. Namun, yang terjadi pada filem Costa adalah sebaliknya. Kita dituntut untuk berpikir dan mencerna, mencari koneksi shot<\/em> antar shot <\/em>untuk mengungkap maksud yang ingin ditunjukkan Costa. Gaya sinematik ini disebut oleh si kurator (mengacu pemikiran Costa sendiri) sebagai \u201cseni ketiadaan\u201d, di mana persoalan dipadatkan pada shot-shot<\/em> tertentu, namun membiarkan sebagian besar faset kenyataan tetap tersembunyi dalam selubung misteri, demi mengunggah kesadaran penonton.<\/p>\n Pada hari ketiga, dari 9 penonton yang datang, 3 orang yang tersisa aktif berdiskusi dengan kurator. Ketiga pemuda ini berkomentar mengenai Horse Money<\/em>. Seting yang dipilih, kata salah satunya, sangat menarik karena dalam balutan kesederhanaannya, ia dapat memahami trauma yang dialami oleh Ventura, sehingga kisah tersebut terasa sangat personal. Kendati demikian, ia merasa perlu banyak membaca untuk mengetahui latar belakang pembatan filem ini.<\/p>\n Pemuda lain menanyakan genre dalam filem ini. Zikri menjawab bahwa belum ada yang mengelompokkan karya Costa ke dalam suatu genre. Bagi Zikri sendiri, karya Costa masuk ke dalam post-neorealisme, di mana realisme yang dibawakan Costa adalah \u201crealisme alternatif\u201d dari gaya sinema sebelumnya. Ia mementingkan kedekatan antara sutradara dan orang yang dilibatkan, daripada mementingkan kuasa sutradara dalam membawakan adegan sedemikian rupa agar mirip dengan realitas yang ada.<\/p>\n Manshur Zikri.<\/p><\/div>\n Zikri menambahkan, ketiga filem yang diputar dalam program kuratorial ini menjadi terhubung karena metode produksi yang dipilih oleh Costa. Ia mencoba tinggal di Fontainhas, merekam ketiga filem dengan kamera DV tanpa melibatkan banyak kru. Hubungan keintiman yang terbentuk antara subjek dengan dirinya kemudian mampu memotong jarak yang ada. Interpretasi adegan dan visual juga diserahkan sepenuhnya kepada pemainnya, menggambarkan kualitas yang nyata dari kehidupan warga di Fontainhas.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n <\/p>\n Pedro Costa, Portuguese-born in 1958, is the director of In Vanda’s Room <\/em>(2000), Colossal Youth (2006), <\/em>and the Horse Money <\/em>(2014), <\/em>screened on Curatorial Program titled \u201cLooking at Costa Cinematic Realism\u201d in ARKIPEL social\/kapital \u2013 4th<\/sup> Jakarta International Documentary and Experimental Film Festival held at Kineforum, on 21, 22, and August 24,2016. <\/em>Manshur Zikri, the curator of the program\u2014who is a social researcher, citizen media activist, Forum Lenteng member, and daily administrator of AKUMASSA\u2014emphasized the ability that Costa brought in his new language to reveal the realism of cinema, given the realism itself is always changing its definition, in line with the development of social, political, cultural, and technology of filmmaking.<\/span><\/p>\n In Vanda’s Room<\/em>, this director who received awards such as Foreign Cineaste of the Year (France Culture Award) in 2002 and the Independent \/ Experimental Prize (Los Angeles Film Critics Association) in 2008 reveals the life story of Vanda and her sister, heroin addicts who are full of depression as a native in the district of Fontainhas, slum on the outskirts of Lisbon.<\/span><\/p>\n It uses a static shot for a fairly long duration, indicates the quality of the genuine events. The sounds that were presented made like a puzzle to solve in moving the audience\u2019s awareness of their story. The many number of characters who uttered the dialogues that are abundant and wide also seem to be difficult to understand and to be drawn their relationships in the overall film. However, that is the power of Costa in showing the story of residents of Fountainhas district, without the need to use linear narrative, the way in conventional films.<\/span><\/p>\n Different from In Vanda’s Room, Colossal Youth <\/em>and Horse Money<\/em> focused on the story of Ventura, immigrant from Cape Verde who was haunted by the Carnation Revolution. In Colossal Youth<\/em>,Ventura was looking for a new home from the Portuguese government development project as the new place to live after leaving his old home because the fight with his wife. This event is punctuated by a trip to visit his children, where they chat about life and carried the memory of his past. While Horse Money<\/em> tells the continuation phase of Ventura\u2019s life, which is haunted by the events he had experienced, like the feud, loss, madness, and industrial injuries. He was against it in a state of schizophrenia.<\/span><\/p>\n Both of these films felt more fictional than the first film. Moreover, for each taken shot, mainly in Horse Money<\/em>, were thick with theatrical nuance. It can be seen from the spectacular lighting and composition order in the frame.<\/span><\/p>\n For three days running of this curatorial program, the enthusiasm of the audience seemed low. On the first day, 25 people presented. On the second day, 13 spectators presented. Some of them had fallen asleep at the beginning of the film, and then left the room after waking from sleep, leaving seven people in the room.<\/span><\/p>\n The lack of enthusiastic spectators might cause from the storytelling style of Costa. For those who are accustomed to watching commercial films, the core story is always presented clearly without having to arouse audience awareness. However, what happened in the films of Costa is the opposite. We are required to think and digest, looking for connections between shot to shot to uncover the purpose of Costa. The cinematic style is called “the art of nothingness”, where the issue is solidified upon certain shot, but letting most facets of reality remains hidden in a veil of mystery, for arousing the awareness of the audience.<\/span><\/p>\n On the third day, from 9 spectators who came, three people remained active in the discussion with the curator. These three young men commented on Horse Money<\/em>. The selected setting, said one of them, it was very interesting because in its simplicity, he can understand the trauma experienced by Ventura, and therefore it felt like a very personal story. Nevertheless, he felt the need to read more to find out the background of the cancellation of this film.<\/span><\/p>\n Another young man asked the genre of this film. Zikri replied that no one has categorized the works of Costa for a certain genre. For Zikri himself, the work of Costa can be included in post-neorealism, where realism that Costa brought is a alternative realism from the precedent cinematic style. He emphasized the closeness between the director and the people involved, rather than the power of the director in bringing the scenes in such a way that is similar to reality.<\/span><\/p>\n Zikri, added, three films in this curatorial program are connected because of the production method chosen by Costa. He tried to stay in Fontainhas, recording all three with DV cameras without involving a lot of the crew. The intimacy formed between subjects with him, which then able to cut the existing gap. Interpretation of the scene and visual also left entirely to his players, describing a real quality of life of citizens in Fontainhas.<\/span><\/p>\n \u00a0<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" Zikri said that three films in this curatorial program are connected because of the production method chosen by Costa. He tried to stay in Fontainhas, recording all three with DV cameras without involving a lot of the crew. The intimacy formed between subjects with him, which then able to cut the existing gap. Interpretation of the scene and visual also left entirely to his players, describing a real quality of life of citizens in Fontainhas.<\/p>\n","protected":false},"author":122,"featured_media":6041,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Notes on Curatorial of \u201cLooking at Costa Cinematic Realism\u201d","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[369,345,385],"tags":[292,165,387,388,293],"class_list":["post-6029","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-festival-theme-arkipel-2016-social-kapital","category-main-curatorial-program","category-film-screening-reviews","tag-292","tag-arkipel","tag-manshur-zikri","tag-pedro-costa","tag-socialkapital"],"jetpack_publicize_connections":[],"yoast_head":"\n![\"_abe7982\"](\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/09\/abe7982.jpg?resize=1024%2C682\")
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Notes on Curatorial of \u201cLooking at Costa Cinematic Realism\u201d<\/span><\/h2>\n