ACKNOWLEDGEMENTS JOGJA-NETPAC ASIAN FILM FESTIVAL

ACKNOWLEDGEMENTS Network for the Promotion of Asian Cinema (NETPAC) Triawan Munaf, Kepala Badan Ekonomi Kreatif Indonesia Ricky Josep Pesik, Wakil Kepala Badan Ekonomi Kreatif Indonesia Norihisa Tsukamoto, Direktur Jenderal Japan Foundation Jakarta Kim Seok Gi, Direktur Korean Cultural Center Handojo, PT. Djarum Alison Purnell, Australian Embassy Catherine Keng, Cineplex XXI Drs. Umar Priyono, M.PD, Dinas Kebudayaan DIY Dra. Sri Eka Kusumaningtyas, Dinas Kebudayaan DIY Erlina Hidayati Sumardi, MM, Dinas Kebudayaan DIY Wibawawening Endradjati, Dinas Kebudayaan DIY Ign. Eka Hadiyanta, MA, Balai Pelestarian Cagar Budaya Yogyakarta DRA Y Indrarti Nurwidayati, Balai Pelestarian Cagar Budaya Yogyakarta Taman Budaya Yogyakarta Grhatama Pustaka Yogyakarta Badan Perpustakaan Arsip Daerah (BAPD) DIY Dinas Pengelolaan Pasar Kota Yogyakarta Taman Tebing Breksi, Sambirejo, Prambanan Fourcolours Films Jogja Film Academy SAE Institute Papermoon Puppet Theatre Universitas Negeri Yogyakarta Universitas Muhammadiyah Yogyakarta Universitas Gadjah Mada Universitas Atma Jaya Yogyakarta Focused Equipment Festival Film Dokumenter Yamaguchi Center of Art & Media Yoodeo.com Layaria.com Kolektif Beta Films Tanah Indie Makassar Photography Conteptual & Cinematography Banjarmasin Ambataro Production Kendari Ruang Film Sukabumi Komunitas Kedung Endah Wahyu Sulistianti Joshua Puji Mulia Simandjuntak Nurul Komari Moefti Ningsih Soedarmadji Maria Tri Sulistyani Iwan Effendi Wulang Sunu Benni Sanjaya Pambo Novi Kurnia

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JOGJA-NETPAC ASIAN FILM FESTIVAL

ACKNOWLEDGEMENTS Lukas Deni Firly Anisa Djafar “Papang Lakey” Vilsoni Hereniko Gertjan Zuilhof Eujin Sugihara Jorye Tang Yosep Anggi Noen Anindita Kusumawardhani Bethania Sari Grace Panggabean Mohammad Attebai Jinna Lee Robin Moran Pinkan Veronique Banjar Tri Andaru Cahyo Tony Broer Katia Engel Isabelle Glachant Eko Nugroho Kim Jong Kwan Riri Riza Adrian Jonathan Pasaribu Hafiz Rancajale Park Sungho Alexander Matius Fanny Chotimah Yusuf Radjamuda Kan Lume Tunggul Banjaransari Sekar Sari Djenar Maesa Ayu Ian Conrich Kamila Andini Budi Wibowo Tee Pao Chew Faozan Rizal Imam Karyadi Aryanto Maman Wijaya Yasuhiro Morinaga Kana Ote Gerzon R. Ayawaila Tito Imanda Meiske Taurisia Koji Fukada Charlie Meliala Satria Kurnianto Novi Hanabi

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Festival Organizer & Staff Festival President Garin Nugroho

Festival Fringe Wimba Hinu Satama

Festival Director Budi Irawanto

Artistic Novindra Dhiratara Edy Wibowo Pongky Wujito Arip

Festival Curator Philip Cheah Executive Director Ifa Isfansyah Managing Director Ajish Dibyo Program Director Suluh Pamuji Ismail Basbeth Finance Director Silvia Indah Rini Festival Manager Lija Anggraheni Office Manager Yumaya Mija Office Nunung Melawati Yulia Hesti Nurnaningsih Program Assistant Indra Sukmana Syifanie Alexander Mohammad Reza Fahriyansyah Open Air Cinema Egha M. Harismina

Hospitality Uli Arbiyani Public Lecture Dyna Herlina Fitrinanda An-Nur

Graphic Design Anung Srihadi Fauzi Rahman Ticketing Elena Rosmeisara Dean Fitty Sari Website Zulfan Riyadi Video Bumper Bayu Prihantoro Loeloe Hendra Doni Maulistya Papermoon Puppet Theatre

Screening Wahyu Agung Prasetyo Dama Yuninata Eden Junjung Fuad Hilmi

Video Teaser Muda Budiman

Publicist Lidia Noviani Ridla An-Nuur Gian Noviandari Uswah Chandra

Documentation Maman Agusto & team

Artwork Wulang Sunu

Content Manager Wahmuji Translator Maria Puspitasari Munthe Kenan Fabri Hartanto Traffic Ratih Aristia Theodora Nurul Fajri Kusumaningrum Community Forum Arief A. Yani Said Nurhidayat Fauzi Rahmadani Aulia Rizky

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VOLUNTEER Novelia Puspitasari

Amalia Ferhat

Fransisca Gesta Cahyaningtyas

Karima Ilham Khan

Nadya Selma Karamy

Melalusa Susthira K

Shalfia Fala Pratika

Astika Daniar Putri Hakubun

R. Mahardika Subangun

Dian Nugraheni

Dhisga Amandatya

M. Rifky Refinaldi

Adina Iffah Izdihar

Zulfa Zain

Tia Sukma Sari

Aam Endah Ratnani

Takdir Saputro

Shikarini Amirul Paramajati

Deddy Pratama Putra

Faza Hadian Al Fanjari

Eleonora Anastasia Yuanita

Eka Noviandi

Nadia Yofa Laela

Basudewa Suryo Ajie

Mohammad Resyi Afrianata

Ayesha Alma Almera

Tri Subarkah

Aldila Puriyanti

Iqbal Maulana

Insania Sagita Belladina

Safira Fabilia

Imam Yudhanto

Aliya Salsabilla Ummu Kinasih

Nizza Nurmalia Zulva

Ayub Rohede

Ruth Destia Chrisadiya

Rebiyyah Salasah

Grace Ayu

Erni Maria Angreini

Muhammad Bagas Satrio

Hasya Nindita

Ludy Oji Prastama

Daryl Isminari Paramudhita

Almandhira Dwiwrhaspati

Nadya Zahra Prasetiya

Muhammad Habibie Karyanto

Salma Durroh Salsabillati

Azka Nafisa

Dhiemas Chrismansyah Supma

Kinan Aji Nurdiansyah

Nikodemus Goratama Nuswantara

Brilian Merbawani

Natalia Sisca Dessensia

Tyas Nitiadjie Reksodirdjo

Nurika Septiandari

Adhe Royandi

Fadhilla Mutiara Wandita

Olla Agustia Leriani

Gilang Dwi Galih P

Nicola Nur Sekar Ayu

Nisa Nuraini Hastyanti

Dwana Muhfaqdilla

Galeh Eka Prasetya Nova Ulaila Dewi Dian Aryani Azizah Giri Nugraha

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CONTENT

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ACKNOWLEDGEMENTS

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FESTIVAL ORGANIZER & STAFF

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VOLUNTEER

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CONTENT

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MESSAGE FROM FESTIVAL PRESIDENT

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MESSAGE FROM FESTIVAL DIRECTOR

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MESSAGE FROM FESTIVAL CURATOR

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FESTIVAL JURY MEMBERS

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AWARDS

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OPENING FILM

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CLOSING FILM

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ASIAN FEATURE

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LIGHT OF ASIA

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ASIAN DOCS

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THE FACES OF INDONESIAN CINEMA TODAY

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OPEN AIR CINEMA

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LAYAR KOMUNITAS

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CONTENT

SPECIAL PROGRAMS

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ISLANDSCAPE: ASIA-PACIFIC FILMS

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KOREAN CUTS

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CONNECT JAPAN

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(O)ZEEING THE NEIGHBOUR

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TRIBUTE TO ABBAS KIAROSTAMI

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IRANIAN INDEPENDENTS

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FOCUS ON DJENAR MAESA AYU

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SHORT 2016 FROM CULTURE OFFICE OF YOGYAKARTA

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PUBLIC LECTURE

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WORKSHOP

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FORUM KOMUNITAS

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FRINGE PROGRAM

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SCHEDULE

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PRODUCTION COMPANY, SALES, & DISTRIBUTORS

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VENUE

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SAMBUTAN PRESIDEN FESTIVAL

Asia-Pasifik: Sejarah Para Pengelana MESSAGE FROM FESTIVAL PRESIDENT

Asia-Pacific: A History of Travellers Garin Nugroho

Lima tahun lalu, saya berkesempatan membuat film dokumenter tentang pendaratan MacArthur, jenderal Amerika yang populer pada Perang Dunia II, di Pulau Morotai yang merupakan wilayah Indonesia di ujung Samudra Pasifik. Sejarah yang sering terlupakan, sebuah peristiwa penting dunia sebelum MacArthur mengambil alih kembali Pearl Harbour dari Jepang. Sebuah film dokumenter dari militer Amerika menunjukkan pulau kecil Morotai serentak dipenuhi armada laut Amerika, pesawat Sekutu, pasukan Amerika hingga Australia dan jalanan macet oleh truk dan mobil Amerika hingga pabrikpabrik untuk membuat limun dan roti. Beruntung pula, saya telah melakukan perjalanan dari Melbourne, Darwin, Ambon, Tidore, Jailolo, Ternate, Manado, Papua, Filipina hingga Hawaii. Jejak perjalanan yang membawa ingatan tentang sejarah Pengelana Dunia (misalnya, Marco Polo, Magelhaens, dll.) abad XV dan XVI ke Asia-Pasifik yang mengubah sejarah dunia. Bahkan, tahun lalu saya juga beruntung, memimpin workshop bersama Hawai University dan Shangri-LaDoris Fuke Foundation serta menonton karyakarya film berkaitan dengan budaya Fiji. Yang pasti, catatan penting saya adalah diskusi bersama Lav Diaz serta mendengar pandangan-pandangannya tentang filmnya. Bagi saya, Lav membawa antropologi sosial dan budaya dalam perspektif film lewat cara yang sangat khas dan kuat. Lav menjadi juru bicara Asia-Pasifik yang luar biasa.

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Five years ago, I had the opportunity to create a documentary on the landing of MacArthur, a then popular American general in the WW II, in Morotai Island, an Indonesian territory at the tip of the Pacific Ocean. There is a historical event, that is often overlooked, occurring prior to MacArthur’s takeover of Pearl Harbour from Japan. A documentary from the US Military shows that the small island Morotai was suddenly surrounded by the US Navy ships, allied forces aircraft, US Army, and Australian Army; American trucks and cars overcrowded the streets and the lemonade and bread factories. I consider myself fortunate to have travelled from Melbourne, Darwin, Ambon, Tidore, Jailolo, Ternate, Manado, Papua, the Philippines, to Hawaii. This journey reminded me of the world-changing traces left by legendary World Travellers (Marco Polo, Magelhaens, etc.) in the 15th and 16th century to Asia-Pacific. It’s also fortunate that last year I had the opportunity to speak in a workshop held by Hawaii University and ShangriLa-Doris Fuke Foundation to watch films displaying the Fiji culture. There is something worth noting from my discussion with Lav Diaz, particularly through listening to his views on his films. For me, Lav brings a perspective of social and cultural anthropology through his films, in a particularly strong manner. Indeed, he is an extraordinary spokesman for Asia-Pacific.

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Oleh karena itu, pergeseran JAFF dari festival film Asia menjadi festival film Asia-Pasifik menjadi sebuah kebutuhan sejarah dan tuntutan membaca film yang menunjukkan Asia tak terpisahkan dari sejarah Asia-Pasifik.

The shift of JAFF’s focus from Asia alone to Asia-Pacific is a matter of historical necessity and rooted from the demand of film ‘readers’ -- showing that Asia is inseparable from the history of Asia-Pacific.

Harus dicatat, berbagai festival besar seni yang berfokus Asia-Pasifik akan bermunculan pada 2017, seperti Asia Topa di Melbourne. Kebetulan Asia Topa dengan SET Workshop telah memproduksi karya saya, bertajuk Setan Jawa (film pertama dunia, hitam-putih dengan iringan live orkestra gamelan dan Melbourne Symphony) akan menjadi pembuka Asia Topa.

It should be noted that various big art festivals focusing on Asia-Pacific, such as Asia Topa in Melbourne, will emerge in 2017. Coincidentally, in collaboration with SET Workshop, Asia Topa produced my work, Setan Jawa (Satan Jawa) a black and white movie screened along with live gamelan orchestra and Melbourne Symphony, and selected it as the opening film for Asia Topa.

Setelah 10 tahun, JAFF menjadi dasar pertumbuhan sinema independen Asia, film komunitas dan demokrasi media Asia. Kami merayakan 11 tahun dengan langkah baru ke depan: era Asia-Pasifik sebagai era penting abad ke depan demi menemukan pengelanapengelana film Asia-Pasifik.


After 10 years, JAFF has now become a solid platform for the development of Asian independent cinema, film community, and media democratization. We celebrate the 11th JAFF with a new step ahead: Asia-Pacific is a brand-new era to find Asia-Pacific film travellers.

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SAMBUTAN DIREKTUR FESTIVAL

Menjelajahi Kepulauan Secara Sinematis MESSAGE FROM FESTIVAL DIRECTOR

Cruising the Islands Cinematically Budi Irawanto

“Kian luas pulau pengetahuan, kian panjang garis pantai keingintahuan,” ujar pemimpin agama Amerika Ralph Washington Sockman. Lebih dari sekadar metafora ihwal pengetahuan, pulau menyimbolkan keterbukaan dan mengandaikan beragam interaksi. Perhelatan Jogja-NETPAC Asian Film Festival (JAFF) yang ke-11 ini memilih “Islandscape” sebagai tema festival yang menggarisbawahi tak hanya keragaman ungkapan artistik dan representasi budaya dalam sinema Asia, tapi juga sebentuk tanda bagi pertukaran dan silang pengaruh budaya sinema di kawasan Asia. Film Pembuka Salawaku besutan Pritagita Arianegara dengan tepat menggemakan tema festival. Dengan mengambil latar pulau Seram, film ini menunjukkan bagaimana pulau bisa menjadi kekuatan penyembuh sekaligus menautkan orang dengan latar budaya berbeda. Begitu pula, kami mempersembahkan film-film pilihan dari Pasifik yang merepresentasikan budaya dan masyarakat dari kawasan itu yang mengagumkan, sebagaimana JAFF tahun ini memperluas jangkauannya ke wilayah Pasifik. Karenanya, tak seperti frasa ”No man’s land” (pulau tak bertuan), tema Islandscape justru merayakan inter-koneksi sinema di kawasan Asia dan Pasifik. Mesti dicatat, tahun ini kami menerima banyak film dari seluruh Asia. Oleh karena itu, demi memberi ruang yang lebih lapang

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“The larger the island of knowledge, the longer the shoreline of wonder,” said American religious leader Ralph Washington Sockman. More than a metaphor of knowledge, an island symbolizes openness to any influences and it implies diverse interactions. The 11th Jogja-NETPAC Asian Film Festival (JAFF) chooses “Islandscape” as a festival theme to underscore not only the multitude of artistic expressions and cultural representations in Asian cinema, but also a signature of exchange and confluence of cinematic culture in the region. The Opening Film Salawaku directed by Pritagita Arianegara precisely reflects the theme of the festival. Set in a remote island Seram, this film shows that the island landscape has the power of healing and connecting people with different cultural backgrounds. Moreover, we present some selected films from the Pacific, which represents the incredible culture and people of the region, as this year’s JAFF expands its scope to the Pacific. Therefore, unlike the saying “No man’s land,” the theme Islandscape precisely celebrates the inter-connection of cinemas in Asia and Pacific region. It should be noted that this year we received enormous entries across Asia. Therefore, in order to provide more spaces for Asian features, this year we are starting to separate films competing for JAFF Award and NETPAC Award. While NETPAC award aims to promote jaff-filmfest.org

bagi film Asia berkompetisi, maka tahun ini kami mulai memilah film yang berkompetisi untuk mendapatkan penghargaan JAFF dan penghargaan NETPAC. Sementara penghargaan NETPAC bertujuan hendak mempromosikan film karya sutradara pemula, berbakat serta menjanjikan di masa depan, penghargaan JAFF diberikan pada film terbaik karya sutradara Asia yang telah berpengalaman. Meski demikian, sesungguhnya film-film Asia yang berkompetisi untuk meraih penghargaan NETPAC dan JAFF semuanya menarik dan mempesona yang layak memperoleh apresiasi yang hangat dan luas. Seperti kita tahu, pada 4 Juli 2016 jagad film Asia sungguh kehilangan sosok penting karena meninggalnya sutradara besar Iran, Abbas Kiarostami. Di samping meletakkan film Iran di peta sinema dunia, Kiarostami sejatinya telah menjadikan film Asia diapreasiasi sekaligus disegani di seluruh dunia. Karena itu, kami menyajikan program bertajuk “Tribute to Abbas Kiarostami” dengan memutar film Kiarostami terakhir Take Me Home dan dokumenter mengenai Kiarostami bertajuk 76 Minutes 25 Seconds With Abbas Kiarostami yang dibuat oleh sahabat dekatnya Saifollah Samadian. Lebih jauh, kami menyajikan gambaran sekilas karya generasi pasca-Kiarostami dalam “Iranian Independent Films.” Sebagaimana program khusus kami tahun sebelumnya, Anda tetap bisa mengikuti perkembangan mutakhir sinema Korea dan Jepang. Akan tetapi, tahun ini Anda juga akan menjumpai film-film eksperimental Jepang serta film-film pendek Korea sebagai buah kolaborasi dengan Busan Shorts. Kami berharap program khusus ini bakal memperluas perspektif Anda tentang kultur sinema Jepang dan Korea. Tentu, tak ketinggalan Anda bisa mengikuti perkembangan mutakhir sinema Indonesia dalam program “The Faces of Indonesian Cinema Today” yang tahun ini ditandai oleh restorasi film Indonesia klasik, remake film populer dan adaptasi novel laris ke dalam film. Sebagai salah satu program khas JAFF, kami menyelenggarakan “Public Lecture” yang mengangkat beragam topik: pasar film di Asia dan Pasifik, tantangan pengarsipan film di Asia, dan praktik seni yang berkaitan dengan sinema serta representasi budaya laut dalam film Asia dan Pasifik. Kami juga menyelenggarakan lokakarya tentang pengkurasian dan pemrograman festival film yang memberi kesempatan untuk menimba ilmu dari juru program kelas dunia tentang JOGJA-NETPAC ASIAN FILM FESTIVAL

films made by young, talented and promising Asian filmmakers, JAFF award appreciates the best films made by experienced Asian filmmakers. However, Asian films both in NETPAC Award and JAFF Award are as equally interesting and captivating, worthy for warm and wide appreciation. As it is well known, on 4 July 2016, the Asian film world felt a great loss due to the departure of the leading Iranian film director Abbas Kiarostami. Aside from putting Iranian film on the map of world cinema, Kiarostami has made Asian film to be respected and appreciated globally. Therefore, we are presenting a special program “Tribute to Abbas Kiarostami” by screening his last film Take Me Home and a wonderful documentary film on him entitled 76 Minutes 25 Seconds With Abbas Kiarostami by his close friend, Saifollah Samadian. Furthermore, to give you a glimpse of the works of post-Kiarostami generation, we are presenting to you “Iranian Independent Films.” Like our last year’s special programs, you can still keep abreast of contemporary Japanese and Korean cinema. But this year, you will find Japanese experimental films and Korean shorts as part of new collaboration with Busan Shorts. We hope that these special programs will broaden your perspective on Japanese and Korean film culture. Indeed, you can witness the current development of Indonesian cinema in “The Faces of Indonesian Cinema Today” marked by restoration of classic film, remake of popular films and best seller novel adaptation. As one of our distinctive programs, we hold public lectures on various issues in contemporary cinema world such as film market in Asia and Pacific, challenges of film archive in Asia, and many art practices related to cinema as well as the representations of oceanic culture in Asian and Pacific films. We will also be conducting a workshop on festival curating and programming that provides an opportunity to learn from the world-class programmer on how to select films intelligently and justify the selection. In addition, we organize workshop collaboratively with Papermoon Puppet Theater on making a film by utilizing unconventional materials. Organizing a film festival would have been impossible without the unfailing and enthusiastic support from various institutions such as Japan Foundation, Korean Cultural Centre, Badan Ekonomi Kreatif (Indonesian Creative Economy Council), and Dinas

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bagaimana memilih film dengan cerdas dan menjustfikasi pilihan itu. Di samping itu, kami menyelenggarakan lokakarya secara kolaboratif dengan Papermoon Puppet Theater tentang pembuatan film dengan menggunakan material yang tak konvensional. Menyelenggarakan festival film nyaris menjadi kemustahilan tanpa dukungan tak pernah letih dan antuisas dari pelbagai institusi seperti Japan Foundation, Korean Cultural Centre, Badan Ekonomi Kreatif dan Dinas Kebudayaan Provinsi Daerah Istimewa Yogyakarta. Kami sangat berterima kasih pada institusi tersebut yang telah menjadikan JAFF festival film yang berhasil dan bermakna dalam beberapa tahun terakhir ini. Bahkan, kami menerima penghargaan sebagai festival terbaik dalam ajang Apresiasi Film Indonesia (AFI) tahun ini yang sungguh melecut kami untuk terusmenerus melakukan perbaikan diri dan menjadi yang lebih baik.

Kebudayaan Provinsi Daerah Istimewa Yogyakarta (Culture Office of Yogyakarta Special Province). We are very grateful to those institutions for making JAFF a successful and meaningful festival for the past years. Moreover, receiving an award for the best film festival in Indonesia this year during the Indonesian Film Appreciation (AFI) truly encourages us to continuously improve and excel. Finally, by cruising the islands in Asia and Pacific cinematically, you will not only see the different physical (geographical) contours, but also the social and cultural landscapes as well. With adventurous spirit and open-mindedness in exploring the uncharted territories and cultures, we might obtain new insights and alternative perspectives. So, let’s celebrate the vastness of Islandscape in Asia and Pacific through cinematic lens and enjoy the festival!

Pada akhirnya, dengan menjelajahi kepulauan di Asia dan Pasifik secara sinematik, Anda tak hanya menyaksikan kontur geografis yang berbeda-beda, tapi juga lanskap sosial dan kultural yang beragam. Dengan jiwa petualang dan keterbukaan pikiran dalam mengeksplorasi budaya dan wilayah yang tak terpetakan, Anda mungkin akan memperoleh pengertian baru dan pandangan alternatif. Maka, mari kita rayakan keluasan bentang pulau (Islandscape) di Asia dan Pasifik lewat lensa sinematik dan nikmatilah festival!

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SAMBUTAN KURATOR FESTIVAL

Sang Kritikus Peragu MESSAGE FROM FESTIVAL CURATOR

The Indeterminate Critic Philip Cheah

Jika Anda bertanya apa yang menjadi praktik kritik saya, jawabannya: meruntuhkan karier yang telah saya bangun selama 30 tahun. Semakin lama saya menekuni kritik film, kian kuat pula hasrat saya untuk mengesampingkannya. Dari pengamatan saya, sebagian besar praktik kritik film sekarang berseberangan dengan posisi filosofis saya. Meski titik puncak kehidupan seorang kritikus film adalah saat ia diakui dan dikenal memiliki otoritas atau pakar di bidangnya, bagi saya, itu justru menunjukkan kemerosotan drastis dari kebebasan untuk bisa salah, sebentuk ajakan menuju kematian ilmu dan ilusi kekuasaan. Usai kelahiran film digital di pengujung 90an, ledakan sinema baru terasa bak tsunami. Ledakan ini menjelma gelombang virtual yang membawa citraan baru, sebuah perlawanan yang harus diketahui dan didefinisikan, sebuah tantangan bagi kritikus yang hendak memetakan dan mengotak-ngotakkan sinema. Ini mengingatkan saya pada satu titik di paro 80-an ketika banyak kritikus menyematkan label Sinema Cina Generasi Kelima dan Keenam sebelum akhirnya mereka sadar bahwa laju sejarah musykil dibendung. Mustahil ada Sinema Generasi Ketujuh atau Kesepuluh karena pintunya memang terbuka sangat lebar. Kondisi serupa bahkan lebih jelas terlihat di jagad film negara lain. Seorang kritikus pernah mengomentari sinema digital Filipina masa kini: “Ini perkara besar. JOGJA-NETPAC ASIAN FILM FESTIVAL

If you ask me what my practice of criticism is, it’s about undoing my 30-year career trajectory. The more I engage with film criticism the more I want to unlearn it. Most of what I see, as the practice of film criticism today, are at odds with my philosophical stance. While the highest point for a film critic in his lifetime is to be acknowledged and recognised as an authority or expert in his subject field, to me, that’s a fearsome loss of innocence, an invitation to dead knowledge and the illusion of power. After the advent of digital film in the late 90s, the explosion of new cinema felt like a tsunami. It became a virtual torrent of new imagery, a defiance to be known and pinned down, a challenge to the critics who like to map and territorialise a cinema. It reminded one of the mid-80s when critics labelled the Chinese Fifth and Sixth Generation cinema before they realised how the flow of history could not be contained. There could not be a Seventh or Tenth Generation cinema as the doors were flung wide open. This is even more apparent in other national cinemas. For example, a critic once quipped of the current Philippines digital cinema: “It’s a big problem. There’s too much to see.” To put it another way, since there’s just too much to see and know, it’s not possible anymore to pin it down. Had the Chinese Fifth and Sixth Generation cinema been digital and a massive torrent from the beginning, would it have been defined as easily?

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Terlampau banyak yang mesti dilihat.” Dengan kata lain, mengingat terlampau banyak yang mesti dilihat dan diketahui, maka musykil bisa didefinisikan. Jika Sinema Cina Generasi Kelima dan Keenam sejak awal digital dan berwujud gelombang besar, apakah keduanya bisa didefinisikan dengan gampang? Waktu kini menjadi amat berharga. Kian besar tekanan untuk mencerna timbunan film di pelbagai wahana virtual, mulai dari Vimeo hingga YouTube. Film terus-menerus diunggah secara daring serta menyesaki kotak masuk surel sebelum kita sempat menekan tombol hapus. Kita diminta untuk memberikan pendapat kilat dan penilaian instan, BAHKAN saat berhadapan dengan ‘film lamban’ sekali pun. Inilah masa ketika Buddhisme benarbenar masuk akal. Mantra ‘ingat dan waspada’ kini menjadi sarana terpenting dalam membuat penilaian. Tapi, bukankah mantra itu amat sulit untuk dijadikan patokan? Siapa yang bisa tahu banyak dan punya pendapat yang matang tentang film dari pelbagai negara dengan genre yang beragam? Dan seberapa banyak kritikus yang kita kenal berani bilang “saya tidak tahu” ketika ditanyai soal film? Saya yakin, pasti sangat sedikit. Saran saya, dilambari semangat pembuat film yang memperjuangkan ‘sinema lamban’, kita mesti bergerak sejajar – kritikus yang lamban dan peragu! Mungkin kita akan mendapati kritik film baru yang dilambari keraguan; kritik yang ingin mendengar dan menimbang sudut pandang lain sebelum membuat penilaian. Lagipula, bukankah Nelson Algren (The Man with the Golden Arm) pernah berujar: “Kebutuhan mendesak untuk menyeret turun sang hakim dari kursinya dan menjadikannya terdakwa telah menjadi mandat bakti khusus dari penulis di sepanjang sejarah manusia” Kritikus Peragu berdiri di kutub yang berlawanan dengan Kritikus Kaisar, penutur opini sarat pengalaman serta berpengetahuan, orang yang sudah jadi pakar di bidang tertentu dan bersikukuh bahwa kekuasaan yang besar bisa dibenarkan – ia yang berbicara paling lantang mesti didengarkan. Kritikus Peragu menyadari betapa dalamnya jurang yang harus dituruni untuk menemukan pengetahuan di dasarnya. Posisi reflektifnya sangat sederhana: kritik seharusnya membuka atau menutup diskusi? Selama lebih dari satu dekade, saya menghindari festival-festival film besar dan

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Time is really now of essence. There is an insane pressure to crunch through heaps of cinema delivered on multiple virtual platforms from Vimeo to YouTube. Films keep being posted online and popping into your email boxes before you can hit the delete key. You are asked to have a quick opinion and make an instant judgement EVEN with ‘slow’ cinema. If Buddhism ever made more sense than ever, it’s now. The mantra of being ‘in the moment’ is your only critical tool to make your judgements by. But isn’t that too much an impossible yardstick to live by? Who can possibly know so much, to have a well-considered opinion on multiple national cinemas and across genres? Yet how many critics do you actually meet who say: “I don’t know”, when asked about a film. Very few I bet. So I propose that in the spirit of filmmakers who are championing ‘slow’ cinema, we should have a parallel movement here – the slow, indeterminate film critic! Maybe we could have a new film criticism of uncertainty where we want to listen and consider other points of view before we venture a judgement. After all, did Nelson Algren (The Man with the Golden Arm) not opine: “The hard necessity of bringing the judge on the bench down into the dock has been the peculiar responsibility of the writer in all ages of man.” The Indeterminate Critic stands at the other pole to the Empire Critic, the worldly-wise opinion maker, who has chartered territories and insisted that might is right – he who talks loudest should be heard. The Indeterminate Critic realises the abyss that the depth of knowledge plunges into. His reflective position is a simple one: Is criticism supposed to open up or to close down discussion? For over a decade, I have avoided the path of the major film festivals and chose the road less travelled, going off track to visit small, emerging film festivals from Colombo (Sri Lanka), Beirut (Lebanon), Almaty (Kazakhstan), Hanoi (Vietnam), Jogjakarta and Makassar (Indonesia) to Mindanao (Philippines). Even after attending Cannes for 15 straight years, I was curiously surprised that I didn’t even miss it the year after I stopped. Invariably, I started to work with many of these young film festivals in organisation, film selection, sidebar events and also tried to inculcate the importance of having a philosophical position. One of the main jaff-filmfest.org

memilih jalan yang jarang ditapaki, keluar jalur demi menyambangi festival-festival kecil yang mulai bertumbuh, dari Kolombo (Sri Lanka), Beirut (Lebanon), Almaty (Kazakhstan), Hanoi (Vietnam), Yogyakarta dan Makassar (Indonesia), hingga Mindanao (Filipina). Tak pernah putus menghadiri Cannes selama 15 tahun, saya terhenyak karena tak ada kerinduan secuil pun setelah berhenti mendatanginya. Saya mulai kerap bergaul dengan festivalfestival film muda itu dengan melibatkan diri ke dalam organisasi, pemilihan film, acaraacara insidental, serta ikhtiar menanamkan pentingnya memiliki posisi filosofis. Salah satu pendekatan utamanya mendampingi mereka menemukan dan mendengar suara mereka sendiri. Berbeda dengan konsultan festival lainnya, yang penting bagi saya adalah mereka memiliki pemahaman dan keyakinan akan apa yang diinginkan dari programnya. Tugas saya bukanlah mendikte apa yang harus dikatakan atau apa yang harus ditampilkan. Tugas saya adalah membuat mereka menjalani proses refleksi untuk memahami motivasi dan intisari makna. Tugas saya hanyalah menginspirasi mereka agar memercayai nalurinya sendiri, dan tak memercayai pendapat yang membabi buta dan tak diminta. Bahkan, pendapat yang datang dari seorang kritikus lamban dan peragu sekalipun.

approaches lay in assisting them to find and hear their own voice. Unlike other festival consultants, it was important to me that they had an understanding and belief in what they wanted their programme to be. It was not my job to tell them what to do or what to show. It was concerned with going through the process of reflection to understand motivations and the essence of meanings. It was concerned with inspiring them to trust their own instincts, and not to take wholesale, unsolicited opinions. Not even from one slow, indeterminate film critic. Note: This essay was first published in Ray Film Magazine’s 100th issue, August 2015. Edited by Andreas Ungerbock, Vienna, Austria.

Catatan: Esai ini pertama kali diterbitkan dalam edisi ke-100 Ray Film Magazine, Agustus 2015. Disunting oleh Andreas Ungerbock, Wina, Austria.


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FESTIVAL JURY MEMBERS JAFF

Eko Nugroho

Eko Nugroho adalah salah seorang seniman terkemuka di jagad seni kontemporer Indonesia. Selama sepuluh tahun terakhir, ia telah diundang untuk berpartisipasi dalam banyak Biennale dan Triennial bergengsi di panggung internasional. Selain itu, ia telah menggelar sejumlah pameran di museum, institusi, dan galeri bergengsi di seluruh penjuru dunia. Perhelatan internasional besar yang pernah dia ikuti antara lain adalah 5th Asia-Pacific Triennial of Contemporary Art di Queensland Art Gallery, Australia (2006); “Wind From the East” di Kiasma Museum of Contemporary Art di Helsinki, Finlandia; Busan Biennale (2008); “X Bienale De Lyon: The Spectacle of the Everyday” di Lyon (2009); “Heat Wave” di Lombard-Freid Projects, New York (2010); “Transfiguration – Indonesian Mythologies” di Espace Culturel Louis Vuitton (2011); Temoin Hybride di Musee d’Art Moderne de la Ville de Paris; Pameran Bersama dengan Jompet, “Rally: Contemporary Indonesian Art” di National Gallery of Victoria, Melbourne, Australia (2012); Gwangju Biennale: Burning Down The House (2014); “Root: Indonesian Contemporary Art”, Frankfurter Kuntstverein, Kunst Museum, Frankfurt, Jerman; dan “Public-Street Art Festival”, Perth, Australia (2015). Beberapa residensi internasionalnya adalah: Amsterdam Graphics Atelier (AGA), Amsterdam (2004); Artoteek Den Haag, The Hague, Belanda; Haus der Kulturen der Welt, Berlin, Jerman (2005); ZKM | Center for Art and Media, Karlsruhe, Jerman; SAM Art Projects, Villa Raffet, Paris, Perancis (2011); dan Singapore Tyler Prints Institute (2012-2013). Dengan kartun sebagai bentuk dasarnya (gaya), Eko Nugroho menjelajahi beragam media, seperti lukisan, gambar, bordir, mural, animasi, dan objek tiga dimensi. Selama bertahun-tahun, ia dikenal sebagai ‘presiden’ dari kompilasi komik Daging Tumbuh, sebuah kumpulan komik yang tumbuh menjadi salah satu penanda paling penting bagi kecenderungan baru ekspresi artistik Indonesia. Dalam dunia wacana, karya Eko menerangkan paradoks dan kontradiksi masyarakat kontemporer Indonesia. Ia mendekati isu sosio-politik dengan perspektif yang riang, asyik, dan sarat humor, meskipun pada saat yang bersamaan ia menyampaikan pesan-pesan pahit dan sarkastik untuk menyalurkan kritiknya terhadap pemerintah, institusi global, dan isu sosial. www.ekonugroho.or.id www.wayangbocor.com www.dgtmbproject.com www.ekonugrohoartclass.com

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Eko Nugroho is one of the established artists in Indonesian contemporary art scenes. During the past ten years, he has been invited to participate in many respected international Biennales and Triennials. Moreover, he has done numerous exhibitions in prestigious museums, institutions, and galleries all over the world. Among some of the noted international shows he has participated in recently include the 5th Asia-Pacific Triennial of Contemporary Art at Queensland Art Gallery, Australia (2006); “Wind From the East” at Kiasma Museum of Contemporary Art in Helsinki, Finland; Busan Biennale (2008); “X Biennale De Lyon: The Spectacle of the Everyday” at Lyon (2009); “Heat Wave” at Lombard-Freid Projects, New York (2010); “Transfiguration – Indonesian Mythologies” at Espace Culturel Louis Vuitton (2011); Temoin Hybride at Musee d’Art Moderne de la Ville de Paris; Duo Man Show with Jompet “Rally: Contemporary Indonesian Art” at National Gallery of Victoria, Melbourne, Australia (2012); Gwangju Biennale: Burning Down The House (2014); “Root: Indonesian Contemporary Art”, Frankfurter Kuntstverein, Kunst Museum, Frankfurt, Germany; and “Public-Street Art Festival”, Perth, Australia (2015). Some of his international residencies: Amsterdam Graphics Atelier (AGA), Amsterdam (2004); Artoteek Den Haag, The Hague, Netherlands; Haus der Kulturen der Welt, Berlin, Germany (2005); ZKM | Center for Art and Media, Karlsruhe, Germany; SAM Art Projects, Villa Raffet, Paris, France (2011); and Singapore Tyler Prints Institute (2012-2013). Using cartoon as his basic form (style), Eko Nugroho explores various mediums, such as paintings, drawings, embroideries, murals, animations, and three-dimensional objects. For years, he was known as the ‘president’ of Daging Tumbuh comic compilation, a comic zone that developed into one of the most important signifier for new tendency of Indonesian artistic expressions. In the world of discourses, Eko’s works signify paradoxes and contradictions of Indonesian contemporary society. He approaches socio-political issues through cheerful, playful, and humorous perspectives, although at the same time, he transmits bitter and sarcastic messages to put his critiques against government, global institutions, and social issues. www.ekonugroho.or.id www.wayangbocor.com www.dgtmbproject.com www.ekonugrohoartclass.com


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Kim Jong Kwan

Lahir di Daejeon pada tahun 1975. Lulus dari Seoul Institutes of the Arts. Filmnya How to Operate a Polaroid Camera diperkenalkan kepada publik melalui beberapa festival film, seperti Pucheon International Fantastic Film Festival dan Mise-en-scene Genres Film Festival pada tahun 2004. Born in Daejeon in 1975. Graduated from the Seoul Institutes of the Arts. Kim’s How to Operate a Polaroid Camera was introduced to the public through several film festivals, such as the Pucheon International Fantastic Film Festival and the Mise-en-scene Genres Film Festival in 2004 (source: koreanfilm.or.kr)

Riri Riza

Riri Riza lulus dari Jurusan Film Institut Kesenian Jakarta dan memperoleh gelar master dalam Penulisan Skenario Film Panjang di Universitas Royal Holloway di London. Eliana, Eliana memenangkan penghargaan Young Cinema dan FIPRESCI di Singapore Film Festival pada tahun 2002. Film tersebut juga memenangkan penghargaan The Special Jury di Vancouver International Film Festival. 3 Hari Untuk Selamanya (3 Days to Forever) memenangkan penghargaan Best Director di 35th Brussels International Independent Film Festival pada tahun 2008. Laskar Pelangi (Rainbow Troops) (2008) merupakan pemegang rekor box-office Indonesia sepanjang masa. Karya ini terpilih untuk Berlin International Film Festival 2009. Tiket penjualan karya teatrikalnya, Musikal Laskar Pelangi (Rainbow Troops Musical) terjual habis di Jakarta dan Esplanade Theater Singapura. Atambua 39° Celcius adalah proyek film pertama di Indonesia yang didanai secara urun dana (crowdfunding) yang diputar perdana pada kategori kompetisi di festival Tokyo International Film pada tahun 2011. Sokola Rimba (Jungle School) memenangkan Audience Awards di Fukuoka Focus on Asia International Film Festival 2014. Riri Riza adalah salah satu pendiri Rumata’ Artspace di Makassar dan mendirikan SEAscreen Academy tahunan – yang merupakan pelatihan pembuatan film bagi para pembuat film muda dari Indonesia timur. Riri Riza juga mendirikan forum untuk para sutradara muda di Asia Tenggara.

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Riri Riza graduated from the Film Department of the Jakarta Arts Institute, earned a Master’s degree in Feature Screenwriting from the Royal Holloway University in London. Eliana, Eliana won Young Cinema award and FIPRESCI at the 2002 Singapore International Film Festival, also The Special Jury prize at the Vancouver International Film Festival. 3 Days to Forever won Best Director award at the 35th Brussels International Independent Film Festival in 2008. The Rainbow Troops (2008) was Indonesia’s all-time box-office records, was selected for Berlin International Film Festival 2009. His Theatrical work Rainbow Troops Musical played to sold out audience in Jakarta and Esplanade Theater Singapore. Atambua 39o Celcius is the first crowd funded film project in Indonesia, premiered in competition section of Tokyo International Film festival 2011. The Jungle School won the Audience Awards in Fukuoka Focus on Asia International film festival 2014. Riri Riza is a co-founder of Rumata’artspace in Makassar and founded the annual SEAscreen Academy—which is a filmmaking training for young filmmakers of east Indonesia, and forum for Young South East Asian directors.


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FESTIVAL JURY MEMBERS NETPAC

Adrian Jonathan Pasaribu

Pemimpin redaksi dan salah satu pendiri Cinema Poetica—kolektif kritikus, jurnalis, peneliti, dan pegiat film yang berfokus pada produksi dan distribusi pengetahuan sinema bagi publik. Ia percaya dialektika tidak saja mengatur hajat hidup warga, tapi juga perkara asmara. Dari 2007 sampai 2010, ia mondar-mandir sebagai pengurus program di Kinoki, bioskop alternatif di Yogyakarta. Sempat terlibat di filmindonesia.or.id sebagai anggota redaksi, Festival Film Solo sebagai kurator, dan Berlinale Talent Campus 2013 sebagai kritikus film. The chief editor and co-founder of Cinema Poetica—a collective of film critics, journalists, researchers, and activists that focus on the production and distribution of cinema knowledge for the public. He believes that dialectics doesn’t only break bricks, but also hearts. From 2007 to 2010, Adrian worked as the program manager of Kinoki, an alternative screening space in Yogyakarta. Adrian has also participated in filmindonesia.or.id as editorial staff, Festival Film Solo as curator, and Berlinale Talent Campus 2013 as film critic.

Hafiz Ranjacale

Hafiz Ranjacale lahir tanggal 4 Juni 1971 di Pekanbaru. Lulusan Seni Murni, Institut Kesenian Jakarta tahun 1994. Seorang seniman, kurator, dan pendiri Forum Lenteng dan ruangrupa. Pemimpin redaksi www. jurnalfootage.net. Ia juga menjadi Pengarah Artistik OK. Video - Jakarta International Video Festival (2003-2011). Sejak 2015 Hafiz menjabat Ketua Bidang Umum dan anggota Komite Seni Rupa Dewan Kesenian Jakarta. Hafiz Ranjacale was born on 4 June 1971 in Pekanbaru. He graduated from Fine Arts, Jakarta Arts Institute (IKJ) in 1994. He is an artist, curator, founder of Forum Lenteng and ruangrupa. Editor in chief at www.jurnalfootage. net. He is also the Artistic Director of OK. Video – Jakarta International Video Festival (2003-2011). Since 2015, Hafiz has held General Affairs and Commissioner of Visual Arts at Jakarta Arts Council.

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FESTIVAL JURY MEMBERS NETPAC

Park Sungho

Lahir di Seoul, Korea Selatan, tahun 1977. Belajar pascaproduksi dan teori film di Jurusan Sinema, Universitas Chung-Ang. Bekerja di Busan International Film Festival selama satu dasawarsa untuk membantu mempromosikan sinema Asia. Dari tahun 2008 hingga 2013 bekerja di Asian Film Academy untuk menemukan talenta-talenta baru. Setelah melakukan perjalanan selama dua tahun ke 40 negara sebagai wisatawan beransel (backpacker), sejak 2014 menetap di Kamboja untuk membantu para pembuat film di sana. Born in Seoul, South Korea in 1977. Studied post-production and film theory at Cinema department at Chung-Ang University. Worked at Busan International Film Festival for a decade to help promoting Asian cinema. From 2008 to 2013, worked at Asian Film Academy to discover new talents. After traveling around 40 countries for two years as a backpacker, he has settled in Cambodia to support the filmmakers in the region since 2014.


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FESTIVAL JURY MEMBERS GEBER

Alexander Matius

Alexander Matius, yang biasa dipanggil Matius, adalah lulusan Fakultas Psikologi Universitas Katolik Atma Jaya Jakarta. Ia terlibat aktif dalam beberapa kegiatan sebagai programer film sejak 2011. Saat ini ia mengisi kegiatan sebagai Manajer kineforum—sebuah ruang putar alternatif pertama di Jakarta—dan Manajer Operasional Cinema Poetica—sebuah wadah kolektif bagi para kritikus, jurnalis, peneliti, dan pegiat film. Matius Alexander, usually called Matius, is a graduate of the Faculty of Psychology, Atma Jaya University, Jakarta. He has been actively involved in several activities as a film programmer since 2011. His current activities are occupying the position of Manager of Kineforum—the first alternative filmscreening space in Jakarta—and also the Operations Manager of Cinema Poetica—a collective space for the movie critics, journalists, researchers, and enthusiasts.

Fanny Chotimah

Fanny Chotimah, lahir di Bandung, 18 November 1983, menamatkan pendidikan Mass Communication di London School of Public RelationSTIKOM Jakarta pada tahun 2005. Mulai terlibat dalam produksi film dokumenter sejak tahun 2009 hingga saat ini. Tergabung dalam rumah produksi Espees Pictures membuahkan beberapa karya, di antaranya film TUM (2013) dan Bukit Bernyawa (2011). Sempat terlibat sebagai kurator Ladrang untuk Festival Film Solo tahun 2013-2014. Sesekali menulis esai, puisi, dan ulasan seni pertunjukan ataupun film. Saat ini tinggal di Solo, aktif dalam komunitas Buletin Sastra Pawon, dan komunitas perempuan Jejer Wadon. Fanny Chotimah, born in Bandung on 18 November 1983, graduated from Mass Communication, London School of Public Relation-STIKOM Jakarta in 2005. He has been engaged in documentary production since 2009. By joining Espees Pictures production house, he produced several works, among which are TUM (2013) and Bukit Bernyata (2011). He was a curator of Ladrang for Festival Film Solo in 2013-2014. Also writes essays, poems, and reviews on performing arts and films. Currently, he lives in Solo, is active in the community of Buletin Sastra Pawon and women collective Jejer Wadon.

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FESTIVAL JURY MEMBERS GEBER

Yusuf Radjamuda

Belajar secara autodidak, ia membuat beberapa film pendek bersama teman-teman komunitas di Palu. Ia turut mendirikan EFEK (Eksibisi Felem Kita) di tahun 2009-2012, sebuah program pemutaran film-film pendek Kota Palu. Pernah mengikuti lokakarya Kickstart yang diadakan oleh In-Docs pada tahun 2010 di Palu. Film pendek terakhirnya berjudul Halaman Belakang (2013). Film ini meraih Ladrang Award Festival Film Solo 2013, Film Pendek Terbaik Apresiasi Film Indonesia 2013, dan mengantarkan Yusuf menjadi Sutradara Terbaik pada kompetisi Film Pendek Indonesia di Festival Sinema Prancis 2013. Karya ini juga berkompetisi di JAFF 2013, Dubai International Film Festival 2013, Vladivostok IFF 2014, TISSA IFF Morocco 2014, Experimenta Bangalore India 2015, diputar di Hanoi IFF 2014, dan sepilihan video NTU CCA Singapore untuk Art Stage Singapore 2016. Saat ini ia mengikuti Makassar-SEAscreen Feature Film Development Lab 2016 yang diinisiasi oleh Riri Riza dan Mira Lesmana untuk mengembangkan film panjang pertamanya. As a self-taught filmmaker, he made several short films together with his community friends in Palu. He co-founded EFEK (Eksibisi Felem Kita) in 2009-2012, a short films screening program in Palu. In 2010, he participated in Kickstart workshop organized by In-Docs in Palu. His last short film is Halaman Belakang (2013). The film earned Ladrang Award Festival Film Solo 2013, Film Pendek Terbaik (Best Short Film) in Apresiasi Film Indonesia 2013. It also earned Yusuf Sutradara Terbaik (Best Director) in Kompetisi Film Pendek Indonesia (Indonesia Short Film Competition) in Festival Sinema Prancis 2013. This work also competed in JAFF 2013, Dubai International Film Festival 2013, Vladivostok IFF 2014, TISSA IFF Morocco 2014, Experimenta Bangalore India 2015, was screened in Hanoi IFF 2014 and NTU CCA Singapore’s selection of videos for Art Stage Singapore 2016. Currently, he joined Makassar-SEAscreen Feature Film Development Lab 2016, initiated by Riri Riza and Mira Lesmana to develop his first full-length movie.


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FESTIVAL JURY MEMBERS BLENCONG

Kan Luḿ

Kan Luḿ adalah pembuat film peraih banyak penghargaan yang menerima gelar Sarjana Film dan Televisi-nya dari Bond University di Australia (Hons), dengan mengambil program studi ganda di Film. Selain menjadi salah satu pembuat film paling produktif di Singapura, ia juga mengajar film di sekolahsekolah bergengsi seperti NYU Tisch Asia, School of Audio Engineering, Singapore Polytechnic, Ngee Ann Polytechnic, dan Makassar SEA Screen Academy. Ia pernah menjadi pembicara di TEDx, kini seniman rekanan di Substation Home of the Arts, dan telah menerima sponsor untuk karyanya dari Kedutaan Jerman di Singapura, National Gallery Singapore, dan Asian Film Archive. Film panjang debut Kan Luḿ, The Art of Flirting, memenangkan Best ASEAN Feature di Malaysian Video Awards 2005. Film panjang keduanya, Solos, memenangkan Best Newcomer Award di Torino GLBT Film Festival. Film ketiganya, Dreams for the Third World, meraih MovieMax Award di Cinema Digital Seoul 2008. Liberta mendapatkan Special Mention di Cinema Digital Seoul 2012 dan NETPAC Award di Tripoli Film Festival 2013. The Naked DJ memberi Kan NETPAC Award keduanya untuk Best Asian Film di Jogja-Netpac Asian Film Festival 2014. Kan Luḿ is a multiple award winning filmmaker who received his Bachelor of Film and Television from Bond University in Australia (Hons), with a double major in Film. Besides being one of the most prolific filmmakers in Singapore, he has taught film in prestigious film schools such as NYU Tisch Asia, School of Audio Engineering, Singapore Polytechnic, Ngee Ann Polytechnic, and Makassar SEA Screen Academy. He was a speaker at TEDx, is an associate artist at Substation Home of the Arts, and has received commissions for his work from the German Embassy in Singapore, the National Gallery Singapore, and the Asian Film Archive. Kan Luḿ’s debut feature film, The Art of Flirting, won Best ASEAN Feature at Malaysian Video Awards 2005. The second feature, Solos, won the Best Newcomer Award at Torino GLBT Film Festival. The third film, Dreams from the Third World, received the MovieMax Award at Cinema Digital Seoul 2008. Liberta picked up Special Mention at Cinema Digital Seoul 2012 and the NETPAC Award at Tripoli Film Festival 2013. The Naked DJ earned Kan his second NETPAC award for Best Asian Film at Jogja-Netpac Asian Film Festival 2014.

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Sekar Sari

Sekar Sari telah menamatkan pendidikan di Choreomundus-International Master jurusan Dance Knowledge, Practice, and Heritage, Erasmus Mundus Program. Gelar S1-nya diperoleh dari jurusan Hubungan Internasional, Universitas Gadjah Mada, Indonesia, demi memuaskan dahaga akan ilmu diplomasi budaya. Sejak kecil ia mempunyai hasrat di bidang seni dan pertunjukan. Ia sering tampil di beberapa panggung dan layar lebar sebagai penari, pembawa acara, dan aktris. Melalui film panjang pertamanya, Siti, ia memenangkan penghargaan Best Actor (Aktor Terbaik) di Singapore International Film Festival 2014, Aktris Terbaik di Usmar Ismail Awards 2016, dan Aktor Muda Terbaik di Indonesian Movie Actors Awards 2016. Ia juga aktif terlibat dalam penelitian seni dan kebudayaan, seperti melalui komunitas pemuda Kawung, dan sebuah projek bertajuk “Recording the Future”. Tesis masternya pun berkaitan dengan hasratnya pada dunia seni peran dan tari. Saat itu, ia meneliti sendratari Panji di Bali dan Thailand yang berjudul STAGE LIFE AND DAILY LIFE: A Comparative Study of Gender Representation and Characterization in the Panji Story. Sekembalinya ke Indonesia, Sekar melanjutkan eksplorasinya di bidang seni, khususnya tari dan film. Ia sangat menikmati proses kreatif di kedua bidang tersebut di mana ia bisa mengeksplorasi gerak tubuh, ekspresi, dan juga ‘rasa’— keadaan mental yang esensial, perasaan yang utama. Tarian klasik Jawa adalah gaya menari yang pertama kali dikenalnya sejak kecil. Saat ini, Sekar sedang mengeksplorasi tarian kontemporer dengan mengambil inspirasi dari perjalanan hidupnya. Sekar Sari has graduated from Choreomundus-International Master on Dance Knowledge, Practice, and Heritage, an Erasmus Mundus Program. While her BA degree was earned from International Relations department, Gadjah Mada University, Indonesia for the sake of fulfilling her eagerness to explore the knowledge on cultural diplomacy. Since she was a child, her passion is on art and performances. She has been exploring the stage and the big screen as dancer, presenter, and actress. Through her first feature movie entitled Siti, she won Best Actor prize in the Singapore International Film Festival 2014, Aktris Terbaik (Best Actress) in Usmar Ismail Awards 2016, and as Aktor Muda Terbaik (Best Young Actor) in Indonesian Movie Actors Awards 2016. She is also actively involved in research on art and culture, for instance through a youth community namely Kawung and a project called “Recording the Future”. Her master thesis is also related to her passion on acting and dancing. She did research on Panji dance-drama in Bali and Thailand entitled STAGE LIFE AND DAILY LIFE: A Comparative Study of Gender Representation and Characterization in the Panji Story. After coming back to Indonesia, she continues her exploration on art, particularly on dance and movie. She enjoys creative process in both fields where she can explore body gesture, expression, and also ‘rasa’—the essential mental state, the primary feeling. Javanese classical dance was the first dance style she has been familiar with since she was a kid. Now she is exploring contemporary dance with the inspiration from her life journey.


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TUNGGUL BANJARANSARI

Lahir di Solo pada tanggal 30 September, Tunggul tinggal di Gunung Kidul bersama keluarganya dan bekerja sebagai dosen pada salah satu perguruan tinggi swasta di Surabaya. Pada dasarnya, Tunggul adalah pembuat film, namun menonton film lebih banyak dilakukannya setiap hari daripada membuat film itu sendiri karena Tunggul tidak memosisikan pembuatan film sebagai profesinya, kecuali jika Bollywood menghendakinya untuk membuat film secara berkelanjutan. Jika itu terjadi, Tunggul tidak akan menolak, karena ia tidak ingin istrinya bekerja lagi. Selain itu, ia ingin bisa mengendarai mobil Ferrari yang diproduksi terbatas setiap hari bersama anak perempuannya. Sebelum Bollywood menghendaki, sementara ini Tunggul mencukupi kebutuhan keluarganya dari mengajar, menulis, dan meneliti. Born in Solo on 30 September, Tunggul lives in Gunung Kidul with his family. He works as a lecturer in one of private universities in Surabaya. Tunggul is basically a filmmaker, but he spends more time watching films than making them because he will not consider filmmaking as his profession unless Bollywood wants him to make films on an ongoing basis. On such opportunity, he will not refuse because he does not want his wife to work ever again. Moreover, he wants to be able to drive a limited edition Ferrari with his daughter every day. Before Bollywood makes a call, for the time being, Tunggul provides for his family by teaching, writing, and researching.

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FESTIVAL JURY MEMBERS Jogja Film Student Award

Jogja Film Student Award Di Jogja Film Student Award 2016 kali ini, antusiasme mahasiswa untuk juri film terus meningkat, terbukti dengan bertambahnya mahasiswa dari UPN Yogyakarta yang bergabung. Saat ini, ada delapan perguruan tinggi yang mengirimkan wakilnya untuk menjadi juri Student Awards 2015: Universitas Muhammadiyah Yogyakarta, ISI Yogyakarta, AKINDO, AMIKOM Yogyakarta, MMTC, AKRB Yogyakarta, UPN Yogyakarta, dan Jogja Film Academy sendiri. In this year’s Jogja Film Student Award (2016), students’ enthusiasm to become film jury is increasing, proven by the fact the students from UPN Yogyakarta recenty joined the committee. This year, there are eight institutes, academies, and universities sending their representatives to be the jury members of Student Awards 2015: Indonesian Institute of the Arts Yogyakarta, AKINDO, AMIKOM Yogyakarta, MMTC, AKRB Yogyakarta, UPN Yogyakarta, and Jogja Film Academy.


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AWARDS

GOLDEN HANOMAN AWARD Penghargaan ini diberikan kepada Film Asia Terbaik Pertama melalui penjurian dalam program Asian Feature. The Golden Hanoman Awards is the prize for the Best Asian Film chosen from Asia Feature program.

SILVER HANOMAN AWARD Penghargaan ini akan diberikan kepada Film Asia Terbaik Kedua dari program Asia Feature. The Second Best Asian Film from Asian Feature program will get The Silver Hanoman.

NETPAC AWARD Diberikan oleh Network for the Promotion of Asian Cinema (NETPAC) sebagai bentuk apresiasi terhadap karya sutradara Asia yang memberikan kontribusi sinematik yang dinilai penting bagi gerakan sinema baru Asia. A film by Asian director who shows important contributions to the new Asian cinema movement will get the NETPAC Award from Network for the Promotion of Asian Cinema (NETPAC).

GEBER AWARD Merupakan penghargaan yang diberikan kepada film Asia yang dipilih oleh perwakilan komunitas film dari berbagai kota di Indonesia, baik oleh komunitas pembuat film maupun kineklub. The representatives of independent film communities, from film maker communities to cine clubs, from all over Indonesia will choose a favorite Asian film that will brings Geber Awards home.

BLENCONG AWARD Penghargaan yang diberikan juri bagi film pendek Asia terbaik dari program Light of Asia. Tahun ini kami menggunakan perspektif baru dengan berbagai latar belakang untuk menentukan film terbaik. The best Asian short from Light of Asia program will get Blencong Awards by juries. This year, we find a new perspective involving people from different backgrounds to choose their own best films.

JOGJA FILM STUDENT AWARD Dipersembahkan oleh Jogja Film Academy bekerjasama dengan ISI Media Rekam Yogyakarta, MMTC, AMIKOM, AKINDO, AKRB, Universitas Muhammadiyah Yogyakarta, dan UPN Yogyakarta, penghargaan ini diberikan kepada film pendek terbaik yang dipilih oleh murid sekolah film di Yogyakarta. Presented by Jogja Film Academy in collaboration with Recorded Media Arts of ISI Yogyakarta, MMTC, AMIKOM, AKINDO, AKRB, Universitas Muhammadiyah Yogyakarta, and UPN Yogyakarta, this award is dedicated to the best short film chosen by students of film schools in Jogjakarta.

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OPENING FILM

TBY | MON 28 NOV | 20.00 – 22.00 EMPIRE XXI | SAT 03 DEC | 10.00 – 12.00

Fiction Pritagira Arianegara | 90 minutes | 2016 | Indonesia

OPENING FILM

Salawaku

Salawaku dan Saras memulai sebuah perjalanan untuk mencari Binaiya, kakak Salawaku. Kawanua, kakak angkat Salawaku, menyusul dalam perjalanan mereka. Keduanya mempercayai lelaki tersebut, hingga kebaikan Kawanua pun membutakan mata Saras dan Salawaku. Saras perlahan melupakan patah hatinya dan mengalihkan perasannya pada Kawanua. Salawaku menyadari mereka telah menjauhi Piru, kota yang kabarnya menjadi tempat tinggal Binaiya. Berbagai konflik dan drama menyertai kisah perjalanan mereka sebelum bertemu Binaiya. Salawaku dan Saras kini melangkah menjauh sebagai dua insan yang tidak lagi sama. Salawaku and Saras are on a journey to find Binaiya, Salawaku’s sister. Kawanua, Salawaku’s adopted brother, follows them on their way. Both of them trust Kawanua, until Kawanua’s goodness gets them blinded. Saras slowly forgets her broken heart and starts to have feeling for Kawanua. Salawaku realizes they have moved away from Piru, a town where Binaiya may live. Conflicts and drama escort them during their journey before finally meeting Binaiya. Salawaku and Saras are now separating away as two individuals who are no longer the same. Director Lahir di Surakarta, Indonesia, pada tahun 1976, Pritagita Arianegara dibesarkan di Semarang, Jawa Tengah, dan menyelesaikan gelar Sarjana Ekonominya di Universitas Islam Indonesia, Yogyakarta. Sebelum debut penyutradaraannya di Salawaku, ia memulai kariernya pada tahun 2004, berperan sebagai pengawas naskah dan asisten direktur di berbagai film. Born in Surakarta, Indonesia, in 1976, Pritagita Arianegara grew up in Semarang, Central Java, and finished her bachelor’s degree in Economy at Islamic University of Indonesia, Yogyakarta. Prior to her directing debut in Salawaku, she began her career in 2004, taking the role of script supervisor and assistant director in a variety of films. Contact Siera Tamihardja [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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CLOSING FILM

CLOSING FILM

Travelling with the Bomb

TBY | SAT 03 DEC | 20.00 – 22.00

Fiction Nurlan Abdykadyrov | 92 minutes | 2016 | Kyrgyzstan

Seorang mahasiswa dari Kazakhstan membawa istrinya ke Kirgistan. Dia kemudian terlibat dalam sengketa perbatasan hingga akhirnya membuat persetujuan untuk melintasi perbatasan dengan membawa kotak ranjau untuk diantarkan ke desa. Persetujuan tersebut menyebabkan drama dan kesalahpahaman yang tak berujung. A student from Kazakhstan is taking his bride to Kyrgyzstan. He is then involved in a border dispute and ends up on making an agreement to carry a box of land mines to the village. His agreement on carrying the box then leads him to an endless drama and misunderstandings.

Director Berasal dari Bishkek, Kirgizstan, Nurlan Abdykadyrov belajar di Tashkent National Art Theater Institute. Pada tahun 1986, ia mulai bekerja di Kyrgyzfilm lalu di teater dan televisi. Ia adalah pendiri penghargaan film nasional Republik Kirgizstan. Film-film hasil besutannya adalah Echo (1998), Reading of Petrarka (2007), dan Successful Formula of Nazarbaev (2010). Hailing from Bishkek, Kyrgyzstan, Nurlan Abdykadyrov studied at the Tashkent National Art Theater Institute. In 1986, he started working at Kyrgyzfilm and later in the theater and television. He is a co-founder of the Kyrgyz Republic’s national film awards. His films are Echo (1998), Reading of Petrarka (2007), and Successful Formula of Nazarbaev. Contact Nomad Solar Production [email protected]

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ASIAN FEATURE

Kompleksitas (Film) Panjang The Complexity of Feature Suluh Pamuji Programmer Membesut film panjang membutuhkan perhitungan yang tak pendek. Kompleksitas peristiwa harus dielaborasi sebagai tawaran konten, konsep, dan konteks penciptaan sinema yang adekuat. Para pengkaji sering mengatakan bahwa film pendek bukanlah film panjang yang dipendekkan. Pernyataan tersebut bagi kami juga berlaku untuk yang sebaliknya, film panjang bukanlah film pendek yang dipanjangkan. Lebih lanjut, jika banyak pengkaji mengidentikkan film pendek dengan efektivitas peristiwa, maka, menurut pemahaman kami, film panjang identik dengan kompleksitas peristiwa. Pemahaman tersebut, sadar atau tidak, ternyata banyak menggiring kami dalam memilih film-film panjang Asia untuk program Asian Feature. Pako (Walid M. Taher/Irak) adalah film yang memadatkan kehidupan seorang prajurit perang di hadapan agama, politik, dan militer yang nyaris tak bisa dibedakan. Kfc (Binh Giang Le/Vietnam) adalah teka-teki silang yang banyak diisi dengan daging, darah segar, dan adegan kasar. Kfc tak tampil sebagai merk dagang, tetapi sebagai kompleksitas peristiwa pembunuhan. Satu film lainnya, Qingshui Li De Daozi [Knife in the Clear Water] (Wang Xuebo/Cina), tak bisa disangkal lagi, adalah film yang sangat dekat dengan konteks yang melingkupi kita di sini: ritual empat puluh hari untuk kerabat yang meninggal. Selain itu, film ini juga memainkan kebetulan dan peristiwa religius secara bersamaan. Untuk film yang kental dengan konteks sejarah, kami menghadirkan Bari Luys [Good Morning] (Anna Arevshatyan/Armenia) dan Ziarah (BW Purba Negara/Indonesia). Dua film tersebut mengelola konteks dan periode sejarah bangsa dan negara yang berbeda dengan pendekatan yang juga berbeda. Bari Luys menempatkan sejarah sebagai upaya menuju perpisahan. Melalui subjek utamanya, Bari Luys menunjukkan kepingan-kepingan JOGJA-NETPAC ASIAN FILM FESTIVAL

Earning wings through feature requires an uneasy calculation. The complexity of events must be elaborated into adequate content, concept, and creation context of cinema. Reviewers often say that a short film is not a shortened feature. For us, the logic can be applied to the opposite; a feature is not a prolonged short film. Furthermore, if most reviewers identify short films with the effectiveness of events, then, based on our understanding, features are identical to the complexity of events. Such understanding, whether we realize it or not, highly influences us in selecting Asian features for Asian Feature Program. Pako (Walid M. Taher/Iraq) is a film condensing the life of a war soldier before religion, politics, and military that are difficult to be distinguished from one another. Kfc (Binh Giang Le/Vietnam) is a crossword filled with flesh, fresh blood, and violent scenes. Kfc presents itself not as a trademark, but as the complexity of a murder. Meanwhile, Qingshui Li De Daozi [Knife in the Clear Water] (Wang Xuebo/China) is, undoubtedly, a film that is really close to the context enveloping us here: a ritual celebrating the 40th day of a relative’s death. Moreover, the film cleverly uses coincidences and a religious events concurrently. For films with rich historical context, we present Bari Luys [Good Morning] (Anna Arevshatyan/Armenia) and Ziarah (BW Purba Negara/Indonesia). Both manage the historical context and period of two different nations and countries by using different approaches. Bari Luys puts history as an attempt heading to separation. Through its main subject, Bari Luys tries to show the fragments of the events of losses. On the other hand, history in Ziarah is presented a journey word by word, encounter by encounter. All of them are delivered through an elder people trying so hard to find the grave of her husband. Ziarah wants us to perceive

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dari peristiwa kehilangan. Sebaliknya, sejarah dalam Ziarah tampil sebagai perjalanan yang dihadirkan lewat tuturan demi tuturan dan pertemuan demi pertemuan. Semua itu ditunjukkan lewat subjek renta yang berupaya mencari makam suaminya. Ziarah membawa kita untuk melihat pola-pola lisan sebagai kesederhanaan penceritaan. Dalam kelompok Asian Feature yang lain, kami menghadirkan Sunya (Harry Suharyadi/ Indonesia), sebuah film yang berhasil memberikan nuansa yang gelap dan mistis. Ada pula Interchange (Dain Iskandar Said/ Malaysia), sebuah transformasi menarik dari data antropologis yang mencoba menghadirkan sudut pandang pascapenjajahan. Istirahatlah Kata-Kata [Solo, Solitude] (Yosep Anggi Noen/Indonesia) dan When the Woods Bloom (Bijukumar Damodaran/India) juga dihadirkan sebagai dua film yang mengelaborasi fragmen sejarah gerakan sosial sayap kiri di dua negara yang berbeda dengan cara yang relatif subtil dan sedikit komikal. Kesederhanaan yang ditawarkan Sihung [Canine] (Esa Hari Akbar/Indonesia) dan City of Jade (Midi Z/Taiwan & Myanmar) perlu kita apresiasi sebagai film dokumenter yang mumpuni. Keduanya merekam subjeksubjeknya dengan sangat sederhana. Keduanya mendekati kenyataan sedekat mungkin, dan menangkap fakta-fakta kompleks yang terlanjur mengerak dan menjadi problem sosial, ekonomi, serta kebudayaan. Dengan gaya pendekatan yang berbeda, hUSh (Kan Lume & Djenar Maesa Ayu/Singapura & Indonesia) adalah film dokumenter dengan subjek yang artikulatif dan tanpa beban mengurai beragam masalah, dari yang bersifat sosial hingga personal. Tiga dokumenter tersebut bagi kami memiliki daya sentuh masing-masing.

oral patterns as the simplicity of narration. In another category within Asian Feature, we present Sunya (Harry Suharyadi/Indonesia), a film succeeding in giving a dark and mystical atmosphere. There is also Interchange (Dain Iskandar Said/Malaysia), an interesting transformation of anthropological data serving as an effort to provide a post-colonial perspective. Istirahatlah Kata-Kata [Solo, Solitude] (Yosep Anggi Noen/Indonesia) and When the Woods Bloom (Bijukumar Damodaran/India) are presented as the two films elaborating the fragments of the history of left wing social movement in two different countries in a relatively subtle and a little bit comical manners. The simplicity offered by Sihung [Canine] (Esa Hari Akbar/Indonesia) and City of Jade (Midi Z/ Taiwan & Myanmar) needs to be appreciated as qualified documentaries. Both capture their subjects in a very simple manner. Both approach reality as close as they can, and capture complex facts already manifested into social, economic, and cultural problems. With a different style of approach, hUSh (Kan Lume & Djenar Maesa Ayu/Singapore & Indonesia) becomes a documentary possessing an subject that can articulately and burdenlessly solve problems, from the social to the personal ones. For us, these documentaries have their own unique charm. There are approximately twenty-eight Asian features that we are offering. Two of them, we believe, are capable of emitting positive energy required to open and close the 11th JAFF. The films we are referring are Salawaku (Pritagita Arianegara/Indonesia) and Kyrgyz-Kazakh: Bir Tuugan [Travelling with the Bomb] (Nurlan Abdykadyrov/Kyrgyzstan). Hope you enjoy watching.

Ada sekitar dua puluh delapan film panjang Asia yang kami sodorkan. Dua di antaranya kami percaya mampu memberikan energi positif untuk membuka dan menutup perhelatan JAFF ke-11. Dua film yang kami maksud adalah Salawaku (Pritagita Arianegara/Indonesia) dan Kyrgyz-Kazakh: Bir Tuugan [Travelling with the Bomb] (Nurlan Abdykadyrov/Kirgizstan). Selamat menonton.

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ASIAN FEATURE Competition - Netpac Award & Geber Award

Fiction

EMPIRE XXI | FRI 02 DEC | 10.00 – 12.00

Bari Luys (Good Morning) Anna Arevshatyan/107 minutes/2016/Armenia Terkadang jawaban terpenting ditemukan pada benturan kenangan masa kecil dengan kejujuran dan penerimaan diri. Terperangkap dalam dirinya sendiri, Arshak mencari jawaban dalam kenangan masa kanak-kanaknya. Ia semakin dekat dengan penerimaan diri, sekaligus hanya jalan di tempat pada saat bersamaan. Mana yang akan dipilihnya? Dan bagaimana memori tahun 90an mendefinisikan hidupnya? Ini adalah kisah tentang seorang jurnalis yang terlibat dalam konflik profesional melawan cara kerja bermuka dua dan kelewat patuh di perusahaan saluran TV tempatnya bekerja…. Dalam perjalanan menuju rumah keluarga ayahnya, ia mengenang kembali kepahitan masa kecilnya di awal tahun 90an ketika Armenia dilanda peperangan. Konfrontasi dengan masa lalu membantunya menemukan diri sendiri dan mengambil keputusan yang tepat. Sometimes the most important answers lie where the childhood memories clash with the disclosure and acceptance of oneself. Tangled up in his own self, Arshak is looking for the answers in his childhood memories. He’s as close to the self-acceptance as to the running in circles. What will he choose? And how will the memories from the 90s define his life? This story is about a journalist who has entered into a professional conflict with the fawning and submissive administration of the TV channel he works for…. On the way to his paternal home he recounts his childhood memories of hard times during early 90s when Armenia was at war. Confrontation with his own past helps him to regain himself and make the right decision. Director Anna Arevshatyan lahir pada tahun 1985 di Yerevan, Armenia. Ia lulus dari Fakultas Jurnalisme, RussianArmenian (Slavonic) University pada tahun 2007. Pada tahun 2010 ia menempuh pendidikan di Jurusan Penyutradaraan di High Courses for Scriptwriters and Film Directors (workshop A. Surikova dan V. Fokin), Moskow. Bari Luys (Good Morning) adalah fiksi panjang pertamanya. Anna Arevshatyan was born in 1985 in Yerevan, Armenia. She graduated from Armenian-Russian (Slavonic) University, Faculty of Journalism in 2007. In 2010 she entered the High Courses for Scriptwriters and Film Directors (A. Surikova and V. Fokin workshop), Department of Directing, Moscow. Bari Luys (Good Morning) is her first feature-length fiction. Contact: Tatevik Manoukyan [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

Kfc

EMPIRE XXI | THU 01 DEC | 18.15 – 19.30

Binh Giang Le/69 minutes/2016/Vietnam Vu sedang mencari cara untuk membunuh Map demi membalaskan dendam kekasihnya, An. An tewas dalam sebuah kecelakaan mobil tragis dan diperkosa dalam keadaan tak bernyawa. Pemerkosa dan pembunuhnya adalah ayah Map. Akan tetapi, Vu tidak mengetahui bahwa ada dalang di balik seluruh kejadian itu. Vu was finding a way to kill Map to avenge his girlfriend, An. She was killed in a tragic car accident and raped when she was dead. The rapist and killer was Map’s father. However, Vu did not know there was a mastermind of the whole incident. Director 2007: kursus pembuatan film untuk siswa Vietnam dan Jepang. 2008–2012: penyutradaraan film, HCMC College of Theatre and Cinema. 2013: Autumn Meeting, dimentori oleh Tran Anh Hung. Saya mulai membuat film saat di bangku SMA dengan film pertama sebuah dokumenter pendek, Những Vệt Đen Trên Màu Áo Trắng, yang berhasil memenangkan kategori Best Picture (Gambar Terbaik) dalam sebuah festival film pelajar yang diselenggarakan oleh Ministry of Education and Training bersama Japanese General Consulates. Tahun 2001, film pendek The Rip (Lổ Thủng) dinominasikan sebagai Best Short Film (Film Pendek Terbaik) dalam Vietnamese International Film Festival 2013 dan memenangkan kategori Best Director (Sutradara Terbaik) untuk penghargaan Hiểu Về Trái Tim. Pada tahun 2012, film pendek berjudul Husbie! Open The Door (Chồng Ơi! Mở Cửa) memenangkan penghargaan Best Actress (Aktris Terbaik) di festival film 48 Hour. Lalu, pada tahun 2015, film pendek Day by Day memenangkan GRAND PRIZE (sebagai film terbaik) pada The Wildfest Operation Game Change. Saat ini, saya sedang dalam proses pascaproduksi proyek Kfc, film panjang pertama saya. Naskah Kfc berhasil menang di penghargaan Film of the Future dalam program sinema Autumn Meeting 2014. 2007: Film making course for Vietnam and Japan students. 2008–2012: film directing, HCMC College of Theatre and Cinema. 2013: Autumn Meeting, mentored by Tran Anh Hung. I started making films when I was in high school with a short documentary, Những Vệt Đen Trên Màu Áo Trắng, which won Best Picture in a student film festival by the Ministry of Education and Training coordinating with Japanese General Consulates. In 2001, a short film titled The Rip (Lổ Thủng) was nominated as Best Short Film in Vietnamese International Film Festival 2013 and won Best Director at Hiểu Về Trái Tim award. In 2012, a short film titled Husbie! Open the Door (Chồng Ơi! Mở Cửa) won Best Actress in 48 Hour film festival. In 2015, a short film titled Day by Day won GRAND PRIZE (as the best film) at The Wildfest Operation Game Change. Currently I am working on the postproduction of Kfc film project, which is my first feature film. Kfc’s script won Film of the Future award in Autumn Meeting cinema program 2014. Contact: Binh Giang Le [email protected]

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Fiction

EMPIRE XXI | TUE 29 NOV | 12.45 – 14.45

Qingshui Li De Daozi (Knife in the Clear Water) Wang Xuebo/93 minutes/2016/China Di pegunungan di Provinsi Ningxia, Ma Zishan dan anak laki-lakinya tengah berkabung atas meninggalnya istri Zishan. Sang anak hendak mengorbankan satu-satunya kerbau jantan yang mereka miliki untuk peringatan 40 hari kematian ibunya. Zishan tidak menentang kehendak anaknya, namun ia merasa sedih karena sangat menyayangi kerbau itu. Berbagai doa yang ia panjatkan tampaknya tidak bisa menghapuskan keraguannya. Hingga suatu pagi, kerbau tua tersebut berhenti makan dan minum. Apakah sang kerbau telah merasakan sesuatu akan terjadi padanya? In the mountains of Ningxia’s Province, Ma Zishan and his son are mourning for the death of Zishan’s wife. The son has a plan to sacrifice their only bull for the 40 days funeral ceremony. Zishan agrees with the plan but he feels sad because he loves the bull. He prays a lot to erase his doubts, but the doubts stay. Until one morning the old bull stops eating and drinking. Has he sensed that something is going to happen on him? Director Wang Xuebo memulai kariernya dengan bekerja bersama pembuat film Tibet, Pema Tseden. Beberapa kredit produksinya adalah The Hammer and Sickle are Sleeping (2013), Tharlo (2015), dan Free and Easy (2016). Knife in the Clear Water merupakan debut Wang sebagai sutradara. Wang Xuebo started his career by working with Tibetan filmmaker, Pema Tseden. His credit on productions include The Hammer and Sickle are Sleeping (2013), Tharlo (2015), and Free and Easy (2016). Knife in the Clear Water is Wang’s directorial debut. Contact Asian Shadows [email protected]


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Pako Walid Taher /65 minutes/2015/Iraq Seorang tentara mendapatkan izin dari dinas militer saat perang Irak-Iran untuk kembali ke desanya guna melangsungkan pernikahan. Saat kembali ke pasukan, dia menemukan temantemannya kalah dan sebagian besar hilang atau gugur. Kemudian, dia melarikan diri dari medan perang dan kembali ke desanya. Mengetahui bahwa dirinya dikabarkan gugur oleh pasukan militer, dia memilih bersembunyi di ruang bawah tanah rumahnya agar tidak tertangkap. A soldier gets permission from the military services during the Iraqi-Iranian war, and returns back to his village for his wedding. When he returns to the army, he finds his fellows defeated, most of them are lost or dead. He then escapes from the battlefield and returns back to the village. When he discovers that the army has announced him as a deceased soldier, he hides himself in the basement of his house to avoid getting arrested. Director Lahir pada tahun 1973 dan mendapat gelar diploma dalam bidang penyutradaraan. Business Bewogen Silleven (2002) dan Emergo (2005) adalah film pendek yang diproduksinya di Belanda. Pada tahun 2006–2007, Taher menjadi salah satu juri pada Scenecs Film Festival. Falling Apart (2011) adalah film pendek yang dibuatnya di Kurdistan, Irak. Dia menjadi anggota Duhok International Film Festival 2013. Born in 1973 and earned Diploma in Director in 1997. Business Bewogen Silleven (2002) and Emergo (2005) are his short films made in the Netherlands. In 2006–2007, he became a Jury Member of Scenecs Film Festival. Falling Apart (2011) is his short film made in Kurdistan, Iraq. He became a member of Duhok International Film Festival 2013. Contact: Walid Taher [email protected]

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Fiction

Rathu Samanala Heenayak (Red Butterfly Dream)

EMPIRE XXI | WED 30 NOV | 17.15 – 19.15

Priyantha Kaluarachchi/86 minutes/2016/Sri Lanka Samantha dan Ajith tinggal di sebuah flat dekat Colombo. Paman Ajith adalah pengkhotbah di sebuah kuil. Samantha dan sang Paman membaca sebuah naskah kuno yang mengatakan bahwa ada harta yang bisa didapatkan dengan mengorbankan seorang wanita perawan dengan empat tanda lahir berjajar di lehernya. Samantha pun bertemu Raajini—seorang gadis muda dengan empat tanda lahir berjajar di lehernya. Raajini datang ke Colombo untuk mencari adiknya yang hilang. Meskipun ada empat tanda lahir di lehernya, Samantha meragukan keperawanannya. Samantha pun kemudian mengorbankan Raajini untuk harta yang sebenarnya tidak ada. Samantha pun menjadi gila dan bertemu dengan arwah Raajini. Samantha and Ajith live in a flat near Colombo. Ajith’s uncle is a preacher at a shrine. Samantha and Uncle read an ancient script, says that a treasure can be attained by sacrificing a virgin woman with four birthmarks lined in the neck. Samantha then meets Raajini—a young girl with four birthmarks located accordingly on her neck. Raajini comes to Colombo in search of her lost sister. Even though there are four birthmarks on her neck, Samantha doubts her virginity. Samantha then sacrifices Raajini for the treasure that does not exist. Samantha goes insane and crosses Raajini’s spirit. Director Priyantha menyelesaikan studi Film dan Apresiasi di Film and Television Institute of India (FTII) pada tahun 2006 di Sri Lanka. Dia berpengalaman tujuh tahun sebagai Produser Program di MTV dan Young Asia Television. Dia kemudian bekerja di sebuah teater di Sri Lanka untuk menyutradarai drama yang memenangkan berbagai penghargaan nasional. Dia menyutradarai film dokumenter tentang tsunami, Peraliya, dan terpilih pada Berlinale Talent Campus di 57th Berlin International Film Festival pada tahun 2007. Peraliya juga terpilih dalam 15th Cinerail International Festival di Paris pada tahun 2007. Priyantha completed the Film and Appreciation course held by Film and Television Institute of India (FTII) 2006 in Sri Lanka. She had seven years of experience as a Program Producer at MTV and Young Asia Television. She then worked in a theatre in Sri Lanka and directed stage drama, which won many national awards. She directed the documentary about tsunami, Peraliya, and got selected at the Berlinale Talent Campus at the 57th Berlin International Film Festival in 2007. Peraliya was also selected at the 15th edition of Cinerail International Festival in Paris in 2007. Contact Priyantha Kaluarchchi | [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Sihung (Canine) Esa Hari Akbar/65 minutes/2016/Indonesia Sebuah keluarga di daerah pinggiran Kota Bandung menikmati hiburan Ngadu Bagong, sebuah permainan tradisional Sunda di mana anjing ditarungkan dengan babi. Ade Rohmat (49) telah mengikuti permainan tersebut sejak lama dan hobi itu telah diturunkan pada anaknya, Ilma Nurjanah (16). Ngadu Bagong menghadirkan emosi, kehormatan, dan keberuntungan bagi para penggemarnya. A suburban Bandung family enjoys their pastime with Ngadu Bagong, a Sundanese traditional game where dogs are put to fight against boar. Ade Rohmat (49) has been in the game for a long time as a hobby that he passes on to daughter Ilma Nurjanah (16). Ngadu Bagong brings emotion, prestige, and fortune to its enthusiasts. Director Esa Hari Akbar atau yang biasa dipanggil Esahak lahir di Bandung pada 30 Desember. Mulai tertarik pada dunia film sejak tahun 2007. Ia mendirikan komunitas Kota Sinema (2008–sekarang) dan juga menjadi salah satu pendiri komunitas Ruang Film Bandung (2013). Aktif mengikuti beberapa kegiatan lokakarya film, di antaranya: LA Lights Indie Movie 2009 (finalis), Eagle Awards 2010 (finalis), dan Gotrasawala Ethnographic Film 2014 (finalis). Esa Hari Akbar, known as Esahak, was born in Bandung on 30 December. He started to be interested in cinema in 2007. He established a community named Kota Sinema (2008–present) and is one of the co-founders of Ruang Film Bandung (2013). He has been participating actively in several film workshops including: LA Lights Indie Movie 2009 (finalist), Eagle Awards 2010 (finalist), and Gotrasawala Ethnographic Film 2014 (finalist). Contact: Esa Hari Akbar [email protected]

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Fiction

Singing in Graveyards


Bradley Liew/141 minutes/2016/Malaysia & Philippines Pepe, pria 68 tahun yang sering meniru legenda rock Filipina, hidup sendiri pada batas antara kenyataan, imajinasi, dan hal-hal mistis. Suatu hari, ia akhirnya mendapat kesempatan untuk menjadi penampil pembuka dalam konser band rock legendaris tersebut, tetapi ia harus melakukan hal yang belum pernah dilakukan baik olehnya maupun oleh band tersebut—menulis lagu cinta. Pepe, a 68 year old impersonator of a Filipino rock legend, lives alone on the borders of reality, imagination, and mysticism. One day, he is finally given the chance to open the rock legend’s concert but he must do something neither of them has done before—write a love song. Director Bradley Liew adalah seorang sineas indie Malaysia yang bekerja sebagai sutradara, sinematografer, dan produser baik di Malaysia dan Filipina. Ia merupakan alumnus dari Asian Film Academy, NAFF Fantastic Film School, Berlinale Talents, dan Locarno Filmmakers Academy. Film panjang pertamanya, Singing in Graveyards, adalah penerima pendanaan dari Visions Sud Est Production Support Fund. Ia juga tengah memproduksi projek Lav Diaz yang akan datang, When the Waves are Gone. Bradley Liew is a 26-year-old Malaysian independent filmmaker who works as a director, cinematographer, and producer in both Malaysia and the Philippines. He is an alumnus of the Asian Film Academy, NAFF Fantastic Film School, Berlinale Talents, and the Locarno Filmmakers Academy. His first feature film, Singing in Graveyards, was the recipient of Visions Sud Est Production Support Fund. He is also producing Lav Diaz’s upcoming project, When the Waves are Gone. Contact: Nurul Fajri [email protected]


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Turah Wicaksono Wisnu Legowo/79 minutes/2016/Indonesia Kerasnya persaingan hidup menyisakan orang-orang kalah di Kampung Tirang. Mereka dijangkiti pesimisme dan diliputi perasaan takut. Terutama kepada Darso, juragan kaya yang telah memberi mereka ‘kehidupan’. Pakel, sarjana penjilat di lingkaran Darso, dengan pintar membuat warga kampung makin bermental kerdil. Situasi tersebut memudahkannya untuk terus mengeruk keuntungan. Setitik optimisme dan harapan untuk lepas dari kehidupan tanpa daya hadir pada diri Turah dan Jadag. Peristiwa-peristiwa terjadi, mendorong Turah dan Jadag untuk melawan rasa takut yang sudah akut dan meloloskan diri dari narasi penuh kelicikan. Ini adalah usaha sekuat daya dari mereka, orang-orang di Kampung Tirang, agar mereka tidak lagi menjadi manusia kalah, manusia sisa-sisa. Harsh life makes people become losers in Kampung Tirang. They are infected with pessimistic and fear. Especially towards Darso, a rich boss who gave them ‘lives’. Pakel, a toady graduate in Darso’s circle, cunningly makes the villagers become low-minded. That situation helps him to easily take advantages. A slight optimism and hope to escape this unempowered life appear in Turah and Jadag. The indicents happened push Turah and Jadag to fight against their fear and get out of this cunning narration. This is a powerful effort from them, the people of Kampung Tirang, so that they will no longer be losers and remnants. Director Lahir di Tegal tahun 1983, menyelesaikan studi film di Institut Kesenian Jakarta. Film pendek pertamanya, Tobong, mendapat penghargaan spesial dari dewan juri di Festival Film Indonesia 2006. Turah adalah proyek film panjang pertamanya. Born in Tegal in 1983, finished his film study in Jakarta Arts Institute. His short film, Tobong, received special awards from the judges in Festival Film Indonesia 2006. Turah is his first feature project. Contact: Narina Saraswati [email protected]

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A Yellow Bird


K. Rajagopal/110 minutes/2016/Singapore Siva Sudhakar, seorang lelaki Singapura keturunan India berusia 38 tahun, baru saja bebas setelah 8 tahun dipenjara. Ia kembali ke flat ibunya dan mendapati kamarnya telah disewakan pada seorang imigran. Mantan istri dan anaknya pun telah pergi entah ke mana. Karena tak mendapat ampunan dari ibunya, ia mulai mencari mantan istri dan anaknya guna memperbaiki kesalahannya di masa lalu. Sejauh apa ia akan berkelana demi menebus kesalahannya? Siva Sudhakar, a 38 year old Singaporean Indian man, is released from prison after 8 years. He returns to his mother’s flat to learn that his old bedroom has been rented out to migrant workers while his ex-wife and daughter have left without a trace. Unable to find forgiveness from his mother, he begins a quest to locate his ex-wife and daughter in order to right the wrongs of his past. How far will he go in order to redeem himself from his guilt? Director K. Rajagopal adalah seorang pegiat film dan teater profesional dari Singapura. Sebagai seorang sineas, film pendek dan dokumenternya adalah Brother (1999), Culture X (2010), dan 7 Letters (2015). A Yellow Bird adalah debut film panjangnya. K. Rajagopal is a theater and film professional from Singapore. As a filmmaker, his shorts and docs include Brother (1999), Culture X (2010), and 7 Letters (2015). A Yellow Bird is his feature directorial debut. Contact ALPHA VIOLET [email protected]


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Ziarah BW Purba Negara/84 minutes/2016/Indonesia Mbah Sri (95) mencari kuburan suaminya yang telah lama hilang dengan satu tujuan: ia ingin beristirahat dengan tenang di sebelah kuburan suaminya. Mbah Sri (95) is looking for the grave of her husband, who has been missing for decades, with one simple aim: she wants to rest in peace beside her husband’s grave. Director Lahir di Sleman, Yogyakarta, Indonesia, BW Purba Negara adalah lulusan Fakultas Filsafat, Universitas Gadjah Mada. Pembuat film yang sepenuhnya otodidak ini turut mendirikan Limaenam Films dan telah membuat beberapa film dokumenter dan pendek bersama rumah produksi tersebut. Born in Sleman, Yogyakarta, Indonesia, BW Purba Negara is a graduate of the Faculty of Philosophy at Gadjah Mada University. Completely self-trained, he co-founded the production house Limaenam Films and has made several documentaries and shorts under its banner. Contact: BW Purba Negara [email protected]

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ASIAN FEATURE Competition - JAFF Award (Golden & Silver Hanoman Award)

Documentary

City of Jade


Midi Z/99 minutes/2016/Taiwan & Myanmar Saat perang antara pemerintah dan Kachin Independence Army (KIA) tengah berlangsung, perusahaan-perusahaan dipaksa berhenti beroperasi di tambang batu giok. Waktu seperti beku di kawasan perang ini dan para warga miskin mulai berbondong-bondong pergi ke wilayah tersebut. Dengan membawa peralatan gali sederhana, mereka tiba di surga itu. Setiap malam mereka bermimpi menjadi kaya dan tidak ada satu pun dari mereka yang mampu bangun dari mimpi itu. As the war between the government and the Kachin Independence Army (KIA) is still going, the corporations are forced to halt their operation in the jade mines. Time seems to have frozen in this war zone while waves of poor workers flock to the area. Carrying simple digging tools, they arrive in this paradise. Dreaming of getting rich overnight, none of them has ever woken from that dream. Director Lahir di Myanmar tahun 1982, Midi Z menginjakkan kaki di Taiwan saat berumur enam belas tahun. Sebelum memperoleh gelar masternya dari National Taiwan University of Technology and Science, ia belajar desain dan seni. Tahun 2015, naskah filmnya, The Road to Mandalay, memenangkan penghargaan utama di L’Atelier dalam Festival de Cannes dan Prix ARTE International. Born in Myanmar in 1982, Midi Z arrived in Taiwan at the age of sixteen. He studied design and art before obtaining a master degree from the National Taiwan University of Technology and Science. In 2015, his script of The Road to Mandalay won the biggest prize at L’Atelier at Festival de Cannes and the Prix ARTE International. Contact Isabella M. Ho [email protected]


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Daughters of the Three Tailed Banner Gutierrez Mangansakan II/77 minutes/2016/Philippines Sebuah keluarga berada di ambang kehancuran setelah anggota laki-laki terakhirnya meninggal. Untuk menyelamatkan masa depan mereka, sang ibu—Kadiguia, memutuskan untuk mencari suami yang cocok bagi Tonina, seseorang yang memenuhi syarat untuk melanjutkan keturunan martir dan prajurit. Bermil-mil jauhnya di kota, Aida diam-diam bekerja di sebuah hotel setelah menjadi korban perekrutan ilegal. Ia menyembunyikan kenyataan ini dari keluarganya yang percaya bahwa dia bekerja di Kuwait sebagai pengasuh. A family is in ruins after the last male member dies. To salvage their future, the matriarch— Kadiguia, decides to look for a suitable husband for Tonina to continue the line of martyrs and warriors. Many miles away in the city, Aida secretly works in a hotel after victimized by an illegal recruiter. She hides this fact from her family who believes that she is in Kuwait working as a nanny. Director Gutierrez Mangansakan II, lahir pada tahun 1976, adalah seorang pembuat film, penulis, dan pengajar yang merupakan keturunan Maguindanao dari Filipina selatan. Ia menulis dan menyutradarai berbagai film yang mendapatkan banyak pujian seperti: Limbunan (Bridal Quarter), Cartas de la Soledad (Letters of Solitude), Obscured Histories and Silent Longings of Daguluan’s Children, dan Qiyamah (The Reckoning). Gutierrez Mangansakan II, born in 1976, is a filmmaker, a writer, and an educator. He is a Maguindanao descendant from the southern Philippines. He writes and directs the critically acclaimed films Limbunan (Bridal Quarter), Cartas de la Soledad (Letters of Solitude), Obscured Histories and Silent Longings of Daguluan’s Children, and Qiyamah (The Reckoning). Contact: Teng Mangansakan [email protected]

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hUSh Djenar Maesa Ayu & Kan Luḿ/90 minutes/2016/Indonesia hUsh bercerita tentang seorang calon penyanyi dari Bali yang merantau ke Jakarta demi menggapai kesuksesan. Selama perantauannya di Jakarta, ia menemui berbagai halangan, termasuk dari kekasihnya yang sangat ambisius dan tidak tulus mencintainya. Ia juga menemui perubahan dalam dirinya yang menjadi semakin materialistis dan kehilangan makna persahabatan yang tulus. hUsh tells a story of an aspiring singer from Bali who decided to move to Jakarta to be successful. During her time at Jakarta, she encounters many problems, including her boyfriend who is very ambitious and insincerely loving her. She also finds herself becoming a materialistic woman and lost the meaning of a sincere friendship. Director Djenar Maesa Ayu Djenar telah menerbitkan enam kumpulan cerpen dan sebuah novel. Cerpennya yang berjudul Menyusu Ayah menjadi cerpen terbaik Jurnal Perempuan 2003, sementara Waktu Nayla meraih penghargaan Cerpen Terbaik Kompas di tahun yang sama. Djenar juga menyutradarai Mereka Bilang, Saya Monyet! (2008) dan SAIA (2009). Ia mendapat Piala Citra dari kategori Skenario Adaptasi Terbaik bersama Indra Herlambang dan Sutradara Baru Terbaik pada Festival Film Indonesia 2009. Sementara film SAIA tidak didistribusikan di Indonesia. Nay, film ketiganya, memenangkan NETPAC Award di JAFF 2015. Djenar has published six anthologies of short stories and a novel. Her short story, Menyusu Ayah became the best short story of Jurnal Perempuan 2003, while Waktu Nayla won an award of Cerpen Terbaik Kompas (Kompas Best Short Story) in the same year. Djenar also directed Mereka Bilang, Saya Monyet! (2008) and SAIA (2009). She won Piala Citra for Skenario Adaptasi Terbaik (Best Adaptation Scenario) category with Indra Herlambang and for Sutradara Baru Terbaik (Best New Director) category at Festival Film Indonesia (Indonesian Film Festival) 2009. SAIA is not distributed in Indonesia. Nay, her third film, won NETPAC Award in JAFF 2015. Kan Luḿ Kan Luḿ adalah pembuat film peraih banyak penghargaan yang menerima gelar Sarjana Film dan Televisi-nya dari Bond University di Australia (Hons), dengan mengambil program studi ganda di Film. Selain menjadi salah satu pembuat film paling produktif di Singapura, ia juga mengajar film di sekolah-sekolah bergengsi seperti NYU Tisch Asia, School of Audio Engineering, Singapore Polytechnic, Ngee Ann Polytechnic, and Makassar SEA Screen Academy. Ia pernah menjadi pembicara di TEDx, kini seniman rekanan di Substation Home of the Arts, dan telah menerima sponsor untuk karyanya dari Kedutaan Jerman di Singapura, National Gallery of Singapore, dan Asian Film Archive. Kan Luḿ is a multiple award winning filmmaker who received his Bachelor of Film and Television from Bond University in Australia (Hons), with a double major in Film. Besides being one of the most prolific filmmakers in Singapore, he has taught film in prestigious film schools such as NYU Tisch Asia, School of Audio Engineering, Singapore Polytechnic, Ngee Ann Polytechnic, and Makassar SEA Screen Academy. He was a speaker at TEDx, is an associate artist at Substation Home of the Arts, and has received commissions for his work from the German Embassy in Singapore, The National Gallery of Singapore, and the Asian Film Archive. Contact: Djenar Maesa Ayu | [email protected] Kan Luḿ | [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Interchange Dain Iskandar Said/102 minutes/2016/Malaysia Seorang fotografer forensik yang mengalami trauma hebat terseret ke dalam misteri pembunuhan supernatural yang mengungkap dunia bawah tanah Kuala Lumpur yang dipenuhi sihir kuno dan ritual menyeramkan. A shell-shocked forensics photographer is drawn into a supernatural murder mystery that reveals Kuala Lumpur’s underworld of ancient magic and sinister ritual. Director Dain Iskandar Said lahir di Kuala Lumpur. Ia mempelajari film dan fotografi di University of Westminster, London. Ia telah menyutradari film pendek Surabaya Johnny (1990) dan beberapa film panjang berjudul Dukun (2006), Fish Listener of Setiu Lagoon (2010), dan Bunohan: Return to Murder (2011). Interchange adalah film terbarunya. Dain Iskandar Said was born in Kuala Lumpur. He studied film and photography at the University of Westminster in London. He has directed the short film Surabaya Johnny (1990) and the features Dukun (2006), Fish Listeners of Setiu Lagoon (2010), and Bunohan: Return to Murder (2011). Interchange (2016) is his latest film. Contact: Fauzan Zidni [email protected]

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Istirahatlah Kata-Kata (Solo, Solitude) Yosep Anggi Noen/97 minutes/2016/Indonesia Rezim Suharto berkuasa di Indonesia selama lebih dari 30 tahun dan terus-terusan membunuh tumbuhnya demokrasi. Wiji Thukul, penyair yang kata-katanya sering diteriakkan dengan bangga oleh demonstran dalam protes-protes politik, sangat kritis terhadap rezim Suharto dan tak gentar menyuarakan pikirannya. Saat kerusuhan terjadi tahun 1996 di Jakarta, ia dan beberapa aktivis lain dianggap bertanggung jawab. Wiji Thukul terpaksa melarikan diri ke Pontianak, Kalimantan, dan hidup dalam persembunyian selama delapan bulan, kadang-kadang dengan orang yang sama sekali tak ia kenal. Di sana, ia harus mengubah identitasnya beberapa kali, tetapi tetap aktif menulis puisi dan cerita pendek dengan nama pena. Sementara itu, di Solo, Jawa Tengah, istrinya, Sipon, hidup dengan dua anak mereka di bawah pengawasan ketat. Bulan Mei 1998, ketika Suharto dipaksa lengser oleh rakyat, Wiji Thukul dinyatakan hilang. The Suharto regime has held power in Indonesia for over 30 years, shutting down democracy time and time again. Highly critical of the regime and unafraid to speak his mind, Wiji Thukul is a poet whose words are often yelled proudly by the crowd during political protests. When riots broke out in Jakarta in 1996, he and a few other activists were accused to be responsible. Forced to flee, Wiji escaped to Pontianak in Borneo where he hid for eight months, sometimes living with complete strangers. There, he had to change his identity several times, but continued to write poetry and short stories under a pen name. In the meantime, in Solo, Central Java, his wife, Sipon, lived with their two children under constant surveillance. In May 1998, when Suharto was deposed by his own people, Wiji Thukul was declared missing. Director Lahir di Indonesia tahun 1983, Yosep Anggi Noen belajar Ilmu Politik dan Komunikasi di Universitas Gadjah Mada, Yogyakarta. Ia mendapatkan beasiswa dari Asian Film Academy (AFA) di Busan IFF 2007 dan mendapatkan pelatihan di Berlin IFF Talents Campus 2013. Ia menyutradarai banyak film pendek, seperti Hujan Tak Jadi Datang (2009), yang terpilih di IFF Rotterdam, dan Windless Rhapsody (2010) yang merupakan bagian dari film dokumenter Working Girls. Film panjang pertamanya, Vakansi yang Janggal dan Penyakit Lainnya, berkompetisi di FF Locarno dan mendapatkan Special Mention untuk Dragons & Tigers Award for Young Cinema di Vancouver IFF 2012. Film pendeknya A Lady Caddy Who Never Saw a Hole in One (2013) memenangkan Sonje Award untuk Best Short Film di Busan IFF 2013 dan Grand Prix di Short Shorts FF & Asia 2014. Born in Indonesia in 1983, Yosep Anggi Noen studied Politics and Communication at Gadjah Mada University, Yogyakarta. He received a fellowship from the Asian Film Academy (AFA) at the 2007 Busan IFF, and was trained at the 2013 Berlin IFF Talents Campus. He directed many short films including Hujan Tak Jadi Datang (It’s Not Raining Outside) (2009), selected at the IFF Rotterdam, and Windless Rhapsody (2010) which was part of the documentary Working Girls. His first feature film, Vakansi yang Janggal dan Penyakit Lainnya (Peculiar Vacation and Other Illness), competed at the FF Locarno and received Special Mention for the Dragons & Tigers Award for Young Cinema at the 2012 Vancouver IFF. His short film, A Lady Caddy Who Never Saw a Hole in One (2013), won the Sonje Award for Best Short Film at the 2013 Busan IFF and Grand Prix at the 2014 Short Shorts FF & Asia. Contact: Yulia Evina Bhara | [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Gesu no Ai (Lowlife Love) Eiji Uchida/110 minutes/2015/Japan Tetsuo adalah seseorang yang kacau. Sebagai seorang sutradara, film indienya pernah mencapai kesuksesan beberapa tahun lalu tetapi ia menolak untuk memperbaiki integritas artistiknya. Ia mendapat kesuksesan dengan mengeksploitasi teman, keluarga, dan para murid di sekolah akting miliknya. Suatu hari, dua murid baru datang ke sekolahnya: Minami, seorang gadis naif dari desa yang bercita-cita menjadi aktris, dan Ken, seorang penulis naskah. Tetsuo berpikir bahwa Minami akan jadi bintang besar suatu hari nanti dan Ken punya naskah cemerlang yang dapat membangkitkan kembali karier Tetsuo sebagai sutradara. Dengan bantuan seorang produser yang tidak menyenangkan, mereka berusaha mewujudkan proyek ini, tetapi kemampuan Minami mulai memesona orang lain, dan dunia Tetsuo mulai terungkap. Tetsuo is a lowlife. As a film director, he had an indie hit many years back, but refuses to go against his artistic integrity. He gets by with exploiting his friends, family, and the students of his acting school. One day, two new students come to his school: Minami, a naive girl from the countryside who wants to be an actress, and Ken, a scriptwriter. Tetsuo thinks Minami could be a real star and Ken has a brilliant script that could relaunch his career as a director. With the help of an unsavory film producer, they strive to turn this project into something tangible, but Minami’s ability starts to impress others, and Tetsuo’s world starts to unravel. Director Lahir di Rio, Brazil, dari seorang ibu berkebangsaan Jepang, dan kembali ke Jepang saat kanakkanak. Bekerja sebagai jurnalis di beberapa terbitan terkenal sebelum akhirnya menjadi sutradara. Debut filmnya adalah Gachapon tahun 2004 dan setelahnya memproduksi beberapa film panjang seperti Topless (2008), The Last Days of the World (2011), Greatful Dead (2013), dan banyak lainnya. Born in Rio, Brazil, to a Japanese mother, and returned to Japan in his childhood. Worked as a journalist for many major publications before becoming a film director. Made his debut with Gachapon in 2004 before going on to make a variety of features including Topless (2008), The Last Days of the World (2011), Greatful Dead (2013), and many more. Contact: Adam Torel [email protected]

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MRS Adolfo Alix, Jr./80 minutes/2016/Philippines Virginia, 70 tahun, tinggal di rumah warisannya bersama Delia, pembantu setianya. Delia menikah dengan Rene, pacarnya selama bertahun-tahun. Dengan isak tangis Delia mengungkapkan keinginannya untuk pindah ke rumah orangtuanya untuk memulai hidup baru dengan suaminya. Virginia berupaya menghalau bayangan kepergian putranya, Sonny Boy, beberapa tahun lalu. Selanjutnya, ditampilkan potret seorang perempuan dan ibu yang berusaha untuk merekayasa realitas yang pahit dalam siklus hidup dan mati. 70-year-old Virginia shares the old ancestral house with Delia, her ever-loyal maid. Delia is marrying her long-time boyfriend, Rene, and tearfully confides to Virginia that she wants to go home to her parents in the province to start a new family life with him. Haunted by a past that Virginia tries to conquer her only son, Sonny Boy, who disappeared years ago. What follows shows a portrait of a woman and a mother trying to juggle the sad realities of life in a cycle of life and death. Director Adolfo Alix Jr. lahir tanggal 17 Oktober 1978 di Kota Makati, Filipina. Ia lulus dengan predikat magna cum laude dari Pamantasan ng Lungsod ng Maynila (Universitas Kota Manila), di bidang Komunikasi Massa. Ia memulai karier sebagai penulis naskah untuk film dan televisi. Di usia 18 tahun, ia memenangkan First Prize dalam kompetisi penulisan naskah nasional dari Film Development Foundation (sekarang Council) pada tahun 1999. Lebih jauh lagi, naskahnya yang menang penghargaan, Kahapon, May Dalawang Bata, dijadikan film panjang oleh Carlitos Siguion Reyna. Oleh The Hollywood Reporter, Alix dimasukkan dalam daftar “Next Generation Asia 2010”, yang mengetengahkan 20 orang muda dari dunia hiburan di Asia yang dianggap sebagai “yang terbaik dan paling bersinar di antara yang lain” dari kawasan yang disebut sebagai “pasar hiburan terbesar di dunia” itu. Adolfo Alix Jr. was born on 17 October 1978 in Makati City, Philippines. He graduated magna cum laude at the Pamantasan ng Lungsod ng Maynila (University of the City of Manila) with a degree in Mass Communications. He started his career as a scriptwriter for films and television. At age 18, he won First Prize in the Film Development Foundation’s (now Council) nationwide screenwriting competition in 1999. Even better, his prizewinning script, Kahapon, May Dalawang Bata, was made into a feature film by Carlitos Siguion Reyna. Alix has been recently listed by The Hollywood Reporter in its “Next Generation Asia 2010”, which features the top 20 young entertainment personalities in the region deemed “the best and the brightest among their peers” from a vast region considered “the world’s biggest entertainment market”. Contact: Adolfo Alix, Jr. | [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

Sunya


Harry Dagoe Suharyadi/87 minutes/2016/Indonesia Semenjak sang ibu meninggalkannya secara misterius, Bejo (5 tahun) kerap mengalami kejadian aneh. Saat dewasa, ia berhasil meminang wanita idamannya, Raisya, tapi ia dituduh memelet Raisya. Situasi semakin kompleks saat kabar datang dari rumah sakit: neneknya sekarat, tapi tidak ada gejala sakit apa pun. Sang nenek tidak bisa sehat maupun meninggal dunia. Bejo mengupayakan kesembuhan neneknya dengan cara nonmedis. Ia lantas menempuh jalan klenik. Konsekuensinya tidaklah main-main, dan ternyata berhubungan dengan masa kecilnya yang misterius. Since his mother mysteriously left him, Bejo (5) often experiences unusual circumstances. As a grownup, he manages to propose his woman of dream, Raisya, but he is being accused for doing a black magic to her. Everything goes complicated when the hospital informs him that his grandma was dying without any visible symptom of illness. His grandma can neither recover nor die. Bejo searched for cure for his grandma through a non-medical way. Klenik is his choice. The consequences coming afterwards is serious and turns out to be connected with his mysterious childhood. Director Pada 1989, Harry Suhariyadi (l. 12 Desember 1969) mulai belajar perfilman di jurusan Penyutradaraan di Institut Kesenian Jakarta. Film pendek Happy Ending (1996), film televisi Mencari Pelangi (1998), dan film musikal anak Ratu Malu & Jendral Kancil mendapatkan berbagai penghargaan. Tahun 1999, Harry menerima beasiswa dari Jepang untuk karya dan pencapaiannya. 9 bulan di Jepang, Harry menulis, memproduksi, dan menyutradarai Pachinko & Everyone’s Happy, film Jepang pertama yang disutradarai oleh sutradara non-Jepang. Film selanjutnya, Love Potpourri (2008), terpilih menjadi Best Asian Film di Singapore International Film Festival 2009. Sunya, film terbaru Harry, mengangkat kembali akar budaya asalnya, Jawa. In 1989, Harry Suhariyadi (b. 12 December 1969) began to study film by taking Directing major in Jakarta Arts Institute. His short film titled Happy Ending (1996), a TV movie Mencari Pelangi (1998), and his children’s musical film Ratu Malu & Jendral Kancil won various awards. In 1999, Harry was awarded a fellowship by Japan for his works and achievements. During 9 months in Japan, Harry wrote, produced, and directed Pachinko & Everyone’s Happy, the first Japanese movie directed by non-Japanese. His next movie, Love Potpourri (2008), was selected as the Best Asian film in the Singapore International Film Festival 2009. Sunya, Harry’s latest film, is made in his return to his native cultural root, Javanese. Contact: Harry Dagoe Suharyadi [email protected]

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Fiction


The Island Funeral Pimpaka Towira/105 minutes/2015/Thailand Laila memutuskan untuk melakukan perjalanan ke Pattani, salah satu dari tiga provinsi paling selatan di Thailand, untuk menemui bibinya yang telah lama hilang. Saudara laki-laki dan teman saudaranya ikut serta. Mereka bertiga berangkat dari Bangkok saat kota itu sedang mengalami konflik radikal. Berstatus sebagai orang kota membuat mereka tak menyadari terjadinya kekerasan di sekitar Pattani selama bertahun-tahun. Setelah bertemu dengan tentara mencurigakan yang dikirim untuk menumpas pemberontak, keempatnya bersamasama mencari bibi Laila. Rute yang mereka lalui menuntun mereka ke wilayah yang sama sekali asing. Laila sets out on a road trip to Pattani, one of the three southernmost Thai provinces, to visit her long-lost aunt. Her brother and his friend are tagging along. The three take off from Bangkok during a time when the capital is going through a radical conflict. Being the city’s citizens has prevented them from realizing much about the violent outbreaks that have been occurring around Pattani for many years. Meeting a suspicious soldier sent to fight the insurgents, the four head together to find Laila’s aunt, where the route is leading them to discover a land stranger than that they are familiar with. Director Dikenal sebagai sutradara perempuan Thailand pertama oleh kritikus dan penonton film internasional, ia adalah perintis skema film independen Thailand sejak awal tahun 90-an. Sejak 1988 ia telah membuat sejumlah film pendek eksperimental, sebagian besar melukiskan isu perempuan, termasuk Mae Nak, sebuah dekonstruksi atas cerita hantu populer Thailand “Mae Nak Phra Kanong”. Ia adalah direktur program Bangkok Film Festival 2001, 2008, dan 2009. Ia juga menjadi anggota juri untuk berbagai festival film seperti Oberhausen International Short Film Festival 2001, Yamagata Documentary Film Festival 2005, dan Hong Kong Film Festival 2010. Pimpaka memenangkan Silapathorn Award (penghargaan bagi seniman kontemporer Thailand) pada tahun 2009 dari Kementerian Kebudayaan Thailand. Recognised as the first female Thai director to be noticed by international viewers and critics, she is a pioneer on the Thai independent film scene since the early ‘90s. Since 1988 she has made a number of experimental short films, mostly depicting women’s issues, including, Mae Nak, a deconstruction of the popular Thai ghost story “Mae Nak Phra Kanong”. She was the program director for the Bangkok Film Festival 2001, 2008, and 2009. Moreover, she was invited as a jury member for many film festivals such as Oberhausen International Short Film Festival in 2001, Yamagata Documentary Film Festival in 2005, and Hong Kong Film Festival in 2010. Pimpaka won the Silapathorn Award (an honour for Thai contemporary artists) in 2009, presented by the Ministry of Culture in Thailand. Contact Extra Virgin Co, Ltd. 15/67 Soi Chokchai Ruammit, Vibhavadi Rangsit Road Bangkok 10900 Thailand [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

Kaadu Pookkunna Neram (When the Woods Bloom) Dr. Biju/105 minutes/2016/India Sebuah batalion polisi khusus dikerahkan untuk menyingkirkan Maois (organisasi Kiri terlarang) di sebuah desa di dalam hutan. Para polisi menempati sebuah sekolah sebagai pangkalan mereka. Suatu malam, mereka melakukan pencarian atas beberapa orang ke dalam hutan. Seorang polisi mengikuti seorang wanita jauh ke dalam hutan dan berhasil menangkapnya. Sang polisi pun mencoba keluar dari hutan namun ia kehilangan arah. Wanita itu tahu jalan keluar dari hutan namun ia menolak untuk menunjukkan jalan. Sang pemburu dan hasil buruannya pun terdampar di hutan yang lebat. Kekuatan, kejahatan, pria, wanita, pemburu, yang diburu... semua persamaan tersebut berubah dan tidak lagi seperti sebelumnya. A special police battalion is deployed to get rid of the Maoist (a banned Left organization) in a village in the forest. The police occupy a primary school for their camp. One night, the police are on lookout for some people in the forest. A policeman follows a woman deep into the forest and successfully arrests her. He tries to go out from the forest but he loses his way in the wild. The woman knows the way out but she refuses to show the way. The hunter and the hunted are stranded in the thick forest. Power, crime, man, woman, the hunter, the hunted... all such equations change utterly and are no more what they used to be. Director Dr. Biju, yang juga dikenal sebagai Bijukumar Damodaran, adalah seorang pembuat film yang telah memenangkan beberapa penghargaan nasional dan internasional. Dia telah membuat tujuh film yang memiliki konten unik dan memegang komitmen sosial. Dr. Biju adalah penerima penghargaan film nasional bergengsi India sebanyak tiga kali. Filmnya diputar di beberapa festival film internasional termasuk Cannes, Montreal, Shanghai, Kairo, Telluride, New York, Teheran, Goa, dll. Ia juga menjabat sebagai anggota juri untuk India’s National Film Awards 2012, juri terpilih India’s Oscar 2015, 30th Fajr International Film Festival Tehran, Iran tahun 2012, dan International Film Festival of Kerala 2011. Film terbaru Biju ditayangkan perdana di Montreal Film Festival pada September 2016. Dr. Biju, also known as Bijukumar Damodaran, is a filmmaker who has won multiple national and international recognitions. He has made seven feature films and all are noted for the unique content and the social commitment. Dr. Biju accepted India’s prestigious national film awards for three times. His movies were screened at international film festivals like Cannes, Montreal, Shanghai, Cairo, Telluride, New York, Tehran, Goa, etc. He also served as jury member for India’s National Film Awards 2012, India’s Oscar selection jury member 2015, 30th Fajr International Film Festival, Tehran, Iran 2012, and International Film Festival of Kerala 2011. Biju’s latest film premiered at Montreal Film Festival on September 2016. Contact: [email protected]

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ASIAN FEATURE Non-Competition

Fiction


Alone in a Valley Boodee Keerthisena/108 minutes/2016/Sri Lanka Seorang direktur kreatif sebuah biro iklan tengah menghadapi sesuatu yang tidak pernah dialami sebelumnya. Istrinya hamil dan akan melahirkan dalam waktu dekat. Ia harus berada di kantor untuk mengerjakan suatu kampanye iklan yang mendesak. Ibunya menelepon agar ia segera menyusul ke rumah sakit. Dalam perjalanan ke rumah sakit, ia mengalami sesuatu. Melalui pengalaman ini, ia bertarung dengan keinginan dan ketakutannya. Ia akhirnya tiba di rumah sakit dan mengalami sesuatu yang tidak terduga. A creative director of an advertising agency is going through something he has never experienced. His wife is pregnant and is going to deliver the baby any time soon. He has to stay at the office, sorting out an urgent advertising campaign. At the office, his mother calls him to go to the hospital. On his way to hospital, he encounters an experience. Through this experience, he fights with his desires and his fears. He finally arrives to the hospital and experiences something unexpected. Director Boodee Keerthisena adalah sutradara Sri Lanka yang telah memenangkan banyak penghargaan. Pada tahun 1987, ia belajar film dan televisi di School of Visual Arts in Manhattan, New York. Tahun 1995, ia memproduksi film Sihina Deshayen (Veils of Maya) (1993) sebagai tesisnya. Film ini memenangkan 31 penghargaan di berbagai festival termasuk sutradara terbaik dan film terbaik. Ia merilis Mille Soya (Buongiorno Italia) pada tahun 2004, yang ikut dalam 16 festival dan menyabet 15 penghargaan, termasuk gambar terbaik dan sutradara terbaik. Pada tahun 2008, ia menulis skenario dan menyutradari Nimnayaka Hudakalawa (Alone in a Valley). Pada 2009-2010, ia menyutradarai Matha yang dirilis Januari 2012. Karyanya banyak dipengaruhi oleh John Cassavetes dan mengandung unsur gaya “cińma-v́rit́”. Boodee Keerthisena is an award-winning Sri Lankan filmmaker. In 1987, he went to New York to study film and television at School of Visual Arts in Manhattan. In 1995, he presented his feature film Sihina Deshayen (Veils of Maya) (1993) as his thesis. It won 31 awards in many festivals including best director and best film. He released Mille Soya (Buongiorno Italia) in 2004 which was in 16 festivals and won 15 awards including best picture and best director. In 2008 he co-wrote the screenplay and directed Nimnayaka Hudakalawa (Alone in a Valley). From 2009–2010 he directed Matha; it was released in January 2012. His work is influenced by John Cassavetes and contains elements of “cińma-v́rit́” style. Contact [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Emma’ (Mother) Riri Riza/77 minutes/2016/Indonesia Berdasarkan kisah nyata. Hidup Athirah hancur ketika wanita lain memasuki kehidupan suaminya. Dalam latar belakang zaman dan budaya di mana poligami masih diterima secara luas, Athirah berjuang sendirian dengan rasa sakit dan rasa hina. Di satu sisi, putra sulung Athirah, Ucu, harus melalui masa remajanya dengan ketidakpastian. Sementara mencoba memahami apa yang sedang terjadi dalam keluarganya, Ucu jatuh cinta pada Ida. Usahanya untuk mendekati Ida tidak mudah dan Ucu semakin frustrasi ketika ia mengetahui bahwa ibunya hamil lagi. Sebuah potret keluarga Indonesia di Sulawesi Selatan sekitar tahun 1960 yang masih bergema saat ini. Based on a true story. Athirah’s life is shattered when another woman enters her husband’s life. In a time and cultural background where polygamy is still widely accepted, Atheirah struggles alone with hurt and humiliation. Meanwhile, Athirah’s eldest son, Ucu, has to go through his teenage years with uncertainty. While trying to understand what is going on in his family, Ucu falls in love with Ida. His effort to approach Ida is not easy and Ucu’s frustration deepens when he discovers that his mother is pregnant again. A portrait of an Indonesian family in South Sulawesi circa 1960 that still resonates today. Director Riri Riza lulus dari Jurusan Film Institut Kesenian Jakarta dan memperoleh gelar master dalam Penulisan Skenario Film Panjang di Universitas Royal Holloway di London. Karya-karyanya telah memenangkan banyak penghargaan. Ia juga aktif menjadi juri dalam banyak festival film internasional. Riri adalah salah satu pendiri Rumata’ Artspace di Makassar dan pendiri SEAscreen Academy—pelatihan tahunan pembuatan film bagi sineas muda dari Indonesia Timur—dan forum sutradara muda di Asia Tenggara. Riri Riza graduated from the Film Department of the Jakarta Arts Institute, earned a master degree in Feature Screenwriting from the Royal Holloway University in London. His works have won numerous awards. He is also actively assigned as jury in many international film festivals. Riri is a co-founder of Rumata’Artspace in Makassar and the founder of SEAscreen Academy—an annual filmmaking training for young filmmakers of Eastern Indonesia—and forum for young South East Asian directors. Contact: Miles Films | [email protected]

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Fiction

EMPIRE XXI | SAT 03 DEC | 12.15 – 14.15

Flights Through Darkness Wong Kwang Han/107 minutes/2015/Singapore Sebuah malam yang bergairah membawa Bryan dan Daphne pada serangkaian perbincangan. Gambar diambil sebagai film tanpa narasi, tidak ada plot, hanya kehidupan dalam waktu nyata. Seks yang kasar nan liar mencerminkan kebrutalan mereka. Mereka saling melucuti, mengikuti siklus hidup yang menjadikan mereka seperti saat ini. Di luar seks yang sensasional itu, ada rahasia-rahasia kotor, ketidakamanan, dan kegelapan yang tidak pernah dibicarakan oleh siapa pun di Singapura yang makmur itu. Apa yang harus dikorbankan bagi pembangunan ekonomi tanpa henti ini yang menempatkan hasil, uang, kemakmuran, dan reputasi di atas segalanya? Mereka berhadapan dengan diri mereka sendiri sekaligus berhadapan dengan eksistensi negara itu. A passionate night leads Bryan and Daphne into a series of conversations. Shot as a non-narrative film, bereft of any plot, it is life in real time. The raw sexuality mirrors their brutality. They strip each other down, following the lifecycle of how they became who they are. Beyond the lurid sex, out come the dirty secrets, insecurities, and darkness that no one talks about in an affluent Singapore. What is the price of this unrelenting economic development that places results, money, affluence, and reputation above everything? They confront themselves and in so doing confronts the country’s existence. Director Wong Kwang Han adalah seorang pembuat film Singapura dan anggota pendiri kelompok seni multidisiplin Aporia Society. Ia dinominasikan untuk Life! Theatre Awards untuk naskah & akting terbaik pada tahun 2000. Ia adalah aktor/sutradara/penulis yang telah membuat tiga film: Joan and Jay-Diary of a friendship/Joan & Jay-Diary of a Breakup, Urban Conversations 2-Do You Love Me?, dan Flights Through Darkness. Saat ini mengerjakan film ketiga dan film panjang keempatnya, Goodbye Jennifer, serta dokumenter tentang beberapa seniman. Ia adalah salah satu pendiri terbitan seni independen A4ria, berisi tulisan kritis atas skena kesenian di Singapura. Saat ini bekerja sebagai guru akting di berbagai sekolah serta secara independen. Wong Kwang Han is a Singapore filmmaker and a founder member of multi-disciplinary arts group Aporia Society. He was nominated for the Life! Theatre Awards for best script writing & acting in 2000. He is an actor/ director/writer and has made three feature films: Joan and Jay-Diary of a Friendship/Joan & Jay-Diary of a Breakup, Urban Conversations 2-Do You Love Me?, and Flights Through Darkness. He is currently working on the postproduction of his third film and fourth features, Goodbye Jennifer, as well as a documentary on artists. He is also a founder member of independent arts publication A4ria, a critical commentary on the Singapore arts scene. He currently works as a teacher of acting in various schools as well as independently. Contact: Wong Kwang Han [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Old Stone Johnny MA/80 minutes/2016/China Seorang sopir taksi, Lao Shi, duduk di mobilnya dan mengamati kecelakaan tabrak lari: banyak orang berkerumun, tapi tidak ada yang menolong. Tiga bulan sebelumnya, Shi mengangkut penumpang mabuk yang menarik lengannya dan mengakibatkan taksinya berbelok tajam lalu menabrak pengendara sepeda motor. Pengendara itu tampaknya terluka parah, sedangkan polisi dan ambulans tak kunjung datang. Shi membawa sendiri si korban ke rumah sakit. Korban tersebut koma dan Shi bertanggung jawab untuk semua biaya pengobatannya. Shi tidak berani memberitahu istrinya, ia mencoba melakukan yang benar dengan caranya sendiri. Namun, upaya untuk meminjam uang dari temannya atau memohon penumpang yang mabuk itu untuk menyampaikan kesaksian dalam pembelaan Shi malah berakhir jadi penghinaan yang kejam. A taxi driver, Lao Shi, is sitting in his car observing a hit-and-run accident: a crowd gather but no one helps. Three months earlier, a drunken passenger grabbed his arm, causing his car to swerve and hit a motorcyclist. The injured man seemed to be in critical condition, while police and ambulance took forever to arrive. Shi drove the victim to the hospital by himself. The patient fell into a coma and Shi became liable for all his medical fees. Too scared to tell his wife, Shi tried to do the right thing in his own way. However, his attempts to borrow money from his friend or to beg his drunken passenger to record a police statement in his defense ended in cruel humiliation. Director Johnny Ma (Nan Ma) lahir di Shanghai, Cina. Berimigrasi ke Kanada pada usia sepuluh tahun. Setelah bekerja di bidang keuangan dan industri mode, ia belajar menjadi Sutradara/Penulis Skenario di Columbia University Master of Fine Arts pada tahun 2010. Saat ini Johnny tinggal di Vancouver dan bekerja di dua tempat: New York dan Cina. Johnny Ma (Nan Ma) was born in Shanghai, China. Immigrated to Canada at the age of ten years old. After working in both finance and fashion industry, he attended Columbia University Master of Fine Arts as Director/Screenwriter in 2010. Currently, Johnny resides in Vancouver but works in both New York and China. Contact: Anne Sophie Lehec [email protected]

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LIGHT OF ASIA

Cahaya Asia Light of Asia Ismail Basbeth Programmer

Sejak diinisiasi sebelas tahun yang lalu, program ini selalu berusaha mengambil fokus pada pembuat film yang mencoba memberikan alternatif berpikir yang tercermin dalam pilihan estetika dan isu yang dikelola dalam film-film terpilih. Tidak sedikit dari para pembuat film yang memulai perjalanannya di kategori ini di kemudian hari beranjak menjadi pembuat film panjang yang cukup berpengaruh di Asia dan diakui oleh dunia internasional karena mengenalkan dan membawa sudut pandang Asia dalam karyakarya mereka. Jauh sebelum itu, sekitar dua puluh tahun yang lalu, dunia internasional barangkali masih kikuk dalam melihat Asia; hal itu tercermin dari terbatasnya nama-nama pembuat film Asia yang dikenal oleh dunia internasional. Para pendahulu ini, disadari ataupun tidak, telah membuat standar dan definisi atas apa yang disebut sinema Asia. Generasi selanjutnya kemudian melihat dengan sudut pandang, gaya, ataupun isu yang sudah telanjur dianggap sebagai ‘Asia’ tersebut. Faktanya, Asia terus berubah, terus berkembang, dan terus berusaha menemukan jati dirinya melalui para pembuat film yang amat berani menarik cerita ke sudut pandang dan sikap yang jauh lebih personal namun sekaligus mencerminkan kondisi kemanusiaan di sekitarnya. Menjadi alternatif dan sesuatu yang independen adalah untuk terus mengikuti perkembangan zaman dan kondisi kemanusiaan di tempat Anda hidup; tanpa harus kehilangan sikap dan pendekatan personal yang Anda miliki. Sementara logika industri arus utama selalu saja berusaha meneguhkan temuan-temuan estetika ini menjadi aturan-aturan yang bisa diproduksi JOGJA-NETPAC ASIAN FILM FESTIVAL

Since being initiated eleven years ago, this program has always been trying to focus on film makers trying to provide thinking alternatives reflected in the choices of aesthetics and the issues managed in the chosen films. More than a few of the film makers starting their journey from this category later grow into quite influential feature makers on the international stage because they introduce and bring forth Asian perspectives through their works. Long before that, let us say twenty years ago, the international world might find themselves feeling awkward upon gazing at Asia; this phenomenon was illustrated through a very short list of names containing Asian filmmakers known worldwide. Those predecessors, whether we realize it or not, have set the bar for and defined Asian cinema. The generations that come next see through the perspective, style, and issues which already became what considered as ‘Asia’. But in reality, Asia is constantly changing, evolving, and struggling to find its true self through filmmakers who dare to make stories using the point of views and attitude that are more personal but still manage to present the condition of humanity around them. Being both an alternative and something independent means to keep up with the newest of this age as well as what is happening with humans living around you; without ever losing your stand and personal approaches. Amid mainstream industry’s logic relentlessly attempting to turn these aesthetical findings into a template that can be reproduced over and over again within industrial framework, alternative filmmakers should avoid being dull. They have to constantly reject and contradict the ways that have been co-opted previously

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ulang dalam kerangka industri, pembuat film alternatif seharusnya menghindari keajekan. Mereka harus terus membantah serta melawan cara-cara yang sebelumnya sudah dikooptasi oleh logika industri melalui karyakarya mereka, tanpa harus merasa diri lebih tinggi dan suci. Tentu saja program kami ini selalu berusaha mencari karya-karya utuh yang layak disebut film pendek, dan bukan film panjang yang berdurasi pendek. Namun, sebagai sebuah festival film kami tentu tidak mampu membatasi dan mengatur para pembuat film ini. Kami ada hanya untuk menangkap dinamika yang terjadi dalam proses kekaryaan yang bermunculan di berbagai negara Asia. Dengan bersetia dalam memilih hanya film-film yang kami rasa mewakili sinema Asia saat ini, kami ingin menggarisbawahi para pembuat film yang membawa perspektif dan sikap personal yang nyata dan mewujudkannya dalam karya. Harapan kami adalah bahwa karya-karya yang jujur dan berani ini akan dengan sendirinya menjadi cerminan yang lebih jelas dari sudut pandang dan persoalan kemanusiaan itu sendiri. Kami berdoa agar para pembuat film ini menjelma menjadi Cahaya Asia yang memandu jalan para penerusnya agar mampu mengeskplorasi dengan cara yang lebih berani dan bertanggung jawab kepada kemanusiaan dan pengetahuan.

by industrial logic through their films without having to act so high and mighty. Rest assured that this program never stops trying to find the works that possess all traits belonging to a short film instead of features with short duration. But of course it is impossible for us as a festival to limit and go around telling these filmmakers what to do. We exist solely to capture the dynamics of the creative processes popping in Asian countries. By staying true in choosing only films we thought as works representing present day’s Asian cinema, we want to highlight those filmmakers who use their actual, personal perspective and attitude animated through the films they make. We hope that all of these gallant and sincere works will, by themselves, be able to give you a closer look on the perspective used to perceive and the humanity issues themselves. We pray that these filmmakers will turn into the Light of Asia guiding those who follow their steps so that they can explore in a way that is more daring and responsible to humanity and knowledge. You and I are all the same before cinema. Happy watching.

Di mata sinema kita semua sama. Selamat menonton.

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LIGHT OF ASIA Competition - Blencong & Jogja Student Award

Fiction

TBY | TUE 29 NOV | 19.00 – 21.00

The Floating Chopin Wregas Bhanuteja/11 minutes/2016/Indonesia The Floating Chopin berkisah tentang sepasang kekasih yang sedang berlibur di sebuah pantai yang indah. Sang laki-laki bercerita tentang kunjungannya ke Eropa saat liburan. Rupanya ia mendapat tugas kuliah yang mengharuskannya untuk menafsirkan kunjungan tersebut. The Floating Chopin tells about a couple who go on a vacation in a beautiful beach. The man tells about his visitation to Europe during holiday. Apparently, he gets a task where he should interpret his visitation. Director Lahir di Jakarta dan tumbuh besar di Yogyakarta, Wregas Bhanuteja mempelajari Film dan Televisi di Institut Kesenian Jakarta. Pada tahun 2014, film pendek garapannya yang berjudul Lembusura terpilih untuk berkompetisi di 65th Berlin International Film Festival 2015. Karyanya yang lain, The Floating Chopin (2016), juga berkompetisi di 40th Hong Kong International Film Festival; dan tahun 2016, Prenjak (In The Year of Monkey) mendapat penghargaan Leica Cine Discovery Prize for Short Film di Semaine de la Critique, Festival de Cannes 2016. Wregas Bhanuteja was born in Jakarta and grew up in Yogyakarta. He studied Film and Television at Jakarta Arts Institute. In 2014, his short film, Lembusura, was chosen to compete at the 65th Berlin International Film Festival 2015. Another short film, The Floating Chopin (2016), competed at the 40th Hong Kong International Film Festival; and his film Prenjak (In The Year of Monkey) was awarded Leica Cine Discovery Prize for Short Film at Semaine de la Critique, Cannes Film Festival 2016. Contact: Wregas Bhanuteja [email protected]


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GRHATAMA | TUE 29 NOV | 14.15 – 16.15

The Silent Mob Harvan Agustriansyah/16 minutes/2016/Indonesia Seorang sopir datang ke pedesaan terpencil dan miskin guna merekrut massa bayaran untuk dimanfaatkan dalam demonstrasi di tempat lain. Pertemuan dengan sebuah keluarga dan sopir lain membawanya pada sebuah transaksi sengit kelas bawah yang menguji kemanusiaannya. A driver came to a poor and remote rural area to recruit mob-for-hire to be used in a demonstration someplace else. A meeting there with one family and another driver dragged him spiraling down in a violent lower class transactional world that would put his own humanity to a test. Director Lahir di Jakarta, Indonesia, tahun 1980. Harvan Agustriansyah mempelajari penyutradaraan di Fakultas Film dan Televisi, Institut Kesenian Jakarta. Film kelulusannya Orde (2007) telah ditayangkan di festival film nasional dan internasional. Hingga saat ini, ia telah memproduksi tujuh film pendek. Pangreh merupakan film pendek terbarunya yang didukung oleh Fasilitasi Film Pendek yang diadakan oleh Kementerian Pendidikan dan Kebudayaan Republik Indonesia tahun 2015. Born in Jakarta, Indonesia, in 1980. Harvan Agustriansyah studied directing at the Faculty of Film and Television Institut Kesenian Jakarta (Jakarta Arts Institute). His graduation film Orde (2007) has been screened at international and national film festivals. Currently, he has produced seven short films. Pangreh is his latest short film supported by Fasilitasi Film Pendek held by the Ministry of Culture and Education of the Republic of Indonesia in 2015. Contact: Harvan Agustriansyah [email protected]

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TBY | THU 01 DEC | 19.00 – 21.00

Fiction

TBY | FRI O2 DEC | 19.00 – 22.00

Ruah Makbul Mubarak/27 minutes/2016/Indonesia Halim Hardiyanto adalah seorang tokoh masyarakat yang rajin beribadah dan bersedekah. Ia yang sudah beristri bermaksud menikahi seorang wanita yang jauh lebih muda dari dirinya untuk tujuan ibadah. Akan tetapi istrinya tidak setuju dan menyumpahi Halim jika nekat menikah lagi. Kemalangan dan kejadian aneh berduyun-duyun datang setelah Halim menikahi Mega, wanita muda itu. Halim Hardiyanto is a public figure who loves worshipping God and giving charity. He is already married but wants to marry a young woman for the sake of worship. However, his wife disagrees and curses him if he recklessly marries that young woman. Misfortunes and weird things keep coming as he marries Mega, that young woman. Director Makbul Mubarak mengembangkan dan menjalankan Cinema Poetica. Dari 2009 sampai 2011, ia aktif sebagai pengurus literasi dan lokakarya di bioskop komunitas Kinoki. Ia adalah alumni Kajian Film dan Media di Korea National University of Arts, juga peserta Berlinale Talent Campus untuk kritik film pada tahun 2012. Makbul Mubarak developed and preserved Cinema Poetica. From 2009 till 2011, he was active as an organizer for literacy and workshop in a community cinema, Kinoki. He is an alumnus of Film and Media Studies in Korea National University of Arts, and was also a participant in Berlinale Talent Campus for film critic in 2012. Contact: Makbul Mubarak [email protected]


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Fiction

TBY | WED 30 NOV | 19.00 – 21.00

Memoria Kamila Andini/35 minutes/2016/Indonesian Seorang ibu mencoba melupakan memori ketika ia menjadi korban perang di Timor Leste. Seorang anak perempuan mencoba melindungi dirinya melalui pernikahan. Mereka tengah mencoba menemukan arti kebebasan yang sesungguhnya. Maria adalah salah satu korban kekerasan seksual di Timor Leste saat masa kelam kemerdekaan mereka. Ia melihat hal yang sama dapat terjadi pula pada Flora hanya karena mahar pernikahan. A mother tries to leave her memory of being a victim during the war in Timor Leste. A daughter tries to secure herself under a marriage. They are trying to find the real meaning of freedom. Maria is one of the female victims of sexual violence in Timor Leste in their dark years of independence. She sees that such possibility can happen as well to Flora just because of a bride price. Director Kamila Andini lahir di Jakarta dan mengenyam pendidikan di Melbourne’s Deakin University untuk mendalami seni media dan sosiologi. Karya pertamanya adalah film dokumenter dan serial televisi. Ia juga menyutradarai beberapa video musik. Film-filmnya meliputi A Song for Tukik (2010) dan Mirror Never Lies (2011). Kamila Andini was born in Jakarta and educated at Melbourne’s Deakin University where she studied media arts and sociology. Her earliest work was as a documentary and television series. She also directed several music videos. Her filmography includes A Song for Tukik (2010) and Mirror Never Lies (2011). Contact: Gita Fara [email protected]

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Fiction

GRHATAMA | WED 30 NOV | 14.15 – 16.15

Han Jonathan Choo/19 minutes/2015/Singapore Hoh Yim adalah seorang letnan kolonel dan ayah tunggal yang tabah. Anak lelakinya, Gideon, adalah seorang kartunis politik dan blogger. Hubungan keduanya diterpa cobaan ketika Gideon harus bertanggung jawab atas sebuah kasus tabrak lari fatal yang menewaskan seorang penerjemah wanita muda Korea yang hidup di Singapura. Demi menebus kesalahan anak lelakinya, Hoh Yim melakukan perjalanan ke Korea Selatan untuk berdamai dengan orangtua korban. Perjalanan itu justru membawanya mengenali dirinya sendiri yang tidak pernah dibayangkan sebelumnya. Hoh Yim, a stoic, retired lieutenant colonel and single father. His son, Gideon, is a political cartoonist and blogger. Their relationship is tested when Gideon is responsible for a fatal hit-and-run which resulted in the death of a young female Korean translator living in Singapore. In an effort to atone for his son’s actions, Hoh Yim travels to South Korea to reconcile with the victim’s parents but learns far more about himself than he ever expected to. Director Setelah lulus dari Ngee Ann Polytechnic School jurusan Kajian Film dan Media serta dari Nanyang Technological University School of Art Design and Media, Jonathan memproduksi dan membantu menulis film tesisnya Scot Free yang ditayangkan pada Singapore International Film Festival kategori Singapore Panorama. Scot Free juga dinominasikan untuk Best Short Film, Best Director, dan Best Screenplay di 2ndSingapore Short Film Awards tahun 2010. Dia mendapat Gold Award di Crowbar Awards tahun 2009 untuk iklan Gibson Guitars yang disutradarainya. Iklan tersebut juga terpilih menjadi 10 finalis dari 90 lebih pendaftar internasional di Porsche International Student Advertising Awards di Sttugart, Jerman. Saat ini, ia dinominasikan untuk 5 kategori, termasuk Best Director dan Best Screenplay, di National Youth Film Awards perdana. A graduate from Ngee Ann Polytechnic School of Film and Media Studies and Nanyang Technological University School of Art Design and Media, Jonathan produced and co- wrote his thesis film, Scot Free, which was screened in the Singapore International Film Festival’s Singapore Panorama section. It was also nominated for Best Short Film, Best Director, and Best Screenplay at the 2nd Singapore Short Film Awards in 2010. He received the Gold Award for a commercial he directed for Gibson Guitars at the 2009 Crowbar Awards. The ad was also one of the 10 finalists out of over 90 international applicants at the Porsche International Student Advertising Awards in Stuttgart, Germany. Recently, he was nominated in 5 categories, including Best Director and Best Screenplay, at the inaugural National Youth Film Awards. Contact: Jonathan Choo [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

GRHATAMA | WED 30 NOV | 14.15 – 16.15

The Boss Rzgar Husen Ahmed/21 minutes/2015/Iraq Sekelompok anak laki-laki kehilangan lapangan bola dan kolam renang mereka yang diambil oleh kelompok yang lebih kuat. Kemudian, mereka memutuskan untuk memilih bos dari kalangan sendiri. Lalu, bos tersebut menjadi seorang diktator di kelompoknya. A group of boys loses their football field and swimming pool which are taken by the tiger group. Later on, they decide to have a boss from their own. Then the boss becomes a dictator in his group. Director Ia lahir tahun 1979 di Iran, tetapi berkebangsaan Irak. Ia belajar film selama satu tahun di Law Filmmakers Society di Kota Mahabad. Ia juga mengikuti kursus Industri Televisi selama tiga bulan di Belanda. Selain itu, ia bergabung dalam kursus tentang “How to Make a Documentary Film” di The French Institute, Suleimani . Film ini merupakan film pendek ketiga yang disutradarainya. He was born at 1979 in Iran but with the Iraqi nationality. He has studied cinema for one year in Law Filmmakers Society in Mahabad City. He has attended courses of Televisions Industry for three months in the Netherlands. In addition, he attended a course of “How to Make a Documentary Film” in The French Institute in Suleimani . This is the third short film directed by him. Contact: Rzgar Husen [email protected]

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Documentary

TBY | TUE 29 NOV | 19.00 – 21.00

In Defense of the Rocket Martin Ginestie/05 minutes/2015/United Kingdom Jatuh bangun proses perdamaian Timur Tengah yang terekam dalam foto dengan latar simfoni ketujuh Beethoven. The rise and fall of the Middle East peace process in photos, to the rhythms of Beethoven’s 7th symphony. Director Saya adalah seorang pembuat film asal Perancis yang tinggal di London. Saya telah membuat beberapa film pendek dan berniat untuk terus melakukannya. Mungkin suatu saat nanti saya akan membuat film yang lebih panjang, mungkin juga tidak. I am a French filmmaker based in London. I have made several short films. I intend to continue doing so. One day perhaps I will make something longer. Perhaps will not. Contact: Martin Ginestie [email protected]


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Fiction

GRHATAMA | TUE 29 NOV | 14.15 – 16.15

Dark Frames Navin Chandra Ganesh/39 minutes/2015/India Bahkan cinta dan emosi turut berubah dalam era digital baru di India. Film ini berkisah tentang pasangan pengantin baru yang tinggal di Mumbai dan tentang bagaimana kehidupan cinta mereka terpengaruh oleh era digital. Even love and emotions are changing in this new Indian digital age. The film is about the life of a newly married couple living in Mumbai and how their love life is affected in this digital age. Director Saya bekerja di Bollywood Films, Mumbai, sebagai Sutradara Rekanan (Associate Director). The Blink of a Cursor adalah film pendek pertama saya, yang tampil pada banyak festival film nasional dan internasional. Dark Frames adalah film pendek kedua saya. I work in Bollywood Films, Mumbai, as an Associate Director. The Blink of a Cursor was my first short film, which went to numerous national and international film festivals. Dark Frames is my second short film. Contact: Navin Chandra Ganesh [email protected]

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Fiction

TBY | THU 01 DEC | 19.00 – 21.00

The Baby Ali Asgari/15 minutes/2014/Iran Narges dan temannya hanya punya waktu beberapa jam untuk menemukan orang yang bersedia mengurus bayinya selama beberapa hari. Narges and her friend have just a few hours to find someone to take care of her baby for some days. Director Ali Asgari lahir di Teheran, Iran. Ia adalah seorang mahasiswa film di Italia. Ia memulai kariernya sebagai asisten sutradara dan setelah menggarap beberapa film pendek dan panjang ia mulai membuat filmnya secara independen. Film pendeknya telah diputar dalam banyak festival film di seluruh dunia. Ia adalah alumnus Berlinarle Talent Campus 2013. Film pendeknya yang berjudul More Than Two Hours dinominasikan untuk Palme d’Or di Cannes pada tahun 2013 dan diputar dalam kompetisi Sundance Festival Film dan 300 festival film lainnya di dunia. Filmnya telah memenangkan lebih dari 100 penghargaan internasional. Film terakhirnya The Baby diputar perdana dalam kompetisi di Venice Film Festival 2014. Naskah film panjang pertamanya terpilih di Cannes Cinenfoundation Residence. Ali Asgari was born in Tehran, Iran. He is a student of cinema in Italy. He began his career as an assistant director and after working in several short and feature films he started to make his films independently. His short films have been screened at numerous film festivals around the world. He is an alumnus of Berlinale Talent Campus 2013. His short film More Than Two Hours was nominated for a Palme d’Or at Cannes 2013, and was screened in competition of Sundance Film Festival along with other 300 festivals around the world. His films have won more than 100 international awards. His last film The Baby was premiered in competition of Venice Film Festival 2014. His first feature film script is selected at Cannes Cinefondation Residence. Contact: Shiva Forooshan [email protected]


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Documentary

TBY | WED 30 NOV | 19.00 – 21.00

Ghost Worapoj ln-lao/21 minutes/2016/Thailand Ghost adalah film dokumenter pribadi mengenai perjalanan seorang mahasiswa film yang sering melancong ke Thailand utara. Setiap kali datang, ia diperingatkan oleh penduduk setempat untuk tidak datang di musim panas dengan ancaman bahwa roh penunggu tidak akan ramah pada pendatang. Ia merasa ancaman tersebut mencurigakan sekaligus menarik untuk dibuktikan. Kemudian terjadilah perjalanan pulang yang menuntunnya ke tempat yang tidak dikenalinya. Ghost is a personal documentary film about the journey of a film student who travels to the northern Thailand regularly for touristic sake. Every time of his coming, he is warned by the locals not to come over in the summer with a threatening claim that the guardian spirit will not welcome any non-local. He finds that caution suspicious but appealing to prove. Hence he makes the returning journey which leads him to face an unrecognized place. Director Worapoj In-lao adalah seorang mahasiswa pascasarjana jurusan film. Dulu ia bekerja pada beberapa perusahaan media di Thailand selama 4 tahun. Selama dua tahun belakangan, ia bersekolah di Baltic Film and Media School, Tallinn University. Sebagian besar studinya berkonsentrasi pada pembuatan bentuk seni film dokumenter. Selain itu, ia juga mengikuti sejumlah kelas antropologi selama mengejar gelar masternya tersebut. Ia menaruh perhatian besar pada hak hewan, veganisme, dan isu lingkungan. Worapoj In-lao is a graduate documentary film student. He used to work for couple media companies in Thailand for 4 years. During the last 2 years, he found himself in Tallinn University, Baltic Film and Media School, where he mostly concentrates on making the documentary film in the art form. Meanwhile, he is also enrolled in a number of anthropological classes during this master degree. Furthermore, he has big passion in animal right, veganism, as well as environmental issue. Contact: Worapoj Inlao [email protected]

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Fiction

GRHATAMA | WED 30 NOV | 14.15 – 16.15

Bargain Lee Choong Hyun/14 minutes/2015/South Korea Bargain bercerita tentang gadis SMA dan pebisnis tengah baya yang bertemu di sebuah kamar hotel ketika sang gadis akan menjual keperawanannya. Selama berbincang, sang pebisnis menawar sampai setengah harga. Sementara itu, sang gadis merencanakan hal lain. Bargain tells the story about a high school girl and a middle-aged businessman who meet in a hotel room where she is about to sell her virginity to him. As they engage in small talk, he starts to bargain her price down until it is only a fraction of what it was. All the while though, she is plotting something different. Director Lee Choong Hyun lulus dari Kaywon High School of Arts dan sedang melanjutkan pendidikan di jurusan Komunikasi Media di Hankuk University of Foreign Studies. Ia menyutradarai lima film selama SMA dan menerima banyak penghargaan dari berbagai festival film. Bargain adalah film keenamnya. Lee Choong Hyun graduated from Kaywon High School of Arts and is now studying at the Media Communication of Hankuk University of Foreign Studies. He directed five films during his days in the high school and received many awards from various film festivals. Bargain is his sixth film. Contact: Central Park Film Distribution Agency [email protected]


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Fiction

TBY | THU 01 DEC | 19.00 – 21.00

Fata Morgana Amelie Wen/20 minutes/2016/US-China Terinspirasi dari kejadian nyata, Fata Morgana menceritakan kisah pasangan suami-istri Cina yang harus memeriksa kembali keretakan—dan masa depan—hubungan mereka setelah mereka sampai di Amerika untuk mengatur acara pemakaman anak semata wayang mereka. Inspired by true events, Fata Morgana tells the story of a Chinese couple who must examine their relationship’s fractures—and future—after they arrive in the United States to organize the funeral rites for their only child. Director Berasal dari Beijing, Amelie diterima sebagai sutradara anggota American Film Institute Conservatory pada tahun 2013. Ia juga menerima keanggotaan Bison sebagai pembuat film dari Cina yang menjanjikan. Film pendek pertamanya, Home, tayang perdana di Los Angeles Film Festival 2015 dan setelahnya memenangkan Best Woman Director (Sutradara Wanita Terbaik) di HollyShorts Film Festival, Best International Short (Film Pendek Internasional Terbaik) di Raindance Film Festival, dan HBO Films Student Competition Award di Savannah Film Festival. Film tesisnya di AFI, Fata Morgana, tayang perdana di Clermont-Ferrand International Short Film Festival 2016, dan terpilih untuk mengikuti Palm Springs International ShortFest dari beberapa kandidat. Originally from Beijing, Amelie was accepted as a directing fellow at the prestigious American Film Institute Conservatory in 2013, receiving the Bison fellowship for promising Chinese filmmakers. Her first short film, Home, premiered at the Los Angeles Film Festival 2015 and went on to win Best Woman Director at HollyShorts Film Festival, Best International Short at Raindance Film Festival, and the HBO Films Student Competition Award at Savannah Film Festival. Her AFI thesis film, Fata Morgana, world premiered at the Clermont-Ferrand International Short Film Festival 2016, and has been selected for Palm Springs International ShortFest among others. Contact: Amelie Wen [email protected]

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LIGHT OF ASIA Non-Competition

Fiction

GRHATAMA | WED 30 NOV | 14.15 – 16.15

Tujuh Erlangga Radhikza /14 minutes/2015/Indonesia Bunyi petasan saat pesta tahun baruan sangatlah meriah. Tetapi ada berita yang tak kalah meriah, Wak Anang, orang yang dipercaya oleh masyarakat sebagai pemimpin desa yang juga adalah seorang dukun santet yang sakti, terkena santet oleh orang tak dikenal. Seluruh warga pun membicarakan kejadian aneh ini. Wak Anang pun terus mencoba melawan santet yang ditujukan kepada dirinya itu sampai titik darah penghabisan. The sound of the firecrackers during the new year eve is very festive. But, there is a more festive news, Wak Anang, a trusted chief of the village who is also a shaman, is exposed by an unknown witchcraft. The news becomes the talk of the village. Wak Anang fights his life to death to get the witchcraft expelled from him. Director Erlangga Radhikza yang lahir pada 1 Februari 1994 ini adalah mahasiswa di Universitas Multimedia Nusantara jurusan Digital Cinematography. Ia mulai membuat film sejak SMA. Ia tertarik pada film yang mengangkat tentang kearifan lokal, percintaan, dan politik. Erland Radhikza, born on 1 February 1994, is a student at Multimedia Nusantara University majoring in Digital Cinematography. He began to make films when he was in high school. He is interested in making movies about local wisdom, love, and politics. Contact: Billy Indiarto [email protected]


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Fiction

TBY | TUE 29 NOV | 19.00 – 21.00

On the Origin of Fear Bayu Prihantoro Filemon/12 minutes/2016/Indonesia Film On the Origin of Fear menyoroti fakta sejarah tentang kekerasan yang kerap dijadikan simbol kekerasan negara. Salah satu contohnya terdapat pada film pada masa Orde Baru yang diputar setiap tanggal 30 September. On the Origin of Fear highlighted a historical fact about a violence which is often used as a state violence symbol. One of the examples can be found in a New Order film being screened every 30 September. Director Bayu Prihantoro Filemon adalah seorang alumnus dari Asian Film Academy, sebuah program belajar yang digelar oleh Busan International Film Festival. Ia pernah terlibat sebagai seorang sinematografer di banyak film seperti: Vakansi yang Janggal dan Penyakit Lainnya, Istirahatlah Kata-Kata, dan Kisah Cinta yang Asu. On the Origin of Fear adalah debutnya sebagai sutradara. Bayu Prihantoro Filemon is an alumnus of Asian Film Academy, a learning program held by Busan International Film Festival. He has been involved as a cinematographer in many films such as: Vakansi yang Janggal dan Penyakit Lainnya, Istirahatlah Kata-Kata, and Kisah Cinta yang Asu. On the Origin of Fear is his directorial feature debut. Contact: Yulia Evina Bhara [email protected]

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Fiction

TBY | THU 01 DEC | 19.00 – 21.00

Musim Bepergian Arie Surastio/18 minutes/2016/Indonesia Di hari-hari sebelum musim panen dan ujian sekolah, seorang anak Petani merasa ada yang gaib pada sebuah sumur tak terurus. Sementara itu, objek-objek terbang yang dapat dikontrol dari jarak jauh mengganggu anak gadis Tentara ketika dia mencoba belajar praktik. Di suatu hari cerah yang biasa itu, mereka merasa khawatir. The days before the harvest season and school exams, the Farmer’s son have uncanny feeling to an abandoned water-well. Meanwhile, flying objects that can be controlled remotely disrupts the Soldier’s daughter when she tries to perform practicum study. All of them are worried in a normal sunny day. Director Lahir di sebuah kota kecil, Madiun, 27 Juli 1985, sejak kecil Arie telah akrab dengan televisi khususnya untuk menonton film atau serial drama. Dengan hasrat terhadap gambar bergerak, dia mulai membuat film pendeknya pada umur 23. Ketertarikan yang kuat terhadap pertunjukan seni, film, fotografi, musik, dan sastra telah mengilhami karya-karyanya. Born in a little town, Madiun, 27 July 1985, since being a child, Arie has been bound by television, especially for watching movies and drama series. With passion on moving images, he started to make his short film at age 23. His big interest on art performances, film, photography, music, and literature influences his works. Contact: Arie Surastio [email protected]


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GRHATAMA | TUE 29 NOV | 14.15 – 16.15

Fiction

Bunga dan Tembok (Flowers in the Wall) Eden Junjung/16 minutes/2016/Indonesia Cerita tentang keluarga Wiji Thukul, sastrawan dan aktivis yang hilang pada saat peristiwa 1998. Istri dan anaknya melakukan perjalanan ke kota untuk membuat surat kematian bagi Wiji Thukul. Perjalanan itu menjadi tidak biasa ketika mereka selama ini masih meyakini bahwa Wiji Thukul masih hidup. Dyah and her son’s Fajar Merah is travelling to the city to apply for a death certificate of her husband, Wiji Thukul. Wiji Thukul is an Indonesian poet who has been missing since 1998. Dyah’s journey has turned into something unusual because since the disappearance of Wiji Thukul, her family has been holding to a belief that he is still alive. Director Eden Junjung (b.1990) adalah lulusan Jurusan Film dan Televisi Fakultas Media Rekam ISI Yogyakarta. Debutnya di dunia film dimulai sebagai asisten editor, beberapa film yang dirinya pernah terlibat antara lain: Another Trip to The Moon dan Aach Aku Jatuh Cinta. Dia juga menjadi editor di beberapa film pendek. Eden juga menyutradarai film dokumenter Buruh Seni yang menjadi official selection di Festival Film Dokumenter 2012 dan Piala Maya 2012. Bunga Dan Tembok (Flowers In The Wall) adalah film pendek fiksi pertama yang ditulis dan disutradarainya. Film ini menjadi official selection di Jogja-NETPAC Asian Film Festival 2016 untuk kategori Lights of Asia dan masuk dalam international fiction competition di Bogota Short Film Festival 2016 di Kolombia, Amerika Selatan. Eden Junjung (b.1990) studied in Film and Television department in Indonesia Institute of the Arts (Institut Seni Indonesia) in Yogyakarta. He started his debut in the film as assistant editor; some movies that in which he has been involved include Another Trip to The Moon and Aach Aku Jatuh Cinta. He also became an editor of several short films. Some documentaries he ever directed are Buruh Seni, which became official selection in Festival Film Dokumenter 2012 and Piala Maya 2012. Bunga Dan Tembok (Flowers in the Wall) is the first fiction short film that he wrote and directed and becomes official selection in Jogja NETPAC Asian Film Festival 2016 for Lights of Asia category and international fiction competition in Bogota Short Film Festival 2016 in Colombia. Contact: Siska Raharja [email protected]

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Fiction

TBY | WED 30 NOV | 19.00 – 21.00

RM 10 Emir Ezwan/12 minutes/2016/Malaysia Petualangan malam dari selembar uang kertas asing. The nocturnal adventures of a currency note. Director Karier Emir Ezwan sebagai perupa dimulai sejak cinta monyetnya dengan novel grafis. Seni modern dan penciptaan cerita tak biasa, serta lirisisme dan musik yang muncul di awal dan pertengahan tahun 90an dari Dave McKean, Neil Gaiman, dan The Smashing Pumpkins adalah pemicu awal yang melesatkannya ke tempatnya berada kini. Meskipun mengejar gelar Sarjana Teknik Komputer dan Elektronika, panggilan sejati Emir adalah multimedia dan seni rupa. Setelah kerja kontrak dengan beberapa rumah iklan/desain, ia menjadi salah satu pendiri dari studio desain Karyalabs (2007) dan perusahaan rintisan layanan keuangan bernama Billplz (2009). Tahun 2012, Emir mendirikan Entropy bersama dengan teman perupanya, Sufie, dengan mengkhususkan diri pada keahlian utamanya, penceritaan visual. Dalam menggarap proyek dengan risalah klien maupun proyek senang-senang pribadi, mereka bekerja sama dengan kolaborator yang berbakat di bidang animasi, efek visual, pengembangan cerita orisinal, dan penulisan naskah. Emir Ezwan’s career as a visual artist began after a teenage love affair with graphic novels. The edgy modern art and story craft as well as the lyricism and music emerging in the early and mid-nineties from the works of Dave McKean, Neil Gaiman, and the Smashing Pumpkins were the early sparks that launched him to where he is today. Reading for a Bachelor of Computer and Electronics Engineering, Emir’s true calling has always been multimedia and visual arts. After contractual stints with some advertising/design houses, he co-founded both Karyalabs design studio (2007) and the financial service tech startup, Billplz (2009). In 2012 Emir co-founded Entropy with fellow visual artist, Sufie, specializing in his forte of visual storytelling. For both client briefs and self-initiated passion/pet projects, they work closely with talented collaborators in animation, visual effects, original story development, and screenwriting. Contact: Emir Ezwan [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

TBY | THU 01 DEC | 19.00 – 21.00

Maria Jaime Habac Jr./10 minutes/2016/Philippines Ketika seluruh anggota keluarga melabrak anak gadisnya yang berusia 14 tahun atas kehamilan yang mencurigakan, wanita 50 tahun itu melahirkan anaknya yang ke-22. When the whole family confronted her 14-year-old daughter of a suspected pregnancy, a 50-yearold woman gives birth to her 22nd child. Director Sineas dari Filipina. Mempelajari film di University of the Philippines Film Institute. Film pendek terbarunya, Oktopus, ditampilkan di Busan International Film Festival, CineFilipino Film Festival, Tampere Film Festival, Florida Film Festival, dan Athens International Film and Video Festival. Ia adalah seorang alumnus Asian Film Academy, InterDoc Serbia, dan BiFAN’s Fantastic Film School. I’m Drunk, I Love You merupakan film panjang pertamanya yang diproduksi Tuko Film Productions dan Buchi Boy Entertainment. Filmmaker from the Philippines. Studied film at University of the Philippines Film Institute. His recent short film, Oktopus, was screened at the Busan International Film Festival, CineFilipino Film Festival, Tampere Film Festival, Florida Film Festival, and Athens International Film and Video Festival. He is an alumnus of Asian Film Academy, InterDoc Serbia, and BiFAN’s Fantastic Film School. I’m Drunk, I Love You is his first feature to be produced by Tuko Film Productions and Buchi Boy Entertainment. Contact: Jaime Habac Jr. [email protected]

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Fiction

GRHATAMA | WED 30 NOV | 14.15 – 16.15

The Limit Sonia Saharan/23 minutes/2016/India Ini adalah film yang menceritakan isu sosial tentang keluarga dan masalah-masalah yang dimilikinya. Mereka mencoba untuk memecahkan masalah dengan tangan sendiri. Perlakuan film ini serupa dengan jalannya kehidupan manusia: sedikit kemalasan dan sedikit tekanan. The film is about a social issue where a family has its own issues. They try to resolve the problem within themselves. The treatment of the film is similar to the way human life is: some laziness and some pressure. Director Sonia Saharan adalah mahasiswa penyutradaraan film di State Institute of Film and Television, ROHTAK. Proyek ini adalah tugas akhirnya di jenjang perguruan tinggi. Sonia Saharan is film direction student at State Institute of Film and Television, ROHTAK. This project is her final degree film for her academics. Contact: Sachin Yaduvanshi [email protected]


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Fiction

TBY | WED 30 NOV | 19.00 – 21.00

Refugee Camp Saeed Naghavian/2 minutes/2016/Iran Berpindah? Untuk cinta atau hidup? Iya atau tidak? Apakah ada jalan lain? Tunggulah… Immigration? For love or live? Yes or no? Is there another way? Please wait... Director Saeed Naghavian lahir di Bojnord, Iran. Dia adalah seorang teknisi elektronika. Saeed adalah salah satu Members of Cinematic Talent Camp di Fajr International Film Festival 2016, menghadiri lokakarya yang diisi oleh Alexander Sokoerov, Asghar Farhadi, dan sutradara Iran lainnya. Ia terlibat dalam divisi Penulisan Naskah di Film Festival for Children and Adolescents (Iran 2015). Saeed Naghavian was born in Bojnord, Iran. He is an electronic engineer. Saeed is one of the Members of Cinematic Talent Camp in Fajr International Film Festival 2016, joining a workshop in which Alexander Sokoerov, Asghar Farhadi, and other Iranian famous directors delivered their materials. He was in Scriptwriting section of the International Film Festival for Children and Adolescents (Iran 2015). Contact: Saeed Naghavian [email protected]

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Fiction

Born Bone Boon

GRHATAMA | TUE 29 NOV | 14.15 – 16.15

Gori/20 minutes/2016/Japan Hitoshi telah kembali ke kampung halamannya di Agunishima untuk memperkenalkan istrinya, Yuko, kepada keluarganya. Akan tetapi, Yuko marah saat ia diberi tahu alasan dari perjalanan pulang tersebut. Tujuan yang sesungguhnya adalah untuk mengikuti upacara Senkotsu—tradisi turun-temurun Agunishima berupa pembersihan tulang orang yang sudah mati. Kisah ini adalah komedi yang hangat tentang keluarga yang terpecah dan menemukan kembali diri mereka yang sejati melalui upacara pembersihan tulang. Meski mengangkat topik serius seperti tradisi Senkotsu yang tetap lestari di Agunishima, film ini tetap menjadi satu karya inspiratif dari sutradaranya, Gori, yang menunjukkan upaya terbaiknya dalam menciptakan komedi yang membawa tawa dan tangis. Hitoshi has returned to his hometown of Agunishima to introduce his wife, Yuko, to the family. But, Yuko is furious when she is told the reason for the trip home. The true purpose was for the Senkotsu ceremony—Agunishima’s continuing custom of cleansing the bones of the dead. This is a heartwarming comedy of a disconnected family discovering their true selves through the ceremony of bone cleansing. Though dealing with the serious subject of Agunishima’s preserved Senkotsu custom, the film is still an inspiring piece by its director Gori, who shows his best in creating a comedy that brings laughters and tears. Director Lahir pada tahun 1972 di Okinawa, Gori belajar film di College of Arts, Nihon University pada tahun 1993. Bakatnya banyak, ia adalah seorang komedian, aktor, dan sutradara. Ia menulis sekaligus membintangi film debut penyutradaraannya, Keiji Boggy, yang memenangkan Spotlight Award di Short Shorts Film Festival. Menyutradarai 9 film sejak saat itu, termasuk film panjang Furimun in Okinawa dan karya ini; ia terus aktif membuat film. Born 1972 in Okinawa, Gori studied films at Nihon University, College of Arts in 1993. Being multitalented, he is a comedian, actor, and director. He wrote and was starred in his 2006 directorial debut, Keiji Boggy, which won the Spotlight Award at the Short Shorts Film Festival. Directing 9 films ever since, including the feature film Furimun in Okinawa and this work; he keeps being active in making film. Contact: Yamamoto Hyoe [email protected]


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GRHATAMA | TUE 29 NOV | 14.15 – 16.15

Forest of Copper Columns Russel Morton/14 minutes/2016/Singapore Seorang lelaki tua kurang gizi yang terlihat seperti tawanan Perang Dunia II merusak barangbarang rumah dan memecahkan TV. Ia kemudian mencoba mulai menyulut api dalam suatu aktivitas mirip ritual di tengah hutan. A malnourished elderly man who looks like an elderly WW II prisoner of war starts destroying household items and breaks the TV set. He then tries to start a fire in some kind of ritual in the middle of the forest.. Director Russell Adam Morton (lhr. 1982, Singapura) adalah seorang seniman dan pembuat film. Ia lulus dari The Puttnam School of Film, Lasalle College of the Arts (2010) dan memperoleh gelar MA di Fine Arts dari Camberwell College of the Arts, UAL (2012). Filmnya, The Silent Dialogue of All Artworks, diputar di the National Museum of Singapore’s 10th Singapore Short Cuts, The Substation’s 4th Experimental Film Forum, dan Thai Short Film & Video Festival 2014 dan berhasil menang sebagai Best Experimental Film di 5th Singapore Short Film Awards. Russell Adam Morton (b. 1982, Singapore) is an artist and filmmaker. He is a graduate from The Puttnam School of Film, Lasalle College of the Arts (2010) and obtained an MA in Fine Arts from Camberwell College of the Arts, UAL (2012). The film, The Silent Dialogue of All Artworks was screened at the National Museum of Singapore’s 10th Singapore Short Cuts, The Substation’s 4th Experimental Film Forum and the Thai Short Film & Video Festival 2014 and won Best Experimental Film at the 5th Singapore Short Film Awards. Contact: Jeremy Chua [email protected]

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Fiction

TBY | TUE 29 NOV | 19.00 – 21.00

Boat of Life going to Pahartali Saiful Fardin/15 minutes/2016/Bangladesh Boat of life going to Pahartali tak lain adalah kumpulan partikel-partikel kehidupan dari seorang pengamat diam yang terjebak dalam ruang dan waktu. Ini merupakan pengamatan atas lingkungan sekitarnya, lingkungan tempat lagu di kereta, suara hujan, dan pergerakan banal mahasiswa di sebuah kampus universitas bergulir di depan penonton seperti rekaman yang selalu berulang. Tiba-tiba, gagasan dan filosofinya berbenturan dengan orang-orang yang melintas ketika ia mencoba menyimpulkan arti dari hidup yang tak berarti ini. Boat of life going to Pahartali is nothing but a collection of snippets in a life of an immobile observer stuck in time and space. It’s an observation of his surrounding where a song in a train, the sound of rain and the mundane movement of students in a varsity campus are playing in front of the viewers like a record on a loop. Suddenly his ideas and philosophy are bounced against those of a passerby as he tries to come to a conclusion about the meaning of this meaningless life. Director Saiful Fardin adalah sineas dari Bangladesh. Selain Boat of Life Going to Pahartali, ia juga dikenal dengan filmnya yang berjudul Bhuban Maji dan Jibondhuli Saiful Fardin is a filmmaker from Bangladesh. Apart from Boat of Life Going to Pahartali, he is known for movies such as Bhuban Maji and Jibondhuli. Contact: Saiful Fardin [email protected]


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Fiction

TBY | TUE 29 NOV | 19.00 – 21.00

Mein Hutong (My Hutong) Jie Jie Ng/11 minutes/2016/Singapore Hutong di Beijing mempunyai atmosfer spesial bagiku. Walaupun aku keturunan Cina yang tak pernah tinggal di Cina, aku menemukan kecocokan dengan tempat ini. Setelah berkelana sebagai orang asing, aku membayangkan mitos-mitos menjadi hidup di Hutong. Meskipun bangunan dan artefak menghilang ditelan modernitas, mitos tetap hidup dan memelihara memori kolektif kami. The Hutongs in Beijing contain a special atmosphere for me. As an overseas Chinese who has never lived in China, I nevertheless found a way to identify with these places. After the experience of wandering around them as a foreigner, I imagine some myths coming alive in the Hutongs. Even though buildings and artifacts disappear in the face of modernity, myths remain and preserve our collective memory. Director Jie Jie Ng lahir tahun 1977 di Singapura. Ia mempelajari Sastra Komparatif di Ann Arbor, Michigan, USA (1999-2003). Sejak 2010, ia belajar di Art University of Braunschweig, Jerman pada Kelas Film di Class of Professor Michael Brynntrup. Ia menyelesaikan pendidikannya sebagai Meisterschueler dari Professor Michael Brynntrup saat Juli 2016. Jie Jie Ng was born in 1977 in Singapore. Studied Comparative Literature in Ann Arbor, Michigan, USA (1999-2003). Has studied in the Art University of Braunschweig, Germany, in the Film Class of Class of Professor Michael Brynntrup since 2010. She finished her studies as Meisterschueler from Professor Michael Brynntrup in July 2016. Contact: Jie Jie Ng [email protected]

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ASIAN DOCS

Asia dalam Ingatan Asia within Memories Alia Damaihati & Ismail Basbeth Programmers

Asian Docs merupakan program kolaborasi dua festival: Festival Film Dokumenter (FFD) & Jogja-NETPAC Asian Film Festival (JAFF). Sebuah program untuk melawat Asia melalui berbagai film dokumenter pilihan dari maupun dengan perspektif Asia. Pemahaman akan Asia yang kami maksudkan tentu tidak terbatas pada definisi harfiahnya sebagai suatu wilayah geografis semata. Lebih dari itu, gagasan mengenai Asia yang kami usung hadir melalui sebuah keyakinan bahwa tiap negara di Asia memiliki dan membawa suara, situasi, permasalahan, dan estetikanya masing-masing, yang merupakan perwujudan dari cara berkehidupan Asia dengan segenap elemennya: manusia, masyarakat, budaya, dan situasi politik ekonomi yang beragam, dan tentunya tak bisa diukur dengan parameter yang sama antara satu negara Asia dengan negara Asia lainnya. Tahun ini kami melihat begitu banyak karya yang berusaha mengelola persoalan ‘ingatan’, baik dalam wilayah personal, kelompok masyarakat, bahkan negara. Ingatan atas berbagai hal ini tidak melulu berisi isu atau narasi besar yang terjadi dalam periodeperiode penting yang kemudian dilegitimasi sebagai ingatan koletif, tetapi juga yang hadir dan terekam melalui hal-hal sederhana di keseharian yang kerap diabaikan. IngatanJOGJA-NETPAC ASIAN FILM FESTIVAL

Asian Docs is a collaborative program between two festivals: Festival Film Dokumenter (FFD) & Jogja-NETPAC Asian Film Festival (JAFF). A simple program that visits Asia through various selected documentary films, from as well as in the perspectives of Asia. What we mean by Asia is not merely restricted by geographical lines of a region. We believe that each country in Asia owns and brings particular voices, situations, and aesthetics in her own ways, which embody Asia’s ways of life with all of its elements: mankind, society, culture, and diverse political and economic state of affairs. This year, we see abundant works trying to manage the issue of ‘memory’, either at personal, collective, or even state levels. These memories of diverse things are not necessarily about grand issues or narration; instead, they are also recorded and recalled through trivial matters in daily life that are frequently ignored offhand. These memories are the underlying theme of this year’s Asian Docs program. By watching these documentaries, we hope that the spectators may be engaged further into Asia’s ongoing process of becoming.

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ingatan inilah yang menjadi benang merah program Asian Docs tahun ini. Dengan menonton karya-karya dokumenter ini kami harapkan penonton dapat terlibat lebih jauh dalam proses mengenal dan menjadi Asia, yang sesungguhnya tak pernah berhenti ‘menjadi’.

Japan Docs Ingatan, adalah perca-perca pengalaman yang terekam dan kerap kali hadir dalam bentuk yang tidak utuh dan terdistorsi, dari sebuah perjalanan panjang. Upaya pembahasaan ulang ingatan ini kerap hadir dalam berbagai medium, salah satunya film. Jepang, sebagai negara yang memiliki sejarah budaya sinema yang panjang dan cukup mapan, memperlakukan film dengan sudut pandang dan cara menanam persepsi yang berbeda dan khas. Secara khusus, tahun ini, kami memilih Jepang untuk dilihat dengan lebih dekat melalui film-film dokumenternya.

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Japan Docs Memory is a conversation of thought and experience from a long journey. Especially for this year, we choose Japan to be seen closer. Japan documentary film, surely cannot be equated with other states in Asia, a long history of Japan as a state which gave birth a strong culture of cinema, reflected in its perspective and its way to plant perception which differs and typical on the creation of cinema. Memory, which frequently comes up distorted and fractured, is the rags of recorded experience of a long journey. The attempt to re-discuss this issue has been conducted through various mediums, one of which is film. Japan, with her long history of and established cinematic culture, treats films with different, particular perception. Special for this year, we choose Japan to be looked at closely through their documentaries.

jaff-filmfest.org

ASIAN DOCS FFD

Documentary

FFD – IFI/LIP | FRI 09 DEC | 13.00

Doglegs Heath Cozens/30 minutes/2015/Japan, US, Canada Dalam sebuah liga pemberontakan gulat profesional bernama Doglegs di Tokyo, pertandingan antara pegulat berbadan cacat dan berbadan normal dilakukan atas nama pendobrakan stereotip. Setelah 20 tahun berjaya, seorang atlet bintang Doglegs memimpikan kehidupan di luar gulat, namun sang mentor tidak berkenan akan hal tersebut. Berlatar pertikaian yang akan terjadi tersebut, film ini membawa kita pada sebuah perjalanan luar biasa dalam kehidupan dan cinta dari lima anggota Doglegs yang menonjol, yang berjuang untuk mendapatkan tempat mereka di dunia. In a renegade Tokyo pro-wrestling league called Doglegs, the disabled battles the able-bodied in the name of smashing stereotypes. After 20 years of glory, the group’s star dreams of a life beyond the mat, but his mentor does not let him go without a fight. Set against the backdrop of this impending showdown, the film takes us on an extraordinary journey inside the lives and loves of five prominent Doglegs members battling to claim their places in the world. Director Heath Cozens adalah seorang jurnalis, sinematografer, dan pembuat film. Dibesarkan di Selandia Baru, ia menghabiskan delapan belas tahun di Jepang. Ketika itu ia bekerja di siaran berita, dokumenter, dan film komersial. Ia bekerja sebagai produser lokal untuk siaran televisi Discovery Channel, History, Travel Channel, dan MTV; bekerja sebagai penyunting untuk Bloomberg; dan sebagai kamerawan untuk AFP, Al Jazeera, dan Discovery Channel. Heath pindah ke New York pada akhir tahun 2013 dan melanjutkan pekerjaannya di sana. Heath Cozens is a journalist, cinematographer, and filmmaker. Raised in New Zealand, he spent eighteen years in Japan, where he worked in broadcast news, documentaries, and commercial films. He earned a crust as a local producer on television shows for Discovery Channel, History, the Travel Channel, and MTV; edited for Bloomberg; and shot for the likes of AFP, Al Jazeera, and the Discovery Channel. Heath moved to New York late in 2013, where he continues his work.

Contact: Heath Cozens [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Documentary

FFD- IFI/LIP | THU 08 DEC | 16.30

Mise Wo Miru Jolene Mok/15 minutes/2015/Japan Enam belas toko yang tidak biasa di kawasan Kawabata Shopping Arcade di Fukuoka, Jepang, ditampilkan dalam film ini. Film ini merupakan potret antropologis dari para pemilik dan pegawai toko di sebuah jalanan perbelanjaan tua di pusat kota Fukuoka. Karakteristik yang berbeda namun saling terkait dari berbagai toko ini terungkap dalam kegiatan toko yang biasa-biasa saja. A selection of 16 extraordinary shops found in Kawabata Shopping Arcade in Fukuoka City, Japan, are featured in this work. This is an anthropological portrait of the shop owners and staffs in an old shopping street found in downtown Fukuoka City. The intertwining yet distinct characteristic of various shops is unraveled through the most mundane in-shop activities. Director Jolene Mok adalah seorang seniman eksperimental. Seni video dan film eksperimental adalah platform kreatif utamanya. Mok meraih gelar M.F.A. di jurusan Seni Eksperimental dan Dokumenter di Duke University tahun 2013. Dia telah bersinggungan dengan pembelajaran dan lingkungan kerja interdisipliner sejak pendidikan strata satunya di School of Creative Media di jurusan Critical Inter-Media Laboratory (2003-2007). Sejak tahun 2006, karya-karya Mok telah ditampilkan di seluruh dunia. Sejak 2011 dan seterusnya, ia telah berkeliling dalam berbagai program residensi seniman. Ia memiliki minat khusus dalam melakukan program residensi di lokasi terpencil. Jolene Mok is an experimental artist. She takes video art dan experimental film as her major creative platforms. Mok earned her M.F.A. in Experimental dan Documentary Arts at Duke University in 2013. She has been exposed to an interdisciplinary learning and working environment since her undergraduate education in the School of Creative Media through her major in the Critical Inter-Media Laboratory (2003-2007). Since 2006, Mok’s works have been shown worldwide. From 2011 onwards, she has been on itinerant taking part in artist residency programs; she has a particular interest in undertaking artist residency programs in remote locations (source: mediawavefestival). Contact: Jolene Mok [email protected]

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ASIAN DOCS FFD

Documentary

FFD - IFI/LIP | FRI 09 DEC | 13.00

Singapore Minstrel Ng Xi Jie/87 minutes/2016/Singapore Roy Payamal adalah pengamen paling liar di negara dengan gelar masyarakat yang paling tidak emosional di dunia. Pelopor tua skena kesenian lokal yang dijuluki ‘Silver Man’. Ia menciptakan pertunjukan yang mencengangkan, membawa profesi rendahannya menjadi seni yang serius. Apakah keteguhannya itu sebuah idealisme yang mustahil atau malah keyakinan yang mengagumkan? Mengungkap pencapaian birokrasi bangsanya, matinya wacana tentang budaya dan ekspresi, dengan dibintangi oleh rekan-rekan jalanan Roy yang eksentrik, Singapore Minstrel adalah sebuah ajakan untuk masuk ke dalam pikiran Roy yang indah nan magis. Roy Payamal is the wildest busker of a country ranked the world’s most emotionless society. An old-time pioneer of the local scene, dubbed ‘Silver Man’. He creates mind-boggling acts, taking his undermined profession as a serious art. Is his faith impossible idealism or an admirable conviction? Unraveling the nation’s bureaucratic reaches, a discourse on culture and expression plays out, costarring Roy’s eccentric street colleagues, Singapore Minstrel is an invitation into his beautiful yet magical mind. Director Xi Jie Ng menciptakan perjumpaan yang intim bagi dunia yang berisik. Karyanya berkisar seputar bentuk film, pertunjukan, instalasi, serta seni dan tulisan yang merepresentasikan kondisi sosial. Karya-karya itu telah ditampilkan di Singapura, Amerika Serikat, Finlandia, dan India. Tahun lalu, film debutnya, Singapore Minstrel, ditayangkan perdana di 26th Singapore International Film Festival. Xi Jie Ng creates intimate encounters for a noisy world. Her works dance between the forms of film, performance, installation, as well as socially engaged art and writing; and have been presented in Singapore, USA, Finland, and India. Last year, Singapore Minstrel, her debut feature, premiered at the 26th Singapore International Film Festival. Contact saltythunder.net


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Documentary

FFD - IFI/LIP | THU 08 DEC | 13.00

Still and All Kim Young Jo/92 minutes/2015/South Korea Jembatan Yeongdo dibuka kembali setelah 47 tahun. Namun, ada beberapa orang yang hidup di bawah jembatan tersebut yang berharap keadaan akan sama seperti sebelumnya. Mereka adalah: seorang tukang las pekerja kontrak, seorang wanita tua lumpuh yang tinggal dengan anjing tuanya, seorang penyelam wanita tua tunarungu yang mengumpulkan kerang dan rumput laut untuk bertahan hidup, serta dua nenek peramal. Mereka semua dipaksa untuk pindah dari tempat itu. Pemerintah berencana mengubah pulau itu jadi tujuan wisata. Tapi bagaimanapun, mereka tidak ingin meninggalkan rumah seumur hidup mereka itu meski terus ditekan. Yeongdo Bridge has opened up again after 47 years. However, there are some people living underneath the bridge who hope that things would just stay the same. They are a temporarily employed welder, an old crippled lady living with her old dog, an old deaf female diver who collects shells and seaweed for a living, and the only and last two grandma fortune tellers. They all are driven to move out. The government plans to turn the island into a tourist attraction. Still and all, they do not want to leave their lifelong homes despite all the pressure on them. Director Setelah belajar kajian film di Kyungsung University, Kim Young-Jo belajar film dokumenter di Universit́ Paris 8. Debutnya, My Family Portrait (2007), diperkenalkan di DMZ International Documentary Film Festival, New Zealand Documentary Film Festival, dan Marseille Documentary Film Festival. Taebaek, Land of Embers (2008) diundang kompetisi Wide-Angle di Busan IFF. Film panjang lainnya yang diproduksi tahun 2009 adalah A Fishbone in the Throat. The Hunt diundang untuk DMZ International Documentary Film Festival. Pada tahun 2015, Kim meraih Special Mention of the Jury di Wide-Angle Busan IFF untuk filmnya Still and All. After studied film studies at Kyungsung University, Kim Young-Jo studied documentary film at Universit́ Paris 8. His debut, My Family Portrait (2007), was introduced at DMZ International Documentary Film Festival, New Zealand Documentary Film Festival, and Marseille Documentary Film Festival. Taebaek, Land of Embers (2008) was invited to Wide-Angle competition of Busan IFF. His other feature in 2009 was A Fishbone in the Throat. The Hunt was invited to DMZ International Documentary Film Festival. In 2015, Kim earned a Special Mention of the Jury from Busan IFF’s Wide Angle section for Still and All. Contact [email protected]

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ASIAN DOCS FFD

Documentary

FFD - IFI/LIP | FRI 09 DEC | 16.00

Thin Arms Sandeep Ray/10 minutes/2013/India Seorang wanita berusia sekitar delapan puluh tahun menjalani pengobatan karena kondisi kesehatan yang semakin melemah. Thin Arms adalah film pendek dan intim yang berkutat dengan tumbuhnya perasaan terisolasi dan lelah sang wanita, serta obsesinya pada pohon mangga di luar jendelanya. An octogenarian woman undergoes a treatment for a debilitating medical condition. Thin Arms is a short, intimate film that lingers on her growing sense of isolation and fatigue and her obsession with the mango tree outside her window. Director Sandeep Ray dibesarkan di Malaysia, India, dan Amerika Serikat. Ia mempelajari pembuatan film di Hampshire College dan kemudian magang selama beberapa tahun dengan pembuat film etnografi, John Marshall. Film dokumenternya adalah Leaving Bakul Bagan (1994), Miyah: The Life of a Javanese Woman (1999), A Trial in East Kalimantan (2000), dan In the Aftermath of Peace (2010). Sandeep mendapatkan gelar MA dari University of Michigan, Ann Arbor, dan sedang menyelesaikan disertasi doktoralnya di jurusan Sejarah, National University of Singapore. The Sound of Old Rooms (2012) adalah film panjang pertamanya. Sandeep Ray was raised in Malaysia, India, and the United States. He studied filmmaking at Hampshire College and then served a multi-year apprenticeship with ethnographic filmmaker, John Marshall. His documentaries include Leaving Bakul Bagan (1994), Miyah: The Life of a Javanese Woman (1999), A Trial in East Kalimantan (2000), and In the Aftermath of Peace (2010). Sandeep has an MA degree from the University of Michigan, Ann Arbor, and is completing a doctoral dissertation in the History department at the National University of Singapore. The Sound of Old Rooms (2012) is his first feature length film. Contact: Sandeep Ray [email protected]


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Documentary

FFD - IFI/LIP | THU 09 DEC | 16.00

Xinyiwood Lin Shih Chieh/24 minutes/2015/China Xinyiwood adalah puisi yang ditulis oleh penyair Cina, Wang Wei, di abad ke-8. Puisi ini menggambarkan mekarnya bunga cempaka putih yang tidak berlangsung lama di sebuah gunung. Di Chinatown, Los Angeles, tidak jauh dari Hollywood, sebuah bioskop Cina dan bisnis hiburannya pernah makmur di awal tahun 90an. Kini, gedung bioskop itu telantar, yang tersisa hanyalah nostalgia. Dengan menyandingkan suara dari film lama dengan ruang kosong, arwah sinematiknya pun hadir lagi. Xinyiwood is a poem written by the Chinese poet, Wang Wei, in the 8th century. The poem depicts the unseen ephemeral existence of the blossom of magnolia flowers in the mountain. In Los Angeles’ Chinatown, a place not far from Hollywood, the Chinese cinema and the entertainment business were once prosperous until the early 90s. Now the movie theater is abandoned, what remains is the feeling of nostalgia. By juxtaposing the sound from the old movie with the empty space, the cinematic ghost is therefore summoned. Director Lin Shih-Chieh, lahir di Taiwan, adalah seorang seniman dan pembuat film yang tinggal di Los Angeles dan Taipei. Ia mendapatkan gelar MFA jurusan Film dan Video di California Institute of the Arts. Karya-karyanya berfokus pada tema keterkaitan antara media, memori, dan sejarah dalam konteks pascakolonial. Ia memanfaatkan penyandingan suara dan gambar untuk menafsirkan ulang kemungkinan dari citraan tersebut. Karya terbarunya, A Short History of Decay, telah memenangkan penghargaan film eksperimental terbaik dan desain musik terbaik di Golden Harvest Awards, Taiwan 2015. Lin Shih-Chieh, born in Taiwan, is an artist and filmmaker based in Los Angeles and Taipei. He earned his MFA in Film and Video from California Institute of the Arts. His works focus on the theme of the interrelationship among media, memories, and histories in the postcolonial context, utilizing the juxtaposition of sound and image to re-interpret the possibility of the imagery. His recent work A Short History of Decay has won the Best Experimental Film and the Best Music Design in Golden Harvest Awards, Taiwan, 2015. Contact: [email protected]

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ASIAN DOCS JAFF

Documentary

TBY | WED 30 NOV | 10.30 – 12.00

122 Mohammad Jouri/15 minutes/2015/Iraq Selama penyerangan brutal ISIS di Kurdistan, Iraq, banyak tim penyelamat dan ambulans yang menyediakan waktu mereka untuk membantu dan menyembuhkan teman seperjuangan mereka dalam pasukan Peshmerga. Film ini menggambarkan wajah heroik dan berdarah dari sebuah perang sungguhan. During brutal attacks of ISIS in Kurdistan Region of Iraq, many of rescue and ambulance teams provide most of their time to help and to heal their fellow fighters in Peshmerga forces. The film portrays heroic and bloody face of real war. Director Mohammad Jouri lulus dari University of Duhok, Iraq. Tidak hanya aktif sebagai sutradara, ia juga aktif sebagai penari. Mohammad Jouri graduated from University of Duhok, Iraq. Not only active as a director, he is also active as a dancer. Contact: Mohammad S. Jouri [email protected]


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Animated Documentary

TBY | TUE 29 NOV | 10.30 – 12.00

Half a Life Tamara Shogaolu/12 minutes/2016/Egypt Half a Life adalah dokumenter animasi pendek yang menyatukan narasi pribadi seorang aktivis gay muda berkebangsaan Mesir. Ia menceritakan sebuah pertemuan traumatis yang memaksanya menjadi aktivis hak-hak gay di tengah iklim sosial Mesir yang tidak stabil, semakin berbahaya, dan menindas. Half a Life is a short animated documentary that pairs the intimate narration of a young, Egyptian gay activist. He shares with us a traumatizing encounter that prompted him to become a gay-rights activist in the unstable, increasingly dangerous, and oppressive current social climate in Egypt. Director Tamara Shogaolu lahir tanggal 11 Juli 1986 di Amerika Serikat. Ia menghabiskan sebagian besar waktunya tinggal di Panama dan mendapat gelar sarjana dari University of Southern California jurusan Seni Perfilman. Ia bekerja di bidang film, penelitian, dan media di Timur Tengah, Amerika Serikat, Afrika, dan Amerika Latin baik dalam proyek narasi maupun dokumenter. Tamara Shogaolu was born on 11 July 1986, in the United States. She spent most of her life living between Panama and got her bachelor’s degree at University of Southern California in Cinematic Arts. She worked in film, research, and media in the Middle East, the United States, Africa, and Latin America on both narrative and documentary projects.

Contact: Tamara Shogalou [email protected]

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ASIAN DOCS JAFF

Documentary

TBY | SAT 03 DEC | 10.30 – 12.00

Kisah Pelayaran ke Terengganu (Voyage to Terengganu) Amir Muhammad & Badrul Hisham Ismail/62 minutes/2016/Malaysia Terengganu, daerah yang tenang, indah, dan masih asli, adalah satu-satunya daerah dari 13 daerah di Malaysia yang tidak pernah dikunjungi oleh Amir Muhammad, sang sutradara. Ia memutuskan untuk melakukan debut perjalanannya ke Terengganu pada bulan Desember 2015 dan membuat semacam catatan perjalanan di sana. Ia mengutip dari buku terbitan tahun 1838 karya Munshi Abdullah (sering dikenal sebagai bapak jurnalisme Malaysia) yang pernah melakukan beberapa observasi menyayat hati tentang daerah itu dan orang-orang yang hidup di sana. Kutipan-kutipan itu diselingi dengan percakapan dengan beberapa penghuni Terengganu saat ini. Proses penyutradaraan dibantu oleh warga asli Terengganu, Badrul Hisham Ismail. The laid-back, scenic, and conservative Terengganu was the only one out of the 13 states of Malaysia that director Amir Muhammad had never been to. So he decided to go there for the first time in December 2015 and do a kind-of-travelogue about it. He quotes from a 1838 book by Munshi Abdullah (often referred to as the father of Malay journalism) which had some very scrathing observations about the state and the men who live in it. These quotes are interspersed with conversations with some Terengganu men of today. It was co-directed by Badrul Hisham Ismail who is a Terengganu native. Director Film-film Amir Muhammad di antaranya film dokumenter berjudul The Big Durian (2003), The Last Communist (2006), dan Village People Radio Show (2007). Film-film tersebut telah ditayangkan di beberapa festival film internasional seperti Sundance, Berlin, dan Busan. Selain itu, ia menjalankan sebuah penerbitan buku sekaligus pendiri Buku Fixi (2011), yang telah menerbitkan lebih dari 100 novel selama 4 tahun pertama. Badrul Hisham Ismail adalah seorang sineas dari Kajang. Karya terdahulunya adalah The Tailor of Pertama (2013), A Tale of a Mannequin (2014), dan Dialog Dengan Dendi (2015). Film-filmnya telah diputar di Freedom Film Fest, Thai Short Film & Video Festival, dan Malaysian Shorts. Amir Muhammad’s previous films include the documentaries The Big Durian (2003), The Last Communist (2006), and Village People Radio Show (2007). They have been shown in several international film festivals including Sundance, Berlin, and Busan. He is also a book publisher and the founder of Buku Fixi (2011), which has published over 100 novels in its first 4 years. Badrul Hisham Ismail is a filmmaker from Kajang. His previous works include The Tailor of Pertama (2013), A Tale of a Mannequin (2014), and Dialog dengan Dendi (2015). His films have been shown in Freedom Film Fest, Thai Short Film & Video Festival, and the Malaysian Shorts. Contact: Fei Ling Foo [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Documentary

TBY | TUE 29 NOV | 10.30 – 12.00

Portraits of Mosquito Press JL Burgos/56 minutes/2014/Philippines Hari-hari kelam dalam sejarah Filipina di bawah kepemimpinan diktator Ferdinand Marcos juga merupakan hari-hari kelam bagi pers Filipina. Sebagian besar, jika bukan semua media massa, dikendalikan oleh pemerintah. Mereka yang kritis pada pemerintah akan dipenjara atau dibungkam. Film dokumenter ini mengungkap perjuangan Jose “Joe” Burgos Jr. bersama istrinya, Edita, dan tim editor universitas yang berani mengambil risiko dan bahaya untuk mengabarkan kebenaran. The dark days of Philippines’ history under the dictator Ferdinand Marcos was also the dark days in the history of Philippine press. Most, if not all media groups, were controlled by the state. Those being critical towards government were either jailed or silenced. The documentary brings to the fore the struggles of Jose “Joe” Burgos Jr., with his wife Edita, and a team of city college editors who braved risks and dangers to publish and expose real news. Director JL Burgos adalah seorang sineas/perupa independen yang tinggal di Filipina. Seorang pendukung HAM yang tegas dan setia, sayangnya ia kehilangan seorang adik akibat terorisme negara. Adik lelakinya, Jonas, seorang petani dan aktivis, diambil secara paksa dan hilang pada siang hari tanggal 28 April 2007. Saat ini, Burgos menyalurkan kreativitasnya pada seni untuk menjaga agar memori orang-orang yang hilang itu tetap hidup dalam harapan untuk mendorong orang bersamasama menuntut keadilan. Karya-karyanya adalah The Unheard Voice (2013)—film dokumenter pendek tentang perjuangan istri Jonas Burgo—dan Art Republik (2012)—sebuah acara televisi. JL Burgos is an independent filmmaker/visual artist based in the Philippines. A fierce and staunch advocate of human rights, unfortunately he lost a brother to state terrorism. His brother, Jonas, a farmer/activist, was taken by force and made to disappear in broad daylight on 28 April 2007. Burgos now channels his creativity to arts that keep the memories of the disappeared alive in the hopes of encouraging people to join the search for justice. His works include The Unheard Voice (2013)—short documentary on the struggles of Jonas Burgosʼ other half— and Art Republik (2012)—a TV show. Contact: Ramona Nieva [email protected]

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Documentary

TBY | WED 30 NOV | 10.30 – 12.00

Selfie Juan Ibesh/41 minutes/2016/Syria, Germany Selfie adalah film yang berbicara tentang perjalanan pengungsi dari Turki ke Jerman melalui Laut Mediterania. Mereka menyeberangi perbatasan banyak negara Eropa dan menghadapi banyak rintangan. Dalam film ini, ada seorang perempuan yang memutuskan untuk meninggalkan Suriah dan menempuh perjalanan menantang maut bersama tunangannya. Mereka memfilmkan semua detail perjalanan dan konflik internal antara keinginan untuk meneruskan perjalanan ke Jerman dan kembali ke negara mereka yang sudah hancur. Selfie is a film that talks about the refugees’ journey from Turkey to Germany through the Mediterranean Sea. They cross many European countries borders and face many difficulties. In this film, there is a girl who decided to leave Syria and go on in a death defying journey with her fianć. They filmed all details of their journey and their inner conflict between continuing ahead to Germany and going back to their destroyed country. Director Reporter dan fotografer pers di Suriah selama tiga tahun. Mahasiswa Fakultas Arsitektur di University of Aleppo, Suriah. Reporter and press photographer in Syria for three years. Student at the Faculty of Architecture at the University of Aleppo in Syria. Contact: Juan Ibesh [email protected]


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Documentary

TBY | SAT 03 DEC | 10.30 – 12.00

Sinmalin Chaweng Chaiyawan/29 minutes/2015/Thailand Cerita mengenai buruh migran Myanmar di Thailand, yang bekerja di sektor pertanian. Para buruh migran di Thailand bekerja sangat keras tetapi hanya dibayar dengan gaji rendah. The story of Burmese migrant workers in Thailand, who came to work in the agricultural sector. Migrant workers in Thailand work very hard but gain low wages. Director Chaweng Chaiyawan (40) adalah pembuat film dokumenter dan programer televisi. Ia tinggal di Chiang Mai, Thailand. Sinmalin memenangkan Duke Award untuk film dokumenter di 19th Thai Short Film Festival 2015, dan menjadi salah satu film favorit yang diputar di Marathon Film Festival 2015. Chaweng Chaiyawan (40) is a documentary filmmaker and TV programmer. He lives in Chiang Mai, Thailand. Sinmalin won the Duke Award for documentary from the 19th Thai Short Film Festival 2015, and became one of the most favourite films shown in Marathon Film Festival 2015. Contact: Chaweng Chaiyawan [email protected]

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Documentary

FFD – IFI/LIP | THU 08 DEC | 16.30

Mototanaka Derive Michael Lyons/4 minutes/2015/Japan Film ini mendokumentasikan sebuah perjalanan tanpa tujuan melalui salah satu lingkungan perumahan di Kyoto yang sebelumnya tak pernah dianggap, yang kini masyarakatnya tetap berada di bawah standar hidup normal di Jepang. Meski telah ada undang-undang proaktif, orang dari keluarga yang diasosiasikan dengan wilayah semacam itu terus mendapatkan diskriminasi. The film documents an aimless walk through one of Kyoto’s former outcaste neighborhoods, which continues to exist below normal Japanese living standards. Despite pro-active legislation, people from families associated with such areas can experience discrimination. Director Michael Lyons (Kanada/Britania Raya) adalah peneliti dan seniman yang tinggal di Kyoto, Jepang. Ia secara reguler berkontribusi pada konferensi-konferensi seperti SIGGRAPH dan SIGGRAPH ASIA, ikut mendirikan International Conference on New Interfaces for Musical Expression, dan aktif sebagai pembuat film dan seniman tata suara. Saat ini, ia adalah Profesor Seni dan Ilmu Citra di Universitas Ritsumeikan. Michael Lyons (Canada/U.K.) is a researcher and artist based in Kyoto, Japan. He regularly contributes to conferences such as SIGGRAPH and SIGGRAPH ASIA, co-founded the International Conference on New Interfaces for Musical Expression, and is active as a filmmaker and sound artist. He is currently a Professor of Image Arts and Sciences at Ritsumeikan University. Contact: www.michaellyons.xyz [email protected]


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Documentary


Ponpoko Mountain Takayuki Yoshida/9 minutes/2016/Japan Seorang pemahat Rumania, Constantin Brancusi, pernah berkata: “Seseorang yang bukan lagi anakanak, bukan lagi seorang seniman.” “Ponpoko mountain” adalah wahana taman bermain berwarna putih yang menggunakan udara dan dipasang di beberapa taman di Jepang. Karya puitis ini mengekspresikan pertemuan antara warna putih dan anak-anak di atas lanskap unik berupa kubah-kubah melengkung. Meskipun alam menciptakan lengkung sensual dan manusia membuat garis lurus yang tidak fleksibel, “ponpoko mountain” dibuat oleh manusia dan menarik perhatian saya. Film ini juga merupakan penghormatan terhadap film dokumenter Robert Flaherty berjudul Nanook of the North. A Romanian sculptor, Constantin Brancusi, once said: “Who is no longer a child is no longer an artist.” The “ponpoko mountain” are air playground equipments of white color which are set at some parks in Japan. This poetic work expresses the encounter between the color of white and children in the unique landscape where there are curved domes. Although nature creates sensual curved lines while humans create inflexible straight lines, the curve lines of “ponpoko mountain” are created by humans and they attract me. It is also homage to the Robert Flaherty’s documentary film Nanook of the North. Director Yoshida lahir pada tahun 1972 di Hokkaido, Jepang. Ia menyelesaikan pendidikan pascasarjana Sosiologi di Hitotsubashi University, Tokyo. Sembari bekerja sebagai editor di jurnal internasional Japan Echo, ia belajar membuat film di Films School of Tokyo (eigabigakkou) dan terlibat dalam pembuatan beberapa film dokumenter. Ia menjadi koordinator dari Tokyo FILMeX/Talents Tokyo, sebuah festival film internasional. Ia juga menjadi editor di majalah dokumenter Jepang neoneo dan salah satu pengarang dari buku-buku Jepang tentang Chris Marker dan film-film avant-garde Amerika. Karya debutnya Ponpoko Mountain secara resmi dipilih pada New Media Arts Festival Madrid (IVAHM Madrid 2016) di Spanyol. Yoshida was born in 1972 in Hokkaido, Japan. He completed his graduate studies in Sociology at Hitotsubashi University in Tokyo. While working as an editor of international journal Japan Echo, he studied filmmaking at the Film School of Tokyo (eigabigakkou) and was involved in the making of some documentary films. He becomes the coordinator of Tokyo FILMeX /Talents Tokyo, an international film festival. He is an editor in a Japanese documentary magazine neoneo, and a co-author of Japanese books on Chris Marker and American avant-garde movies. His debut work Ponpoko Mountain is officially selected at the New Media Arts Festival Madrid (IVAHM 2016) in Spain. Contact: Takayuki Yoshida [email protected]

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Documentary


Ryoko Kaban Timoteus Anggawan Kusno /8 minutes/2016/Japan, Indonesia Timoteus merekayasa sebuah wawancara dengan seorang perempuan Jepang, yang menceritakan kisah-kisah yang telah hilang: ingatannya atas keluarga, kesendirian dalam keramaian Tokyo, serta kenangan atas suara serangga musim panas di pedesaan. Segenap ingatan menyeruak hadir dalam perjalanan di atas kereta, mengalun dan mengayun dari satu kota ke kota lain. Ingatan (kolektif) yang terartikulasikan dalam film ini merupakan kumpulan dari ingatan-ingatan personal yang terkumpul dalam Lost and Found and Lost and What Department, sebuah institusi fiktif yang digagas Timoteus dalam penelitian artistiknya di Jepang pada musim panas hingga musim dingin tahun 2015. Timoteus manufactured an interview with a Japanese woman, who tells her lost stories: memories of family, loneliness in the midst of Tokyo’s crowd, and remembrance of the sounds of summer insects in the countryside. The whole memories are bursting during the journey inside the train, flowing and rocking from one city to another. (Collective) Memory articulated in this film is a collection of personal memories collected in the Lost and Found and Lost and What Department, a fictional institution initiated by Timoteus in his artistic research in Japan during the summer to winter 2015. Director Seorang seniman lintas disiplin yang bekerja dengan beragam teknik. Ia menyelesaikan studi Ilmu Sosial dan Politik di Universitas Gadjah Mada, kemudian melanjutkan program pascasarjana Ilmu Religi dan Budaya Universitas Sanata Dharma. Dipercaya sebagai commissioned artist untuk perhelatan Festival Film Dokumenter pada tahun 2014. Di tahun 2015 terpilih sebagai seniman residensi di ARCUS Project, Jepang. Tahun ini ia terpilih untuk program Kerjasama yang diselenggarakan ASIALINK di Artback NT, Australia & Cemeti Arthouse, Indonesia. An interdisciplinary artist working with different techniques. He graduated from Social and Political Sciences, Gadjah Mada University, and is currently studying in Religious and Cultural Studies, PostGraduate Program in Sanata Dharma University. He was appointed as commissioned artist for Festival Film Dokumenter 2014. In 2015, he was selected as resident artist in ARCUS Project, Japan. This year he was selected in Cooperation program hold by ASIALINK in Artback NT, Australia and Cemeti Arthouse, Indonesia. Contact: www.takusno.com [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Adaptasi dan Restorasi Adaptation and Restoration Suluh Pamuji & Ismail Basbeth Programmers

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The Faces of Indonesian Cinema Today berisi film pendek dan panjang Indonesia terkini. Rancangan program ini ditujukan bukan hanya sebagai jembatan antara sinema Indonesia arus utama dan alternatif, melainkan juga antara sinema Indonesia arus utama dan Asia. Platform pemutaran pendek-panjang film Indonesia menjadi koridor yang khas untuk program ini. Sebagai gagasan, kami berusaha untuk membaca fenomena industri film di Indonesia dengan cara menyejajarkan dan mencari resonansi gaya serta keberagaman tema, baik film pendek maupun film panjang Indonesia arus utama. Sebagai laku, platform pendek-panjang sengaja kami pancangkan untuk mempertemukan penonton film pendek dan penonton film panjang Indonesia arus utama dalam rangkaian gagasan pemutaran.

The Faces of Indonesian Cinema Today contains Indonesia’s latest short and feature films. This program was designed to bridge not only Indonesia’s mainstream and alternative cinema, but also between Indonesia’s mainstream cinema and Asia. Indonesia’s short-feature screening platform is the quintessential corridor of the program. To come up with the idea, we tried to learn the phenomena of film industry in Indonesia by juxtaposing and looking for the resonance of style as well as variety of theme, both in Indonesia’s short and mainstream feature films. To present the practice, we intentionally staked the short-feature screening platform in order to bring together the spectators of short films and that of mainstream features within the series of the screening notion.

Tahun ini, kami menangkap bahwa fenomena industri film di Indonesia bergerak dalam dua kata kunci: adaptasi dan restorasi. Dalam konteks adaptasi kami menempatkan Cadocado (Ifa Isfansyah), My Stupid Boss (Upi Avianto), Rudy Habibie (Hanung Bramantyo), Moammar Emka’s Jakarta Undercover (Fajar Nugros), dan Warkop DKI Reborn (Anggi Umbara). Lima film panjang tersebut, bagi kami, punya capaian yang berbeda-beda.

This year, we captured that the phenomena of film industry in Indonesia are moving around two key words: adaptation and restoration. In the context of adaptation, we dispose Cadocado (Ifa Isfansyah), My Stupid Boss (Upi Avianto), Rudy Habibie (Hanung Bramantyo), Moammar Emka’s Jakarta Undercover (Fajar Nugros), and Warkop DKI Reborn (Anggi Umbara). For us, those features bring achievements being distint one another.

Cado-cado adalah eksplorasi cerita tentang cita-cita paling populer di Indonesia: menjadi dokter. Kendati menjadi citacita paling populer, namun profesi dokter jarang mendapatkan eksplorasi ilmiah dan profesionalnya di antara wajah-wajah sinema Indonesia. Untuk eksplorasi profesi yang berbeda, My Stupid Boss dan Rudy Habibie adalah dua film yang perlu kami baca. My Stupid Boss adalah komedi dalam ruang,

Cado-cado is an exploration of story on the most popular and aspired occupation in Indonesia: a doctor. Despite being the most frequently dreamt job, the explorations of scientific and professional aspects of medical doctor are rarely done among the faces of Indonesian cinema. Representing another exploration of different profession, My Stupid Boss and Rudy Habibie are two films we need to learn. My Stupid Boss is a comedy jaff-filmfest.org


situasi, dan relasi antara kepala administrasi dengan bosnya yang sangat menyebalkan dan bodoh. Tik-tok adegan dan dialog dalam My Stupid Boss perlu digarisbawahi sebagai sesuatu yang sangat hidup. Sedangkan Rudy Habibie mengeksplorasi proses dan masa muda Bacharuddin Jusuf Habibie sebelum menjadi profesor dan salah seorang yang kemudian penting di dunia politik Indonesia.

within particular space, situation, and relation between the head of administration and her infuriating and silly boss. The dynamics of scene and dialogue in My Stupid Boss should be underlined as something so lively. Meanwhile, Rudy Habibie explores the process and the youth of Bacharuddin Jusuf Habibie preceeding his life as a professor and later a prominent figure in Indonesia’s politics.

Dua film adaptasi lagi kental asosiasinya dengan dinamika kota Jakarta: Moammar Emka’s Jakarta Undercover dan Warkop DKI Reborn. Jika Moammar Emka’s meng-cover Jakarta dari Jakarta yang “undercover”, Warkop DKI Reborn dihadirkan untuk merekam Jakarta hari ini dengan pola komedi yang tengah berkembang: meme.

Two other adaptation films are strongly associated with the urban dynamics of Jakarta: Moammar Emka’s Jakarta Undercover and Warkop DKI Reborn. While Moammar Emka’s covers Jakarta from the “undercover” side, Warkop DKI Reborn is presented to record Jakarta nowadays within a currently developing comedy pattern: meme.

Film-film tersebut, masing-masing akan dibuka oleh salah satu dari film pendek Indonesia berikut: Ang (Michaela Clarissa Levi), Andro & Jini (Nurullita Marla), Amelis (Dery Prananda), Worked Club (Tunggul Banjaransari), dan Singsot (Wahyu Agung Prasetyo). Ang adalah animasi pendek yang hangat dan berisi. Andro & Jini adalah cerita pendek tentang pelarian diri dua anak dari sesuatu yang tak mereka inginkan. Amelis adalah film pendek alternatif yang sangat efektif dalam menyampaikan kritik atas infrastruktur yang tak memadai. Worked Club adalah narasi acak tentang pembantu rumah tangga yang naik kelas dalam bingkai sinema. Sedangkan Singsot adalah horor komedi yang ditata dengan sangat apik.

Each of those films will be preceeded by one of these Indonesia’s short films: Ang (Michaela Clarissa Levi), Andro & Jini (Nurullita Marla), Amelis (Dery Prananda), Worked Club (Tunggul Banjaransari), and Singsot (Wahyu Agung Prasetyo). Ang is a short animation which is warm and loaded with meanings. Andro & Jini is a short narrative about the escape of two youngsters from something they do not desire. Amelis is an alternative short film being very effective in delivering a critique towards inadequate infrastructure. Worked Club is a random narrative telling a story of a maid which steps to a higher level in the frame of cinema. While Singsot is a comedy horror with a wondrous arrangement.

Selanjutnya, di aras restorasi, tahun ini Indonesia memiliki Tiga Dara (Usmar Ismail) dalam bentuk restorasi. Restorasi Tiga Dara, bagi kami, hadir kembali dalam wajah baru film Indonesia. Ia menjadi sejarah restorasi film Indonesia lama di tahun ini, sebagaimana film pendek pembukanya nanti, Prenjak (Wregas Bhanuteja) adalah sejarah bagi prestasi film pendek Indonesia di Cannes.

In the realm of restoration, this year, Indonesia comes up with Tiga Dara (Usmar Ismail) in a restored form. Tiga Dara restored, for us, is present with a new face of Indonesian cinema. It becomes a historical restoration of Indonesian past cinema of the year; either does the short film for its opening, Prenjak (Wregas Bhanuteja) is a historical monument of the accomplishment of Indonesian short film in Cannes.

Selamat menonton,


Happy watching,

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Fiction

EMPIRE XXI | TUE 29 NOV | 15.00-18.00

Amelis Dery Prananda/5 minutes/2016/Indonesia Seorang pemuda ingin membawa pulang ayahnya ke kampung halaman dalam sebuah perjalanan penuh kecurigaan bagi sesiapa yang ditemui di jalan. A young man wants to bring his father back to their hometown in such a suspicious journey for anyone who happens to pass them along the road. Director Sebagai sutradara yang mulai belajar membuat film pada tahun 2005, Dery lebih banyak terlibat pada film-film dokumenter tentang advokasi isu lingkungan, sosial serta hak asasi manusia bersama beberapa lembaga. Tahun 2014 ia membuat The Years Of Blur, film dokumenter tentang kasus pembunuhan wartawan Bernas, Udin. Tahun 2015 sampai 2016 awal ia membuat film dokumenter Berkat Dari Laut yang berlokasi di Lamalera, Nusa Tenggara Timur. Amelis merupakan film fiksi pendek pertamanya sejak vakum tahun 2010. As a director who began to learn how to make films in 2005, Dery is more involved in the making of documentary films advocating environmental, social and human rights issues along with several institutions. In 2014 he made The Years Of Blur, a documentary about the murder of Udin, a journalist from Bernas. From 2015 until early 2016, he made a documentary entitled Blessing from the Sea that took place in Lamalera, East Nusa Tenggara. Amelis was his first short fiction film after being vacuum since 2010. Contact: Dery Prananda [email protected]

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EMPIRE XII | TUE 29 NOV | 12.30-15.00

Andro & Jini Nurullita Marla/15 minutes/2016/Indonesia Andro, seorang anak lelaki berbaju pink terang, bertemu Jini, seorang gadis berbaju biru terang. Andro biasa memakai baju berwarna biru sebelumnya. Muak atas tekanan sang ayah untuk belajar berkelahi dan mengonsumsi steroid, Andro memutuskan untuk kabur. Jini biasa memakai baju pink terang sebelumnya. Kecewa akan ibunya yang lebih senang mengurus bunga-bunganya, Jini memilih untuk kabur. Pertemuan keduanya membuat mereka menemukan diri sendiri. Andro, a boy in a light pink shirt, meets Jini, a girl in a light blue shirt. Andro was used to wear a light blue shirt before. Tired of being pressured by his father to learn fighting and consume steroid, Andro decided to run away from him. Jini was used to wear a light pink shirt before. Disappointed by her mother who cares more about her flowers than Jini, Jini decided to run away from her. Their encounter makes them realize their inner selves. Director Nurullita Marla, biasa dipanggil Uul, lahir di Semarang, 23 Februari 1995. Ia belajar di Binus Internasional, mengambil jurusan Film, angkatan 2003. Sutradara favoritnya adalah Jean-Luc Godard. Selama belajar, ia telah menulis dan menyutradari beberapa film pendek. Filmnya PreImagination (2014) diputar di 23oC Film Festival, dan film terbarunya berjudul Andro & Jini (2016). Ia juga bekerja sebagai Editor Belakang Layar film Salawaku (2016). Sekarang ia sedang menulis skripsi S1. Setelah lulus, ia berencana bekerja sebagai penulis naskah. Nurullita Marla, usually called Uul, was born in Semarang, 23 February 1995. She is studying in Binus International majoring in Film, batch 2013. Her favorite director is Jean-Luc Godard. During her study, she has written and directed several short films. Her filmography includes PreImagination (2014) that was screened in 23oC Film Festival, and Andro & Jini (2016). She also worked as Behind the Scene Editor for Salawaku (2016). She is now writing for her thesis film for her undergraduate study. And after she graduates, she plans to continue working as a scriptwriter. Contact: Nurullita Marla [email protected]


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Animation

Ang

EMPIRE XXI | WED 30 NOV | 14.30-17.00 NGASEM | THU 01 DEC | 19.00 – 20.30

Michaela Clarissa Levi/4 minutes/2016/Indonesia Ang bercerita tentang seorang anak lelaki dan sang ayah yang sangat menikmati kemeriahan malam Tahun Baru. Mereka menyusuri bersama jalanan yang sangat hidup dengan lampion di tangan mereka. Ini adalah tradisi turun temurun di keluarga mereka dan sekarang saatnya untuk menghidupkannya kembali. Ang tells the story of a boy and his father who enjoy the festive night of Lunar New Year. Together, they walk along the lively streets with lanterns in their hands. It’s a tradition that runs through their families and now it’s their time to bring it back to life again. Director Michaela Clarissa Levi adalah mahasiswa tahun keempat jurusan desain komunikasi yang mengambil minor di bidang animasi di Multimedia Nusantara University, Indonesia. Michaela lahir di Indonesia dan telah lama tinggal di sana. Michaela Clarissa Levi is a fourth-year communication design student with a minor in animation at Multimedia Nusantara University, Indonesia. She was born in Indonesia and has long resided there since then. Contact: Michaela C. Levi [email protected]

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EMPIRE XXI | WED 30 NOV | 14.30-17.00

Cado-cado Ifa Isfansyah/104 minutes/2016/Indonesia Ada tiga alasan paling populer untuk kuliah di Fakultas Kedokteran: jaminan penghasilan, ijazah bergengsi, dan pencarian jodoh yang dimudahkan. Riva masuk Fakultas Kedokteran bukan karena tiga alasan tersebut; ia ingin mengikuti sahabat semasa SMA-nya yang bernama Evi. Sebuah kejadian tragis membuatnya mulai meragu dan mempertanyakan kembali pilihannya untuk menjadi dokter. There are three most popular reasons to enter the Faculty of Medicine: promising earning, prestigious diploma, and facilitated search for soul mate. Riva enters the Faculty of Medicine for none of those mentioned reasons. He wants to follow his high school friend named Evi. Later, a tragic incident triggers him to question the choice of becoming a doctor. Director Ifa Isfansyah lahir di Yogyakarta, Indonesia, tahun 1979. Lulus dari Jurusan Televisi, Institut Seni Indonesia, Yogyakarta. Pada tahun 2001, ia dan beberapa temannya membentuk sebuah komunitas film independen bernama Fourcolours Film dan telah aktif memproduksi film-film pendek. Ifa terpilih dalam Asian Film Academy Busan International Film Festival 2006 dan memenangkan penghargaan beasiswa di Im Kwon Taek Film College of Film & Performing Arts. Ifa Isfansyah was born in Yogyakarta, Indonesia, in 1979. Graduated from the Television Department of Indonesian Institute of the Arts, Yogyakarta. In 2001, Ifa and several friends founded an independent film community named Fourcolours Films and has been active in producing short films. Ifa was selected at Asian Film Academy Busan International Film Festival 2006 and won a scholarship award in Im Kwon Taek Film College of Film & Performing Arts. Contact: Ardiansyah Solaiman [email protected]


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EMPIRE XXI | THU 01 DEC | 12.45-15.45

Fiction

Moammar Emka’s Jakarta Undercover Fajar Nugros/128 minutes/2016/Indonesia Demi menjadi jurnalis sukses, Pras, pemuda Jombang, merantau ke Jakarta untuk belajar dari Djarwo, pimpinan redaksi majalah berita. Idealismenya ternodai ketika menyadari bahwa majalah tersebut memanfaatkan kemampuan menulisnya yang brilian hanya untuk menulis artikel bohong. Tanpa disadari, Pras berada di tengah pusat kehidupan malam Jakarta. Semakin dalam menggali, semakin dalam dia masuk. Pras ingin mengubah hidup dan kariernya menjadi lebih signifikan. Dengan informasi menarik yang dimilikinya, Pras meyakinkan Djarwo untuk membantu mewujudkan ide-idenya. Akankah Pras berhasil mewujudkan mimpinya, di kota yang selalu mengubah manusia jadi lebih buruk? Siapa yang bertopeng dan siapa yang mengkhianati? Apakah wajah yang terlihat itu wajah yang sesungguhnya? Pursuing his dreams of becoming a successful journalist, Pras, a young man from Jombang, went to Jakarta to learn from Djarwo, an editor-in-chief of a news magazine. His idealism is tainted when realizing that the magazine takes advantage of his brilliant writing skills to write scam articles. Unawarely, Pras finds himself at the center of Jakarta’s nightlife scene. The deeper he digs in, the deeper he gets sucked into it. Pras wants to change his life and career into something more significant. With interesting information in his hands, Pras convinces Djarwo to help bringing his ideas to life. Will Pras succeed in the pursuit of his dreams, in the city that constantly changes people for the worse? Who wears their masks and who betrays whom? Are the faces he sees the real ones? Director Fajar Nugros, penulis dan sutradara, lahir di Yogyakarta, 29 Juli 1979. Di Yogyakarta, dia memulai perjalanan pembuatan filmnya lewat film pendek dan film indie. Setelah menjadi finalis Eagle Awards dan British Council tahun 2005, ia memutuskan untuk membuat film secara profesional. Dia pindah ke Jakarta, menjadi asisten Hanung Bramantyo; darinyalah Fajar banyak belajar tentang selera pembuatan film. Setelah lima tahun belajar, Fajar memulai perjalanan perfilmannya sendiri. Tahun 2013, Fajar dan Susanti Dewi (produser) membuat perusahaan flm indie, Demi Istri Production. Mereka telah membantu proses produksi beberapa studio Indonesia seperti Starvision, Maxima Picture, dan Rapi Films. Tahun 2016, mereka memproduksi film panjang bersama Grafent Pictures. Fajar Nugros, a writer and film director, was born in Yogyakarta, 29 July 1979. He started his filmmaking journey by short films and some indies back in Yogyakarta. Ever since becoming a finalist of both Eagle Awards and British Council in 2005, he decided to make movies professionally. He then moved to Jakarta, becoming an assistant to Hanung Bramantyo, from whom he learned most of his filmmaking taste. After five years of learning, Fajar started his own journey. In 2013, with Susanti Dewi (producer) he formed their own indie film company, Demi Istri Production. They have assisted several production processes of Indonesian studios, such as Starvision, Maxima Pictures, and Rapi Films. In 2016, they produce their second features with Grafent Pictures. Contact: Susanti Dewi Nugroho | [email protected]

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My Stupid Boss Upi Avianto/108 minutes/2016/Indonesia Film ini bercerita tentang bos dan karyawannya. Bossman (Reza Rahadian) adalah warga Indonesia yang memiliki perusahaan besar di Kuala Lumpur namun tidak terorganisasi. Prinsip manajemennya adalah bos selalu benar, yang berarti bahwa apa pun yang ia inginkan harus ia dapatkan. Diana, sekretarisnya, harus mencoba untuk mengambil keuntungan dari peluang baik yang tampaknya tidak pernah benar-benar ada di perusahaan tersebut. Setiap hari, Diana harus menghadapi tingkah bosnya yang aneh. Kesabaran dan niat baiknya pun diuji di sini. The story is about the boss and his employees. Bossman (Reza Rahadian) is an Indonesian who owns a company in Kuala Lumpur, a big but disorganized company. His principle of management is that the boss is always right, which means that whatever he fancies, he will get it. Diana, the secretary, has to try to take advantage of good opportunities that never really exists in the company. Diana confronts the weirdness of her boss every day. Her patience and good sense are all put to the test. Director Upi Avianto lahir pada 1 Januari 1970 di Jakarta. Kariernya diawali sebagai penulis skenario film Tusuk Jelangkung (2003) dan Lovely Luna (2004). Ia mulai menjadi sutradara dalam 30 Hari Mencari Cinta (2004). Film lain yang disutradarainya adalah Realita Cinta dan Rock’n Roll (2006), Perempuan Punya Cerita (2007), Radit dan Jani (2008), Serigala Terakhir (2009), dan Red Cobex (2010). Pada tahun 2008, Upi masuk dalam nominasi sutradara terbaik di beberapa ajang penghargaan film dengan Radit dan Jani. Red Cobex, film komedi buatannya, masuk nominasi skenario terbaik pada Piala Citra FFI 2010. Pada FFI 2013, ia dan filmnya masuk dalam nominasi penyutradara dan film terbaik. Upi Avianto was born on 1 January 1970 in Jakarta. Her career started as a screenplay writer for Tusuk Jelangkung (2003) and Lovely Luna (2004). She began to direct her own film in 30 Hari Mencari Cinta (2004). The other films that she directed were Realita Cinta dan Rock’n Roll (2006), Perempuan Punya Cerita (2007), Radit dan Jani (2008), Serigala Terakhir (2009), and Red Cobex (2010). In 2008, Upi was nominated for the best director in several film awards with Radit dan Jani. Red Cobex, her comedy film, was nominated for the best scenario in Piala Citra FFI 2010. In 2013, she and her film were nominated for the best director and the best film. Contact: Frederica [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

Prenjak (In the Year of Monkey) Wregas Bhanuteja/12 minutes/2016/Indonesia Diah membawa Jarwo ke gudang saat jam makan siang. Diah berkata bahwa ia membutuhkan sejumlah uang segar. Ia menawari Jarwo sebuah korek api seharga Rp10.000,00; dengan korek itu Jarwo bisa melihat bagian tubuh Diah. Diah took Jarwo to the warehouse at lunch break. She said that she needs some quick money. She offered Jarwo to buy a match for 10,000 rupiahs. With that match, Jarwo can take a look at Diah’s body parts. Director Wregas Bhanuteja lahir di Jakarta, 20 Oktober 1992. Ia besar di Yogyakarta dan belajar di Institut Kesenian Jakarta pada jurusan penyutradaraan film. Film pendeknya Lembusura (2014) terpilih di 65th Berlin International Film Festival 2015. Setelah lulus, ia terus memproduksi film pendek, dan Prenjak (In The Year of Monkey) (2016) adalah film terbarunya. Prenjak memenangkan Leica Cine Discovery Prize pada 55th Semaine de la Critique, Festival de Cannes 2016. Wregas Bhanuteja was born in Jakarta, 20 October 1992. He grew up in Yogyakarta, and went to a film school in Institut Kesenian Jakarta (Jakarta Arts Institute) with film directing major. His short film Lembusura (2014) was selected in 65th Berlin International Film Festival 2015. After graduated from the institute, he keeps making short films, and Prenjak (In The Year of Monkey) (2016) is his latest film. Prenjak won Leica Cine Discovery Prize at 55th Semaine de la Critique, Festival de Cannes 2016. Contact: Wregas Bhanuteja [email protected]

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Rudy Habibie Hanung Bramantyo/142 minutes/2016/Indonesia “Jadilah mata air,” adalah pesan almarhum ayah Rudy yang membawanya menempuh kuliah teknik penerbangan di Universitas RWTH di Aachen, Jerman, demi mewujudkan keinginannya membangun industri dirgantara di Indonesia. Selain belajar, ia juga banyak berkawan dengan orang senegara. Tetapi justru Ilona, mahasiswa keturunan Polandia, yang percaya pada mimpinya. Ia juga harus berhadapan dengan sekawanan mantan Tentara Pelajar yang percaya bahwa Indonesia membutuhkan solusi yang berbeda dari visinya. Perlawanan dua kubu ini membawa pada sebuah pertaruhan nyawa. “Be the springs,” is the message told by Rudy’s father that motivates him to study flight engineering in RWTH University in Aachen, Germany, in order to fulfill his dream of developing an aerospace industry in Indonesia. Aside from learning, he also befriends with other Indonesians in Germany. However, it is Ilona, a Polish descent, who truly believes in his dream. He also has to face a group of ex-Tentara Pelajar soldier who believes that Indonesia needs a solution that is completely different from his vision. The conflict between these two brings into a sacrifice. Director Hanung Bramantyo lahir di Yogyakarta pada 1 Oktober 1975. Ia menempuh pendidikan film di Jurusan Film, Institut Kesenian Jakarta, lalu menerapkan ilmunya secara khusus pada penyutradaraan. Kariernya dimulai pada tahun 2000 lewat sebuah film berjudul Topeng Kekasih. Hanung Bramantyo was born in Yogyakarta, 1 October 1975. He studied film in Film Department, Jakarta Arts Institute, and then applied his knowledge particularly in directing. His career started in 2000 through a film titled Topeng Kekasih. Contact: Harry Mirpuri [email protected]


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Singsot

EMPIRE XXI | THU 01 DEC | 12.00-14.30 NGASEM | THU 01 DEC | 19.00 – 20.30

Wahyu Agung Prasetyo/14 minutes/2016/Indonesia Seorang anak kecil yang menginap di rumah kakek dan neneknya mengalami kejadian-kejadian menyeramkan setelah mendengar mitos yang diceritakan oleh neneknya. Namun di balik kejadiankejadian tersebut, ternyata ada suatu hal lain yang tidak disadari. Semua kejadian itu pada akhirnya membuat si anak tidak ingin bersiul lagi. A little boy staying overnight in his grandparents’ house experiences horrifying incidents after he listened to a mythical story told by his grandmother. But behind it, there is another thing he is not aware of. After all of those incidents, he does not want to whistle anymore. Director Wahyu Agung Prasetyo, atau kerap disapa Koclak di lingkungan teman-temannya, lahir di Jakarta, 5 Agustus 1993. Ia mengenal film bersama komunitas Cinema Komunikasi UMY. Saat ini Agung mendirikan Ravacana Films. Wahyu Agung Prasetyo, or commonly known as Koclak within his friends circle, was born in Jakarta, 5 August 1993. He made his first encounter with film in the community of Cinema Komunikasi UMY. Currently, he is founding Ravacana Films.

Contact: Elena Rosmeisara [email protected]

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Tiga Dara Usmar Ismail/116 minutes/1957/Indonesia Tiga kakak beradik perempuan tinggal bersama ayah dan nenek mereka. Nunung, si sulung, baru saja genap berusia 29 tahun dan tak kunjung menemukan jodohnya. Upaya menemukan pasangan untuknya gagal karena ia tak mudah bergaul. Ia bertemu dengan Toto dalam sebuah kecelakaan sepeda motor. Berawal dari kejadian itu timbullah perasaan Toto pada Nunung, namun tak ditanggapi dengan baik karena keegoisan Nunung. Kehadiran Toto justru membuat Nana, adik Nunung, jatuh hati. Nunung yang sebenarnya memendam rasa kepada Toto marah melihat kedekatan keduanya. Pergolakan cinta inimelahirkan drama menarik dalam kisah persaudaraan mereka. Once, there were three sisters living with their father and grandmother. Nunung, the eldest, just turned 29 years old and had not found her soul mate hitherto. All attempts to find the one always failed because Nunung was unsociable. Nunung met Toto in a motorcycle accident. Ever since, Toto had a crush on her, but Nunung did not respond well due to her selfishness. The presence of Toto made Nana, Nunung’s younger sister, fall in love with him instead. Secretly having feeling for Toto, Nunung was upset for seeing the intimacy of the two. The love turmoil spawned an interesting drama within their sisterhood. Director Usmar Ismail mulai menjadi pecandu film saat bersekolah di MULO-B (Meer Uitgebreid Lager Onderweijs) di Padang dari 1935-1939. Mendapatkan beasiswa Rockefeller Foundation untuk mendalami sinematografi di Universitas California Los Angeles (UCLA) tahun 1953. Usmar Ismail telah menghasilkan 25 film, antara lain: Krisis (1953), Lewat Djam Malam (1954), Tamu Agung (1955), dan Tiga Dara (1956). Usmar Ismail mempelopori terbentuknya Federasi Produser (Federation of Motion Picture Producers in Asia) Asia di Manila dan Festival Film Indonesia pertama (30 Maret-5 April 1955). Usmar Ismail started to be infatuated with film when he was studying at MULO-B (Meer Uitgebreid Lager Onderweijs) in Padang, 1935-1939. Awarded a Rockefeller Foundation scholarship to explore cinematography at the University of California, Los Angeles (UCLA) in 1953. Usmar Ismail had produced 25 films, among others: Krisis (1953), Tamu Agung (1955), and Tiga Dara (1956). He pioneered the establishment of Federasi Produser Asia (Federation of Motion Picture Producers in Asia) in Manila and the first Festival Film Indonesia (30 March – 5 April 1955). Contact: Alex Sihar [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Warkop DKI Reborn Anggi Umbara/110 minutes/2016/Indonesia Dono, Kasino, dan Indro kembali beraksi di tengah hiruk pikuknya kota DKI Jakarta. Mereka sekali lagi berperan sebagai personel sebuah lembaga swasta bernama CHIIPS (Cara Hebat Ikut-Ikutan Penanggulangan Sosial). Walaupun di dalam diri mereka penuh semangat yang menggelora dalam menjalankan tugas-tugasnya melayani masyarakat, tetapi kekacauan dan huru-hara selalu mereka timbulkan akibat aksi mereka yang konyol dan selalu mengocok perut. Dono , Kasino, and Indro are back in action amid the bustling city of Jakarta. Once again, they play the roles of an officer group employed by a private institution, CHIIPS (A Great Way to Overcome Social Issues). Even though they are passionate about serving the community, they keep causing problems because of their silly and funny actions. Director Anggi Umbara lahir pada 21 Oktober 1980. Anggi tidak menempuh pendidikan formal di bidang film, semuanya ia pelajari secara autodidak. Film-filmnya yang sukses di bioskop antara lain adalah Coboy Junior the Movie (2013), Comic 8 (2014), Comic 8: Casino Kings Part 1 (2015), dan Comic 8: Casino Kings Part 2 (2016). Filmnya 3: Alif, Lam, Mim masuk nominasi Penulis Skenario Asli Terbaik dalam Festival Film Indonesia 2015. Anggi Umbara was born in 21 October 1980. Anggi never studied film formally in any educational institutions; he just learned it autodidactically. His films that hit the box office charts are Coboy Junior the Movie (2013), Comic 8 (2014), Comic 8: Casino Kings Part 1 (2015), and Comic 8: Casino Kings Part 2 (2016). His film 3: Alif, Lam, Mim was nominated in Festival Film Indonesia in the category of Best Original Script Writer. Contact: Frederica [email protected]

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Worked Club Tunggul Banjaransari/22 minutes/2015/Indonesia Di sebuah kota di Jawa Tengah, seorang pembantu tinggal di sebuah rumah mewah yang jarang dihuni pemiliknya. Film ini menemani si pembantu dalam kesepiannya, hanya ditemani oleh seorang pekerja film yang juga adalah adik laki-laki dari pemilik rumah mewah itu. Dari hari ke hari, mereka merayakan ketidakhadiran penguasa rumah mewah itu. In a town in Central Java, a housemaid lives in a luxury house that is rarely inhabited by its owner. This film accompanies the maid in his solitariness, with only a film worker who is also the young brother of the owner of the house as a friend. Day by day, they celebrate the absence of the ruler of the extravagant house. Director Tunggul lahir di Solo 28 tahun yang lalu. Dibesarkan oleh keluarga yang bekerja untuk kesenian musik tradisi. Tunggul adalah satu-satunya anggota keluarga yang tidak bisa memainkan alat musik apa pun. Ia hanya bisa mendengar, mendengar pun bosan. Ia memutuskan untuk menonton film semenjak kelas 2 SD. Semasa SMA, ia merekam apa saja yang dikiranya menarik menggunakan handycam tanpa menyuntingnya setelah itu. Selepas kuliah di Yogyakarta, ia memutuskan untuk membuat film. Tunggul was born in Solo 28 years ago. He was raised in a family working in the field of traditional music art. Tunggul is the only one in the family who is unable to play any musical instrument. He can only listen, sometimes it eventually bores him. He decided to watch films when he was in the second grade of elementary school. During senior high school period, he recorded anything that piqued him by using a handycam without any editing afterwards. After completing university education in Yogyakarta, he decided to make films. Contact: Tunggul Banjaransari [email protected]


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OPEN AIR CINEMA

Konsistensi Pendekatan Film Pendek ke Masyarakat Umum Consistency in Bringing Short Films Closer to Public Mohammad Reza Fahriyansyah Programmer

Sebuah film pada dasarnya diciptakan berdasarkan citra kehidupan di masyarakat yang sedang ataupun telah berlangsung. Selain itu, film juga memiliki fungsi yang dibutuhkan oleh masyarakat saat ini sebagai refleksi kehidupan berbudaya dan bermasyarakat dalam aspek hiburan juga pendidikan. Namun sampai saat ini, film pendek belum memiliki ruang yang cukup luas untuk berkontribusi terhadap masyarakat umum. Sekat-sekat ruang pemutaran masih berkutat pada ruang “eksklusif” seperti caf́, hotel, kampus, dll, yang secara akses sulit untuk dijangkau oleh masyarakat umum. Secara konsisten program Open Air Cinema JAFF mencoba untuk selalu mendekatkan film-film pendek untuk kembali ke masyarakat melalui penayangan. Tahun ini, program Open Air Cinema akan digelar di 3 titik Daerah Istimewa Yogyakarta yang memiliki fungsi tempat berbeda, yakni: Bukit Breksi, Taman Sari, dan Perpustakaan daerah Grahatama. Titik-titik itu dipilih bukan hanya karena strategis, namun juga karena memiliki karakter dan latar belakang penonton yang berbeda-beda, sebuah jaminan bahwa mereka akan memberikan respons yang berbedabeda untuk film-film yang akan ditayangkan. Semoga ikhtiar mendekatkan film pendek dengan penonton melalui penyesuaian dengan daerah tinggal bisa menambah kontribusinya untuk masyarakat.

A film is basically created based on images of life either happening or had already happened in the society. Moreover, a film also has a function needed by today’s society, positioning them to serve as a reflection of cultural and social practices within both entertainment and education aspects. However, until now, short film has not got enough room to contribute to the public. Screening is always held in “exclusive” venues with low public accessibility such as caf́, hotel, campus, etc. Consistently, Open Air Cinema JAFF tries to bring short films closer to the society through screening. This year, Open Air Cinema will be held in three venues in Daerah Istimewa Yogyakarta: Bukit Breksi, Taman Sari, and Perpustakaan Grhatama, each is a place having functions different from the others. Those venues are chosen not only because they happen to be strategic but also possess distinct characteristics and audiences’ background, a guarantee that they will respond differently to the films that will be screened. Hopefully the effort to bring short films closer to audiences through adjustments made based where they live can uplift short films’ contribution to the society in general. Hope you enjoy reflecting from the films you watch.

Selamat berefleksi dari film yang akan ditonton

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Animation

Ang

EMPIRE XXI | WED 30 NOV | 14.30 – 17.00 NGASEM | THU 01 DEC | 19.00 – 20.30

Michaela Clarissa Levi/4 minutes/2016/Indonesia Ang bercerita tentang seorang anak lelaki dan sang ayah yang sangat menikmati kemeriahan malam Tahun Baru. Mereka menyusuri bersama jalanan yang sangat hidup dengan lampion di tangan mereka. Ini adalah tradisi turun temurun di keluarga mereka dan sekarang saatnya untuk menghidupkannya kembali. Ang tells the story of a boy and his father who enjoy the festive night of Lunar New Year. Together, they walk along the lively streets with lanterns in their hands. It’s a tradition that runs through their families and now it’s their time to bring it back to life again. Director Michaela Clarissa Levi adalah mahasiswa tahun keempat jurusan desain komunikasi yang mengambil minor di bidang animasi di Multimedia Nusantara University, Indonesia. Michaela lahir di Indonesia dan telah lama tinggal disana.. Michaela Clarissa Levi is a fourth-year communication design student with a minor in animation at Multimedia Nusantara University, Indonesia. She was born in Indonesia and has long resided there since then.

Contact: Michaela C. Levi [email protected]


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Fiction

BREKSI | TUE 29 NOV | 19.00 – 20.30

Bubar, Jalan! (Dismiss) Gerry Fairus Irsan/10 minutes/2016/Indonesia Ahong seorang anak berketurunan Tionghoa mendapatkan giliran untuk menjadi seorang pemimpin upacara bendera di sekolahnya untuk pertama kali. Namun ketidakpercayaan diri Ahong menghantui dia hingga hari pelaksanaan upacara tiba. Lalu bagaimana upacara tersebut berlangsung? Ahong, a Chinese boy, gets his turn to be the leader for the flag ceremony at school for the first time. However, his hesitation haunts him till the D-Day. So, how will the ceremony go? Director Film merupakan bagian penting dari hidupnya. Laki-laki kelahiran 17 April 1993 ini sudah menyukai berbagai bentuk seni visual seperti foto, video, dan desain sejak kecil. Ia benar-benar jatuh cinta pada seni sinematografi; baginya, sinematografi merupakan seni visual yang sangat kompleks dan pencapaian tertinggi dari berbagai karya visual lainnya. Film becomes an important part in his life. This man, born in 17 April 1993, has been in love with all kinds of visual arts such as photo, video, and design since he was young. He really loves cinematography. For him, cinematography is one kind of visual arts which is very complex and can be considered as the highest achievement among other visual art works.

Contact: Dhita Ramdhanyati Nur Intani [email protected]

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Fiction

BREKSI | TUE 29 NOV | 19.00 – 20.30

Cermin (Mirror) Sarah Adilah/3 minutes/2015/Indonesia Film yang menceritakan tentang sebuah cermin dan konflik yang terjadi antara seorang anak yang putus sekolah dengan pelajar yang bolos. A film that tells a story of a mirror and a conflict which revolves around a kid who is dropped out of school and a student who likes to skip classes.

Director Sarah Adilah, akrab disapa Sarah, lahir di Palu, 21 Juli 1998. Saat ini tengah bersekolah di SMA Al-Azhar Mandiri Palu. Mengenyam pendidikan di sekolah sains bukan halangan untuk aktif menciptakan karya seni. Sejak kecil ia gemar membaca, menulis, menggambar, mengikuti kegiatan seni musik, hingga mengenal film. Menurutnya, film merupakan wadah berbagai minat dan bakatnya; ia bereksplorasi dan mengembangkan diri melalui film secara autodidak. Cermin (2015) merupakan karya fiksi pendek pertamanya. Sarah bercita-cita menjadi sineas wanita muda pertama dari daerahnya, berprestasi di dunia perfilman, dan membanggakan Indonesia. Maka, ia berencana serius melanjutkan kuliah di bidang seni, khususnya perfilman. Sarah Adilah, known as Sarah, is girl born in Palu on 21 July 1998. She is currently studying at SMA Al-Azhar Mandiri Palu. Studying science does not stop her from actively producing art works. Since young, she has loved reading, writing, painting, music, and film. She thinks that film is a medium to explore her interests and talents autodidactically. Cermin (2015) is her first short fiction. She wants to be the first young woman filmmaker from Palu, to earn achievements in film, and make Indonesia proud of her. Therefore, she plans to continue her study in film major. Contact: Sarah Adilah [email protected]


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AMPHITHEATER GRHATAMA | WED 30 NOV | 19.00 – 20.30

Emak Rahardwiyan Aristya Putra/15 minutes/2016/Indonesia Tiada yang lebih sepi dari menjadi tua dari hari ke hari. Tahun Baru hampir tiba, Nenek sangat yakin ia akan bertemu anak dan cucu kesayangannya, atau paling tidak mendengar suara mereka dari jarak dekat. Ketika semua orang sibuk mempersiapkan makan malam terbaik mereka, Nenek hanya bisa duduk dan menunggu. Menunggu itu menyakitkan, tetapi kali ini lebih dari itu. Nothing is quieter than getting worn out by the days. Lunar New Year is coming nearer, Granny is sure that she will meet her beloved children and grandchildren, or at least hearing their voice from a close distant. When everybody is at their best to prepare for their best dine, Granny can only sit and wait. The waiting is painful, but it is not the only pain. Director Aris adalah mahasiswa jurusan perfilman di Multimedia Nusantara University. Ia termotivasi untuk menjadi seorang pembuat film sejak SMA. Setelah dua tahun belajar, Aris akhirnya berhasil membuat film karyanya sendiri. Emak terilhami dari cerita masa kecil Aris saat ia melihat neneknya yang buta ditinggal oleh empat anaknya. Aris is a student of filmmaking in Multimedia Nusantara University. He has aspired to be a filmmaker since he was in high school. After two years learning, finally Aris made his way to direct a movie of his own perspective. Emak is inspired from Aris’ childhood experience when he saw his blind grandmother being left alone by her four children. Contact: Stephanie Gunawan [email protected]

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Fiction

BREKSI | TUE 29 NOV | 19.00 – 20.30

Gilingan Ersya Ruswandono/21 minutes/2016/Indonesia Setelah kematian ayahnya, Bagus kembali ke kampung halaman untuk mengajak adik perempuannya, Laras, pindah ke kota. Tetapi Laras memilih tetap tinggal. Ia menyampaikan keinginan ayah mereka pada Bagus. Sang ayah ingin Bagus melanjutkan bisnis penggilingan padi mereka yang hampir bangkrut karena penggilingan padi ilegal yang merajalela. After the death of his father, Bagus comes back to his hometown and takes his little sister, Laras, to move along to the city. But Laras does not want to go. She delivers their father’s will to Bagus, that he wanted Bagus to continue running their rice mill business which is almost bankrupt due to rampant illegal mobile rice mill.

Director Lahir dan dibesarkan di Yogyakarta. Ketertarikannya pada dunia perfilman berakar dari dunia fotografi. Ia lulus dari Fakultas Film dan Televisi Institut Kesenian Jakata, Jurusan Penyutradaraan. Ia memproduksi beberapa film pendek dan pernah berkompetisi di beberapa festival film nasional. Ia juga menjadi seorang sinematografer; film terbarunya adalah The Floating Chopin dan Prenjak (In The Year of Monkey) yang baru saja memenangkan Best Short Film di Semaine de la Critique, Cannes Film Festival 2016. Born and raised in Yogyakarta. Her interest in cinema stems from the world of photography. She graduated from the Faculty of Film & Television, Jakarta Institute of The Arts with Directing Major. She produced several short films and has competed in several national film festivals. She is also a cinematographer; her recent films are The Floating Chopin and Prenjak (In The Year of Monkey) which has just won the Best Short Film in Semaine de la Critique, Cannes Film Festival 2016. Contact: Ersya Ruswandono [email protected]


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Joni Sok Jagoan Mustafa/5 minutes/2016/Indonesia Joni, seorang anak SMA yang sedang buang air kecil di sebuah pohon tiba-tiba didatangi oleh Pak Polisi dan terkena tilang. Saat merasa geram karena ditilang, Joni mendapat masalah baru ketika bertemu Sarah, seorang wanita yang membutuhkan bantuan. Apa saja masalah yang dialami Joni dan bagaimana Joni menyelesaikan masalahnya? Joni, a high school student who is taking a pee on a tree, ticketed by a policeman who suddenly approaches him. Joni is infuriated by the ticket when he then encounters a new problem when meeting Sarah, a woman who needs help. What are the problems and how will Joni solve them all? Director Mustafa lahir di Samarinda, 5 Maret 1994. Kini ia berdomisili di Bandung. Film Joni Sok Jagoan yang disutradarainya sempat memborong sejumlah penghargaan dalam Police Movie Festival 2016, yakni Ide Cerita Terbaik, Sutradara Terbaik, dan Juara I lomba film pendek. Mustafa was born in Samarinda, on 5 March 1994. Currently he resides in Bandung. The film Joni Sok Jagoan which he directed won several awards in Police Movie Festival 2016, for Ide Cerita Terbaik (Best Story), Sutradara Terbaik (Best Director), and the First Winner of short film competition. Contact: Mustafa [email protected]

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NGASEM | THU 01 DEC | 19.00 – 20.30

Fiction

Kemunculan Firaun dalam Kisah yang Biasa Theo Maulana/14 minutes/2016/Indonesia Sore itu, Soleh pulang dari masjid tanpa memakai alas kaki. Ada yang aneh. Sandal yang baru dibelikan oleh kakeknya tidak ia pakai, melainkan hanya ia jinjing. Once in an afternoon, Soleh returns from the mosque barefoot. There is something strange. He does not wear the new slippers bought by his grandfather, he carries them in his hand instead. Director Theo Maulana adalah mahasiswa S1 Ilmu Komunikasi Universitas Airlangga. Lahir di Gresik, 20 Mei 1994. Mulai belajar membuat film semenjak kuliah. Karya film pertamanya berjudul Di Sekitar Televisi (2014). Kemunculan Firaun dalam Kisah yang Biasa (2016) adalah karya film kedua. Saat ini aktif berkegiatan film bersama teman-teman di kelompok belajar bernama Sinema Intensif, Surabaya. Theo Maulana is an undergraduate student of Communication Studies, University of Airlangga. He was born in Gresik, 20 May 1994. He begins learning to make films since he was at college. His first film work is entitled Di Sekitar Televisi (2014). Kemunculan Firaun dalam Kisah yang Biasa (2016) is his second film. He is currently active in a study group called Sinema Intensif, Surabaya. Contact: Theo Maulana [email protected]


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Makmum Riza Pahlevi/9 minutes/2016/Indonesia Nurul adalah mahasiswi yang rajin dan taat beragama. Suatu saat, ia bangun pukul 2 pagi dan bersembahyang. Nurul merasa ada seseorang di belakangnya yang mengikuti segala gerakan sembahyangnya. Ia mengira itu mungkin salah satu teman asramanya. Namun kemudian ia menyadari bahwa semua teman asramanya sedang pulang kampung. Lalu siapa yang ada di belakang Nurul saat ia sembahyang? Nurul is a diligent and religious student. One day, she wakes up at 2 AM to pray. She feels that there is someone behind imitating her praying movement. She thinks that it must have been one of her dorm mates. But she realizes that all of her dorm mates have gone to their hometowns. Then who is sitting behind her when she is praying? Director Riza Pahlevi belajar di jurusan Penyiaran di Yogyakarta. Dia telah aktif dalam pembuatan film semenjak SMA. Beberapa film yang pernah ia buat adalah: Jaket Lusuh, Makmum, Susah Bobo’ dan beberapa film pendek lainnya. Riza Pahlevi studies broadcasting in Yogyakarta. He has been actively making films since he was in high school. Here are several movies he produced: Jaket Lusuh, Makmum, Susah Bobo’ and some other short films. Contact: Riza Pahlevi [email protected]

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BREKSI | TUE 29 NOV | 19.00 – 20.30

Namaj Utab Gemma Muhammad/9 minutes/2016/Indonesia Menceritakan Huha (si gendut) dan Hahu (si kurus) yang hidup pada zaman batu. Mereka awalnya bersahabat, namun persahabatan mereka sempat hancur karena keegoisan mereka untuk mendapatkan sesuatu yang lebih. Pada akhirnya mereka sadar bahwa persahabatan mereka lebih penting dibandingkan apa pun. About Huha (the fat) and Hahu (the skinny) who live during the stone age. They have been good friends until their friendship is tempted because of their selfishness to gain more of something. However, they eventually realize that their friendship is the most important among anything else. Director Gemma adalah seorang ketua/sutradara dalam proyek film Namaj Utab yang dikerjakan oleh kelompok Dandelion Project. Gemma is the project leader/director of Namaj Utab that is produced by Dandelion Project group.

Contact: Antoni Canaka [email protected]


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Fiction

Ngabuburit (Waiting for Iftar) Candra Aditya/8 minutes/2016/Indonesia Sepasang suami istri sedang berdiskusi tentang mudik Lebaran saat menjelang buka puasa. A married couple are discussing their Eid homecoming while waiting for iftar.

Director Candra Aditya adalah seorang penulis dan pembuat film. Ia menghabiskan waktunya dengan menonton film dan membaca sembari bekerja sebagai peninjau untuk DetikHot dan kontributor untuk majalah Provoke!. Saat ini ia sedang sibuk menyelesaikan studinya sebagai mahasiswa jurusan Film di Binus International. Candra Aditya is a writer and a filmmaker. He spends his time by watching movies and reading while working as a reviewer for DetikHot and as a contributor for Provoke! magazine. Now he is busy to finish his Film study in Binus International.

Contact: Candra Aditya [email protected]

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NGASEM | THU 01 DEC | 19.00 – 20.30

Fiction

Pulang Sekolah (After School) Rio Sumantri/15 minutes/2016/Indonesia Nico adalah anak sekolah dasar yang tidak seberuntung anak-anak lainnya. Di saat temantemannya dapat merasakan kebahagiaan, justru Nico merasakan kebalikannya. Sebuah kondisi sangat berat yang dialami oleh anak berumur 9 tahun ini membuat dirinya harus merasakan pahitnya kehidupan di masa kecil. Nico is a student of elementary school who is not as fortunate as his other friends. While they can feel happiness, Nico feels the other way. A burdensome situation encountered by this 9-year-old boy causes him to feel the bitterness of life in his childhood. Director Rio Sumantri merupakan anak ke-2 dari 3 bersaudara, kelahiran Jawa Timur, 4 Maret 1994. Sekarang ia berdomisili di Jakarta. Kecintaannya terhadap film sudah timbul saat berada di bangku SMK di Bali dengan jurusan multimedia. Ia mengambil konsentrasi minat sutradara dan sampai saat ini tetap belajar menjadi sutradara yang baik. Rio Sumantri, a second child of three siblings, was born in East Java, 4 March 1994. Recently, he resides in Jakarta. His love of film has emerged since he was in a vocational high school in Bali, taking the major of multimedia. He then took concentration on directing and is currently learning to be a good director.

Contact: Amelia Carolina [email protected]


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BREKSI | TUE 29 NOV | 19.00 – 20.30

Sandekala Amriy Ramadhan/9 minutes/2014/Indonesia Seorang ibu dan anak perempuannya berjalan pulang melalui gang-gang sepi. Saat petang menjelang, sepertinya ada sesuatu yang mengintai dan menguntit mereka sepanjang jalan. A mother and her daughter walk home through quiet alleys. When the dusk covers the sky, a particular thing seems to be lurking and following them every step of the way. Director Amriy Ramadhan telah jatuh cinta pada film sejak masih bocah. Ia memulai kariernya dan mempelajari hampir semua aspek pembuatan film (produksi, kamera, desain produksi, penyutradaraan, penyuntingan, dll.) baik secara autodidak maupun akademis (sekolah non-film) melalui lokakarya, kelas singkat, dan kursus sejak 2009. Hingga saat ini, ia telah menyutradarai sejumlah video musik dan film pendek indie serta masih bekerja di industri film/iklan sebagai pekerja lepas purnawaktu dalam bagian produksi. Amriy Ramadhan has fallen in love with film since he was a little boy. He has started his early career and learned almost every aspect of filmmaking (production, camera, production design, directing, editing, etc.) both in autodidactic and academic ways (non-film school) through workshops, short camps, and courses since 2009. Hitherto, he has directed some several music videos and independent short films as well as is still working in film/commercial industry as a fulltime freelancer in the production department. Contact: Dhita Ramdhanyati Nur Intan [email protected]

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Sarungku Ilang! Yasin Hidayat/15 minutes/2016/Indonesia Kalau ini sarungmu, terus itu sarung Adlan... lha sarungku mana? If this is your sarong, and that one is Adlan’s... then where is mine? Director Yasin Hidayat, 17 tahun. Pernah belajar produksi film di ekstrakurikuler film SMPN 4 Satu Atap Karangmoncol, Purbalingga, sebagai sutradara dan editor. Pernah menyutradarai film Pigura, Hanacaraka, Oleh-Oleh dari Jakarta, Sang Maestro yang Tak Dikenal, dan juga menjadi editor film Langka Receh. Yasin Hidayat, 17 years old. He used to learn about film production in a student extracurricular film club in SMPN 4 Satu Atap Karangmoncol, Purbalingga, as a director and editor. He directed several films titled Pigura, Hanacaraka, Oleh-Oleh dari Jakarta, Sang Maestro yang Tak Dikenal, as well as edited Langka Receh. Contact: Yasin Hidayat [email protected]


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NGASEM | THU 01 DEC | 19.00 – 20.30

Singsot Wahyu Agung Prasetyo/14 minutes/2016/Indonesia Seorang anak kecil yang menginap di rumah kakek dan neneknya mengalami kejadian-kejadian menyeramkan setelah mendengar mitos yang diceritakan oleh neneknya. Namun di balik kejadiankejadian tersebut, ternyata ada suatu hal lain yang tidak disadari. Semua kejadian itu pada akhirnya membuat si anak tidak ingin bersiul lagi. A little boy staying overnight in his grandparents’ house experiences horrifying incidents after he listened to a mythical story told by his grandmother. But behind it, there is another thing he is not aware of. After all of those incidents, he does not want to whistle anymore. Director Wahyu Agung Prasetyo, atau kerap disapa Koclak di lingkungan teman-temannya, lahir di Jakarta, 5 Agustus 1993. Ia mengenal film bersama komunitas Cinema Komunikasi UMY. Saat ini Agung mendirikan Ravacana Films. Wahyu Agung Prasetyo, or commonly known as Koclak within his friends circle, was born in Jakarta, 5 August 1993. He made his first encounter with film in the community of Cinema Komunikasi UMY. Currently, he is founding Ravacana Films.

Contact: Elena Rosmeisara [email protected]

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Animation

The Chosen Generation Ariel Victor/3 minutes/2016/Indonesia Seorang wanita muda menyiarkan sebuah undangan untuk menaiki bus dan meninggalkan kota kepada sekelompok anak muda pecinta teknologi dan penggila internet yang tinggal di sebuah kota telantar. Ketika keberangkatan semakin dekat, hanya beberapa orang yang berhasil menaiki bus. Pemuda-pemuda lainnya tidak begitu beruntung. A young woman broadcasts an invitation to hop on a bus and skip town, to a number of youngsters who are hugely occupied by the love of technology and internet habits living in an abandoned city. With a little time before departure, only some make it to the bus. The others are not so fortunate. Director Lulus dari RMIT University pada tahun 2013, Ariel Victor selalu berpegang teguh pada cintanya terhadap animasi 2D. Film kelulusannya, Me & Them, dianugerahi Best Australian Student Film dalam Melbourne International Animation Festival pada tahun 2014. Selain itu, film pendeknya juga terpilih secara resmi dalam Milano International Film Festival 2014 dan Animpact 2014 di Seoul, Korea Selatan. Saat ini ia bekerja sebagai ilustrator dan animator 2D di kota kelahirannya, Jakarta, Indonesia. Graduated from RMIT University in 2013, Ariel Victor has always held on to his love of 2D animation. His graduation film, Me & Them, was awarded Best Australian Student Film in the Melbourne International Animation Festival in 2014. In addition, the short film was officially selected in Milano International Film Festival 2014 and Animpact 2014, in Seoul, South Korea. Currently, he is working as a 2D illustrator and animator in his hometown, Jakarta, Indonesia. Contact: Ariel Victor [email protected]


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Keanekaragaman Bentuk Film Pendek Indonesia The Diverse Forms of Indonesian Shorts Mohammad Reza Fahriyansyah Programmer

Komunitas film di Indonesia mengalami perkembangan pesat sejak pasca 1998 hingga saat ini. Banyak komunitas film bermunculan dari dalam lingkup pendidikan (SMP, SMA, universitas) dan dari luar lingkup pendidikan. Mereka datang dari banyak tempat, mulai dari kota hingga pelosok Indonesia, dari Sabang sampai Merauke. Komunitas film menjadi salah satu pilihan tempat belajar bersama untuk merespons isu melalui medium film dan mengasah kemampuan dalam dunia perfilman. Berdasarkan hal tersebut, kami mencoba memberikan program baru yang terintegrasi langsung dengan Forum Komunitas JAFF 2016, yaitu program Layar Komunitas. Layar komunitas merupakan program yang juga dibentuk JAFF untuk mengelola dan memberi konteks yang lebih luas untuk film pendek Indonesia. Film-film dalam program Layar Komunitas kali ini mencoba untuk memunculkan keberagaman tipe film dan bentuk sinema yang kental dengan berbagai tawaran estetik. Film Halmahera: Pongana Mo Nyawa (Udaya Pusthikaswasti/Indonesia) dan Reform (M.Ramza Ardyputra/Indonesia) merupakan

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Film community in Indonesia undergoes a considerable development from post-1998 until today. Many film communities emerge among the scholars (middle school, high school, university) and those who are not. They come from many places, from the cities to the remote corners of Indonesia, from Sabang to Merauke. Film community becomes one of the many choices in learning collectively in responding certain issues through the medium of film and to improve skills related. In light of that, we try to give a new program that is directly integrated into Forum Komunitas JAFF 2016: Layar Komunitas program. Layar Komunitas is a program formed by JAFF to manage and to provide a broader context for Indonesian short films. This time, the films in this program are trying to present diverse film types and forms of cinema that are rich with many aesthetics offering. Halmahera: Pongana Mo Nyawa (Udaya Pusthikaswasti/Indonesia) and Reform (M.Ramza Ardyputra/Indonesia) are animated films giving a strong point of view to perceive social issues presented through interesting story telling and characters. A love story in a jaff-filmfest.org

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film animasi yang memberikan sudut pandang yang cukup kuat untuk melihat isu sosial dengan penceritaan dan karakter yang menarik. Kemudian kisah percintaan dalam artian yang sangat luas dalam film Jeni Lova (Roufy Nasution/Indonesia), Pelacur & Seekor Anjing (Orizon Astonia/Indonesia), Ketaman Asmoro (Rivandy Adi Kuswara/Indonesia) serta Malam Ini, Judul Akan Segera Diumumkan (Hibatullah Billy/Indonesia) memberikan tawaran estetik yang beragam melalui struktur penceritaannya. Begitu juga film Kremun (Wisnu Kusuma/Indonesia), Fantastic Nite (Zidny Nafian/Indonesia), Seperti Sepi yang Paling Sepi (Erlangga Fauzan/Indonesia) yang bisa memberikan sudut pandang untuk melihat permasalahan antara manusia dengan manusia lainnya serta dengan lingkungan tempatnya tinggal. Terakhir adalah film Thirty Five of Pleasure (Hakim M. Irsyad/Indonesia), sebuah film dokumenter yang memperlihatkan bagaimana pekerja jasa layar tancap masih ada dan bertahan hingga saat ini.

very broad sense in several films such as Jeni Lova (Roufy Nasution/Indonesia), Pelacur & Seekor Anjing (Orizon Astonia/Indonesia), Ketaman Asmoro (Rivandy Adi Kuswara/ Indonesia) and Malam Ini, Judul Akan Segera Diumumkan (Hibatullah Billy/Indonesia) are offering various aesthetics through their narrative structure. Meanwhile, films like Kremun (Wisnu Kusuma/Indonesia), Fantastic Nite (Zidny Nafian/Indonesia), Seperti Sepi yang Paling Sepi (Erlangga Fauzan/Indonesia) provide a point of view to observe issues happening between men and other men, as well as between them and the environtment they live in. Finally, Thirty Five of Pleasure (Hakim M. Irsyad/Indonesia), is a documentary that shows how layar tancap (open air cinema) workers remain exist and survive until now.

Semoga keanekaragaman bentuk film pendek Indonesia dalam program Layar Komunitas kali ini bisa menjadi layaknya komunitas film yang mampu menjadi tempat belajar film bersama.

Hope you enjoy watching various forms of Indonesian short films.

Hopefully, the diverse forms of short films presented in this year’s Layar Komunitas program can play the same role as a film community that is able to provide a collective film learning space.

Selamat menonton keberagaman bentuk dari film-film pendek Indonesia.


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Fiction

GRHATAMA | THU 01 DEC | 14.15 – 15.45

Fantastic Nite Zidny Nafian/11 minutes/2016/Indonesia Malam hari itu, seorang Pengendara melewati jalanan yang sepi dan diberhentikan di tengah perjalanannya oleh Polisi swasta. Dia terkena tilang dan terpaksa pulang di tengah malam yang dingin. Terjadi dialog-dialog tegang tentang hukum dan penegakannya di antara mereka. Keduanya bersikeras dengan pendapat masing-masing, hingga tak ada lagi yang dilakukan selain saling menerima. Mereka pun berdamai dengan diri mereka sendiri. At night, a Rider passes through a quiet road and is halted midway by a private Policeman. The Rider is given a traffic ticket and forced to go home in the cold midnight. A tense dialogue ensues between them as they talk about law and its enforcement. Both insist on their own arguments and eventually accept each other. They finally make peace with themselves. Director Zidny Nafian lahir di Jakarta. Ia besar, tinggal, dan mendapatkan gelar Sarjana Seni di Tangerang. Sedari kecil ia senang bermain dan menggambar. Sejak kecil pula ia bercita-cita menjadi seniman hebat. Majalah Trax menjulukinya “Rebel For Well” dalam salah satu artikelnya. Hai memuat satu artikel tentangnya dengan judul Nyaris Bikin Sakit Jiwa. Sampai hari ini Zidny masih mengejar citacitanya menjadi seorang seniman hebat dengan membuat film dan terus berkarya mengikuti kata hatinya. Zidny Nafian was born in Jakarta. He grew, lives, and earned his Bachelor of Art degree in Tangerang. When he was a child, playing and drawing have been his passion; and it is also the time when he started to dream of becoming a great artist. Trax Magazine dubs him “Rebel for Well”, while Hai writes about him in an article entitled Nyaris Bikin Sakit Jiwa. Hitherto, he still pursues his dream to become a great artist, following his conscience by keep making films and other works. Contact: Zidny Nafian [email protected]

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GRHATAMA | THU 01 DEC | 14.15 – 15.45

Animation

Halmahera: Pongana mo Nyawa Udaya Pusthikaswasti/3 minutes/2016/Indonesia Nuhu, roh penjaga Suku Togutil, khawatir dengan kondisi sukunya yang kian memburuk. Hal tersebut turut berdampak pada kondisi tubuhnya yang kian mengurus seiring dengan berkurangnya jumlah warga suku. Kekhawatirannya ini kemudian mempertemukan ia dengan roh penjaga Suku Moro, Narwastu, yang berwujud burung bidadari. Sebagai roh penjaga suku gaib yang telah punah dan disegani oleh masyarakat sekitar, Narwastu mempertemukan Nuhu dengan penyebab dari masalah yang ada. Nuhu, Togutil Tribe’s guardian spirit, is worried about the worsening condition of his tribe. His anxiety affects his body, making it thinner and thinner as the number of the tribesmen dwindles. He then meets Narwastu, a bidadari bird shaped guardian spirit from Moro Tribe. As the guardian spirit of an extinct magical tribe respected by the locals, Narwastu shows Nuhu the root of all problems. Director Udaya Pusthikaswasti merupakan Sarjana Desain lulusan Universitas Multimedia Nusantara. Halmahera: Pongana mo Nyawa merupakan proyek tugas akhir berbentuk trailer animasi. Film ini mengangkat Suku Togutil di Halmahera yang kini terancam punah akibat rusaknya hutan. Kerusakan hutan yang semakin buruk akibat pertambangan nikel tidak hanya mengancam keberadaan suku asli di Halmahera, tetapi juga flora serta fauna endemik seperti burung bidadari. Film ini bertujuan untuk memperlihatkan sebuah ironi: suku primitif dipercaya sebagai penjaga hutan, namun kaum kapitalis yang katanya terdidik justru datang untuk merusak hutan. Udaya Pusthikaswasti is a Bachelor of Design graduated from Multimedia Nusantara University. Halmahera: Pongana mo Nyawa is his final project presented as an animation trailer. It tells about Togutil Tribe in Halmahera which is about to go extinct due to forest damage. The escalating forest damage caused by nickel mine threatens not only the existence of Halmahera’s indigenous tribe but also its endemic flora and fauna like Bidadari bird (Semioptera wallacii). This film aims to show the irony where a primitive tribe is trusted as the forest keeper, while the educated capitalists come to ravage the forest. Contact: Udaya Pusthikaswasti [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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GRHATAMA | THU 01 DEC | 14.15 – 15.45

Fiction

Jeni Lova (The Irrational Romance) Roufy Nasution/20 minutes/2016/Indonesia Jeni melarikan diri dari sesi pre-wedding-nya dan pergi ke pantai. Sebelum lari, ia meninggalkan sepucuk surat untuk tunangannya, Jaki. Usai membaca surat darinya, Jaki segera pergi ke pantai untuk mencari Jeni, namun tak berhasil menemukannya begitu sampai di sana. Sementara itu, Jeni sedang menikmati proses meditasi untuk menemukan inspirasi guna menyelesaikan bab terakhir cerita romansa pendek irasionalnya. Jeni runs away from her pre-wedding session and goes to the beach. Before running away, she left a letter for her fianć, Jaki. After reading her letter, Jaki immediately goes to the beach to find Jeni, though unable to find her upon reaching the place. Meanwhile, Jeni is having a good time meditating to find an inspiration to finish the last chapter of her irrational romance short stories. Director Lahir di Jakarta pada 12 Desember 1994, Roufy kini menempuh pendidikan di Telkom School of Creative Industries di Bandung dan mengambil jurusan Desain Komunikasi Visual. Ia belajar film secara autodidak sejak akhir 2013 dan mulai memproduksi film sejak tahun 2014. Semua karyanya hingga saat ini berbentuk film pendek. Born in Jakarta on 12 December 1994, Roufy is currently studying at Telkom School of Creative Industries in Bandung, having Visual Communication Design as his major. He has studied film autodidactically since the end of 2013 and started producing film since 2014. All his works hitherto are short films. Contact: Roufy Nasution [email protected]

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GRHATAMA | THU 01 DEC | 14.15 – 15.45

Ketaman Asmoro (Make a Living for a Shake of Noise) Rivandy Adi Kuswara/13 minutes/2015/Indonesia Di tengah suasana ramai lalu lalang kendaraan, Mamuk (30 tahun), seorang tukang parkir di sebuah mal, mulai mencoba memberanikan diri untuk mendekati seorang SPG bernama Astuti (24 tahun). Astuti baru pertama kali memarkirkan motor di tempat Mamuk. Waktu istirahat, Mamuk mengintip Astuti dan berkhayal dirinya bisa bermesraan dengan Astuti. Setelah berhasil menaklukkan Astuti dengan khayalannya, Mamuk membawa Astuti ke tempat parkir. Mamuk ingin Astuti menemaninya bekerja dengan cara yang berbeda. Ia membungkus Astuti layaknya maneken yang ada di mal. Ia menempatkan Astuti di sampingnya. Ia berhasil mendapatkan Astuti. Amid a busy traffic, Mamuk (30), a parking clerk in a mall, gathers his courage to flirt an SPG named Astuti (24). It is her first time parking her motorcycle in Mamuk’s lot. During break time, Mamuk secretly peeps at Astuti, imagining a romantic time with her. After subduing Astuti with his imagination, he brings her to his lot. Mamuk wants Astuti to accompany him working in a different way. He wraps her like a mannequin inside the mall, making her sit at his side. Mamuk managed to win Astuti. Director Sutradara kelahiran Solo, 26 Juli 1992 ini baru mengenal film setelah berhenti dari pekerjaannya pada tahun 2013. Karena gemar membuat video-video pendek, ia melanjutkan pendidikannya di Jogja Film Academy. Sejak menempuh pendidikan di Jogja Film Academy hingga sekarang, ia telah membuat beberapa video pendek seperti Fair Game (2015) dan Checkmate (2015), dan turut serta dalam beberapa produksi film di akademi tersebut. Ia juga pernah mengikuti produksi film layar lebar berjudul Silent Hero(es) sebagai asisten kamerawan. Tahun 2016 ini ia memproduksi film pendek berjudul Jam Belajar Masyarakat. This Solonese director who was born on 26 July 1992 had not been introduced to film until he quitted his job in 2013. Due to his love to making short videos, he decided to study in Jogja Film Academy. Since initiating his study in Jogja Film Academy until now, he has made several short videos such as Fair Game (2015) and Checkmate (2015), and participated in several film productions in the academy. He once joined the production of a big screen film titled Silent Hero(es) as an assistant cameraman. In 2016 he produces a short film entitled Jam Belajar Masyarakat. Contact: Rivandy Adi Kuswara [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

GRHATAMA | THU 01 DEC | 14.15 – 15.45

Kremun (Drizzle) Wisnu Kusuma/14 minutes/2016/Indonesia Kebingungan anak seorang tukang cuci keliling atas datangnya mesin cuci yang membuat ibunya kehilangan pekerjaan. A mobile washerwoman’s child’s bewilderment upon the arrival of a washing machine that takes away his mother’s job. Director Mahasiswa lulusan MMTC yang kini bekerja sebagai editor di agen travel. An MMTC graduate student that is currently working as an editor in a travel agent. Contact: Wisnu Kusuma [email protected]

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GRHATAMA | FRI 02 DEC | 14.15 – 16.15

Fiction

Pelacur dan Seekor Anjing (A Prostitute and a Dog) Orizon Astonia/18 minutes/2016/Indonesia Yusuf adalah seorang sopir. Setelah bertengkar dengan sang Suami, sang Istri memaksa Yusuf untuk mengantarkannya ke suatu tempat dan mengisahkan sebuah cerita tentang seorang pelacur dan seekor anjing sepanjang malam. Yusuf is a driver. After a fight with the Husband, the Wife is forcing Yusuf to drive her to a place and sharing the story of a prostitute and a dog all night long. Director Orizon Astonia lahir di Surabaya. Ia menyukai film sejak kecil sampai akhirnya ia mampu membuat filmnya sendiri. Orizon mempelajari film lebih mendalam di Institut Kesenian Jakarta. Usai bersekolah, Orizon masih berkeinginan untuk membuat film, namun hidup ternyata lebih dari sekadar membuat film. Meskipun begitu, Orizon mencoba untuk tidak berhenti membuat film karena itu membantunya memahami kehidupan. Orizon Astonia was born in Surabaya. Films have been his favorite since he was a kid until he can make his own films. Orizon studies film deeper in Jakarta Arts Institute. After school, Orizon still desires to make films, but life seems to be more than just making films. Nevertheless, Orizon tries to never stop making films because it helps him to understand life. Contact: Orizon Astonia [email protected]


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Animation

GRHATAMA | FRI 02 DEC | 14.15 – 16.15

Reform M. Ramza Ardyputra/6 minutes/2016/Indonesia Ada sebuah desa yang ditinggali orang-orang yang miskin namun entah bagaimana masih tampak segar dan memesona. Suatu hari sekelompok orang berdasi datang dan membujuk mereka untuk memercayai para elite dengan memberikan isi hati mereka agar bisa mendapatkan hidup yang lebih baik. Tanpa pikir panjang, warga datang dan menuangkan isi hatinya ke dalam sebuah wadah besar. Mereka melakukannya dengan harapan akan datangnya reformasi. There is a village filled with people living in poverty but somehow still appears fresh and charming. One day people with neckties come and persuade them to trust the elites by entrusting the content of their heart, all for the sake of a better life. Without further ado, the villagers pour the contents of their heart into a big container. They do it with a hope for a reformation. Director M. Ramza Ardyputra lahir di Jakarta Selatan pada 17 Januari 1998. Ia bersekolah di TK Bakti Mulya 400 (BM 400) dan menempuh studi akselerasi selama 5 tahun di SD BM 400, 2 tahun di SMP BM 400, dan melanjutkan studinya ke SMA BM 400. Pada acara Prom Night, ia berpartisipasi sebagai divisi pembuat film. Ia kuliah dengan program beasiswa dan kini berada pada tahun ketiganya di Universitas Multimedia Nusantara di jurusan Animasi. Ia mendapatkan penghargaan Best Short 2D Animation dan Audience Choice di UNB Animation Screening Day 2016. M. Ramza Ardyputra was born in South Jakarta on 17 January 1998. He started his education at Bakti Mulya 400 (BM 400) kindergarten, and underwent acceleration education for 5 years in BM 400 elementary school, 2 years at BM 400 junior high school, and then at BM 400 senior high school. He became a part of the Prom Night committee as a member of the filmmaker department. He went to college through scholarship and is currently in his 3rd year at Multimedia Nusantara University, studying Animation as his major. He achieved “Best Short 2D Animation” and “Audience Choice” at UMN Animation Screening day 2016. Contact: Sandy [email protected]

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Documentary

GRHATAMA | FRI 02 DEC | 14.15 – 16.15

Thirty Five of Pleasure Hakim M. Irsyad/13 minutes/2016/Indonesia Hiburan layar tancap yang mulai tinggalkan banyak orang tidak mengurungkan kesenangan Rico dalam memutarkan film di layar yang ia kembangkan karena baginya yang terpenting adalah budaya layar tancap tetap ada. Open air cinema that starts to be left does not stop Rico from screening films in his self-developed screen. The important thing is that he can keep open air cinema existing. Director Hakim M. Irsyad adalah mahasiswa UMN jurusan Sinematografi. Ia merupakan sutradara yang andal dalam menjaga mood setiap pemain dan kru. Karyanya pun tidak hanya sebatas tugas, tapi juga untuk festival. Hakim M. Irsyad is a student of UMN, majoring Cinematography. He is an adept director in keeping the mood of casts and crews stable. His work is not only a duty but also for festivals. Contact: Irene Alexandra [email protected]


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GRHATAMA | FRI 02 DEC | 14.15 – 16.15

Fiction

Seperti Sepi yang Paling Sepi (The Quiet Silence) Erlangga Fauzan/22 minutes/2016/Indonesia Bustoni adalah seorang pekerja seni pertunjukan. Dia tinggal bersama ibunya yang sakit. Pada suatu waktu, dia pergi ke sebuah tempat pencurahan hati. Ia pergi ke tempat itu khusus untuk ibunya. Di tempat itu ia mempertanyakan kehidupan perempuan di akhirat. Apa yang dilakukannya ternyata tidak memuaskan hati. Bustoni menjadi sedih sepulang dari tempat tersebut. Dia merasa tidak berdaya, tidak bisa berbuat apa-apa untuk mengubah kondisi keluarganya. Bustoni is a performing arts worker who lives with his sick mother. One day, he goes to a quiet place in order to do a meditation for his mother. He begins to question how a woman will be in the afterlife. It turns out that everything he has done cannot satisfy him. Bustoni gets upset then heads back home. He is fainted and can do nothing to change his family’s condition. Director Aku bernama Erlangga Fauzan, lahir pada tanggal 19 Desember 1990 di Klaten, Jawa Tengah. Aku sedang menempuh kuliah di Jurusan Televisi, Fakultas Seni Media Rekam, ISI Yogyakarta. Pertama kali mengenal seni pada saat duduk di bangku SMP, yaitu seni peran, yang lalu dilanjutkan dengan bergabung dalam teater Emwe SMAN 6 Yogyakarta. Bermula dari ketertarikan lain pada sastra, aku bersama kawan-kawan di Kampus Media Rekam membentuk sebuah ruang berbasis sastra bernama Berkaca Kata. Saat ini aku sedang fokus membangun sebuah rumah produksi yang bertujuan untuk membuat film sesuai dengan gagasan ideal si pembuat. Juga sedang merancang proyek-proyek berkesinambungan mengenai dunia film, khususnya kerja-kerja pengarsipan. My name is Erlangga Fauzan, born on 19 December 1990 in Klaten, Central Java. I am currently studying at Television Department, the Faculty of Recorded Media Arts, ISI Yogyakarta. I knew arts for the first time when I was in junior high school; it was acting, later deepened in a theatrical club, Emwe SMAN 6 Yogyakarta. Starting from another interest in literature, my friends and I formed a literature club named Berkaca Kata in the campus. Recently, I focus on establishing a production house which aims to produce films based on the ideal of the creators. I am also designing projects incessantly related to films, especially archival works. Contact: Erlangga Fauzan | [email protected]

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GRHATAMA | FRI 02 DEC | 14.15 – 16.15

Fiction

Malam Ini, Judul Segera Diumumkan (Tonight, The Title Will Soon To Be Announced) Hibatullah Billy/7 minutes/2015/Indonesia Sebuah film pendek mengenai kepuasan, gangguan, dan kemerdekaan bangsa. A short film about satisfaction, disturbance, and nation’s independence. Director Lahir di Bandung tahun 1996. Ia lalu melanjutkan studi di Jakarta di sebuah universitas terkemuka. Born in Bandung in 1996. He then continued his study in Jakarta in a renown university. Contact: Hibatullah Billy [email protected]


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Special Program ISLANDSCAPE: ASIA-PACIFIC FILMS

Memandang Indahnya Panorama Pasifik Gazing at the Terrific Images of Pacific Budi Irawanto

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Pasifik adalah sebuah wilayah luas yang terdiri dari banyak pulau yang mewakili beragam budaya dan masyarakat. Karena menimbang lokasi geografis negara-negaranya, film masa lalu yang lahir di wilayah ini akhirnya bertanyatanya apakah mereka harus menyuarakan apa pun yang identik dengan Pasifik ataukah hanya hal-hal yang memiliki “daya pikat universal”. Namun kini film-film Pasifik dapat dengan nyaman berbicara kepada penonton nasional dan internasional karena film adalah media global dengan bahasa (audio dan visual) “universal”.

Pacific is a vast territory consisting of numerous islands which signify different cultures and communities. Given the geographical location of countries in the Pacific, past films from this region seem to deal with the issue of whether they should speak things specific to the Pacific or only of those possessing “universal appeals.” Nowadays films from the Pacific are comfortably speaking to both national and international audiences since film is a global medium with “universal” (audio and visual) language.

Alih-alih membuat citra populer yang menggambarkan lanskap surgawi dan eksotis, film kontemporer Pasifik merefleksikan kompleksitas kondisi masyarakat di dalamnya. Citra lanskap alam memang masih mendominasi ruang sinematik, namun citra ini terjalin ke dalam rumitnya kondisi sosial, politik, dan budaya yang membangun narasi film yang memikat. Selain itu, identitas kultural yang tercermin di dalam film sangatlah jauh dari keseragaman dan terus melibatkan dinamika kondisi sosial dan politik.

Rather than creating popular images of Edenic and exotic landscape, contemporary films from the Pacific reflect the complicated conditions of society in the region. The images of natural landscape still predominantly occupy the cinematic space, but they are interwoven into the complexity of social, political, and cultural conditions forming a captivating film narrative. Furthermore, the cultural identity represented in the films is far from homogenous and keeps involving the dynamics of socio-political condition.

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Special Program ISLANDSCAPE: ASIA-PACIFIC FILMS Dengan latar yang demikian, tiga film dokumenter dan satu film panjang akan diputar dalam program ini: Made in Taiwan (Dan Salmon, 2015), The Pa Boys (Himiona Grace, 2014), The Price of Peace (Kim Webby, 2015), dan Moana Rua: The Rising of the Sea (Vilisoni Heneriko, 2015). Made in Taiwan adalah sebuah film dokumenter yang mengisahkan pelayaran dua orang Selandia Baru keturunan Polinesia untuk menemukan akar dan jejak nenek moyangnya, yang membawa mereka dari Selandia Baru ke Kepulauan Cook, Vanuatu, dan, pada akhirnya, Taiwan. Hampir serupa, film panjang berjudul The Pa Boys memetakan perjalanan lima anggota sebuah kelompok musik di North Island, Selandia Baru, sambil terus-menerus menggali kekuatan persahabatan, serta pentingnya keluarga dan sejarah. Sementara itu, film dokumenter lainnya menghadirkan isu sosial dan lingkungan kontemporer. The Price of Peace menuturkan kisah menyentuh tentang perjuangan suku Maori di Selandia Baru dalam mempertahankan tanah dan melindungi identitas mereka, sementara Moana Rua menyuarakan isu perubahan iklim dengan menggunakan lagu, musik, tarian, dan puisi.

Based on the backdrop above, there are three documentaries and one feature that will be screened in this program: Made in Taiwan (Dan Salmon, 2015), The Pa Boys (Himiona Grace, 2014), The Price of Peace (Kim Webby, 2015) and Moana Rua: The Rising of the Sea (Vilisoni Heneriko, 2015). Made in Taiwan is a documentary about the ocean voyage of two Polynesian-descent New Zealanders to find their roots and ancestry, taking them from New Zealand to Cook Islands, Vanuatu, and finally Taiwan. Likewise, the feature film The Pa Boys charts the journey of five members of a musical band around the North Island of New Zealand, all the while exploring the strength of friendship, as well as the importance of family and history. Meanwhile, other documentaries deal with contemporary social and environmental issues in the Pacific. The Price of Peace tells a moving story about the struggle of a Maori tribe in New Zealand in defending their land and protecting their identity, whereas Moana Rua dwells on the issue of climate change by utilizing songs, music, dance, and poetry. We hope you will enjoy not only the beauty of Pacific islandscapes, but also the lovely people and their incredible culture.

Kami harap Anda akan menikmati, tak hanya keindahan lanskap-pulau Pasifik, tapi juga pesona penghuni dan budayanya yang menakjubkan.


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Documentary

TBY | TUE 29 NOV | 15.00 – 17.00

Made in Taiwan Dan Salmon/44 minutes/2005/New Zealand Sebuah tes DNA membawa Nathan Rarere (Samoa) dan Oscar Kightley (Maori) pada perjalanan yang dimulai oleh nenek moyang mereka 30.000 tahun yang lalu. Hasilnya sangat mengejutkan. Film ini merupakan perayaan konvergensi budaya melalui keajaiban ilmu pengetahuan. Mereka menggunakan DNA mereka sendiri untuk menelusuri asal-usul nenek moyang mereka dengan mengikuti jejaknya melalui Pasifik dari Asia. Dengan mengikuti jejak DNA tersebut, mereka melakukan perjalanan ribuan mil. Mereka bertemu dengan orang-orang yang ditinggalkan oleh nenek moyang mereka ribuan tahun lalu, sebelum akhirnya tiba di daerah pantai Taiwan dan menemukan sendiri asal-usul mereka. A DNA test takes Nathan Rarere (Samoan) and Oscar Kightley (Maori) to the journey started by their ancestors 30,000 years ago. The result is rather surprising. It is a film that celebrates cultural convergence through the wonders of science. They use their own DNA to retrace their ancestors by following the trace through the Pacific from Asia. Following the DNA trail, they travel thousand miles. They meet the people whom their ancestors left behind thousand years earlier, before arriving on the shores of Taiwan and discovering for themselves the origins of their people. Director Dan Salmon adalah salah satu penulis cerita untuk diangkat ke layar dari Selandia Baru yang serbabisa dan energik. Ia adalah sutradara dan produser film dokumenter yang telah memenangkan banyak penghargaan. Sebagian penghargaan yang ia menangkan adalah Grand Prix du Jury dan Prix du Public di Festival International du Film Documentaire Oceanie. Ia memproduksi program televisi 2050-What if?—sebuah serial dokumenter drama di TV3, dokumenter kepenulisan Children of 1984, seri dokumenter tentang sejarah arsitektur New Zealand at Home, dan yang paling terkenal Made in Taiwan. Produksi terbarunya adalah dokumenter panjang Pictures of Susan dan Helen Clark: The Road to Power. Dan Salmon is one of New Zealand’s most versatile and energetic storytellers for the screen. He is an award-winning documentary director and producer. Having won the Grand Prix du Jury and Prix du Public at the Festival International du Film Documentaire Oceanie. His credits include high-end television programs such as 2050-What if?—a documenter-drama series for TV3, the authorial documentary Children of 1984, the documentary series on the history of architecture New Zealand at Home, and the acclaimed Made in Taiwan. Recent productions include the documentary features Pictures of Susan and Helen Clark: The Road to Power. Contact: George Andrews Productions [email protected]

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Documentary

TBY | TUE 29 NOV | 15.00 – 17.00

Moana Rua: The Rising of The Sea Vilsoni Hereniko/56 minutes/2015/Fiji Ini merupakan versi film dari drama tari musikal Pasifik tentang perubahan iklim yang sudah dipentaskan di Bergen, St. Andrews, Copenhagen, dan Brussels pada musim panas 2015. Para pemainnya kebanyakan adalah pemuda dan pemudi Fiji dari Oceania Dance Theatre dan Pasifika Voices di University of the South Pacific di Fiji. Donasi dari pemutaran ini digunakan untuk membantu para korban Siklon Winston yang menewaskan lebih dari 40 orang dan menyebabkan setidaknya 50.000 orang menjadi tunawisma. It is the film version of a Pacific music-dance drama about climate change which was already brought to Bergen, St. Andrews, Copenhagen, and Brussels in the summer of 2015. The performers are primarily young Fijian men and women from the Oceania Dance Theatre and Pasifika Voices at the University of the South Pacific in Fiji. Donations from this screening are used to help the victims of Cyclone Winston which killed more than 40 people and caused at least 50,000 to become homeless. Director Vilsoni Hereniko adalah orang Rotuman, lahir di desa Mea, Hapmak, wilayah Itu’ti’u, Rotuma, Fiji. Ia menempuh pendidikan di tempat asalnya dan memperoleh gelar Bachelor of Arts dan Graduate Certificate dalam Pendidikan dari University of the South Pacific pada tahun 1997. Ia memperoleh gelar Master di jurusan Pendidikan di University of Newcastle-upon-Tyne, dan pada tahun 1991, memperoleh gelar PhD di jurusan Sastra dan Bahasa di University of South Pacific. Kini, ia menjadi profesor di Center for Pacific Islands Studies, University of Hawaii; di sana ia mengajar sastra, teater, dan film. Vilsoni Hereniko is a Rotuman, born in Mea village, Hapmak, Itu’ti’u District, Rotuma, Fiji. He studied in his native Rotuma, obtained a Bachelor of Arts degree and a Graduate Certificate in Education from the University of the South Pacific in 1997. He obtained his Master degree in Education at the University of Newcastle-upon-Tyne, and in 1991, earned PhD degree in Literature and Language at the University of the South Pacific. He is now a professor at the Center for Pacific Islands Studies, University of Hawaii, where he taught literature, theatre, and film. Contact: Vilsoni Hereniko [email protected]


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The Pa Boys Himiona Grace/93 minutes/2014/New Zealand Sebuah cerita tentang band reggae dalam perjalanannya. Danny tampaknya memiliki segalanya, padahal ia harus berjuang keras untuk tampak seperti itu. Tau mengetahui semua cerita tentang dirinya, budaya, dan tempatnya, namun hal itu malah menjadi beban baginya. Ketika band mereka sedang menjalani tur, kekhawatiran pribadi mulai mengancam hubungan mereka dalam bermusik. Perjalanan tur itu membawa Danny dan Tau pada sejarah spiritual yang tak terihindarkan. Mereka harus berhadapan dengan peristiwa masa lalu yang belum terselesaikan, dan Danny-lah yang memegang kuncinya. A story of a reggae band on a road trip. It appears that Danny has everything, while he has to struggle to feel like he really does. Tau knows his entire story, his culture, and his place, however it becomes a burden for him. When the band is on tour, their personal insecurities begin to threaten their musical connection. The tour brings Danny and Tau into a spiritual history that cannot be avoided. Unresolved events from their past must be confronted, and Danny holds the key. Director Himiona Grace belajar tentang pembuatan film di Pacific Films, sebuah unit perfilman legendaris di Wellington. Mantan poutakawaenga (bahasa Māori: narahubung) di Film Archive, Grace menggubah musik untuk berbagai film pendek dan program televisi. Dia adalah seorang fotografer kawakan yang memenangkan penghargaan untuk foto-fotonya. Pada tahun 2013, ia menulis dan menyutradarai film panjang pertamanya: The Pā Boys, yang mengikuti perjalanan sebuah trio reggae dari Wellington. Himiona Grace learned about filmmaking at Wellington’s legendary Pacific Films. Former poutakawaenga (Māori: liaison officer) at the Film Archive, Grace composed music for many shorts and television programs. He is a longtime photographer who won awards for his still-photos. In 2013 he wrote and directed his first feature film: The Pā Boys, which follows a reggae trio from Wellington on a road trip north. Contact: Ainsley Gardiner [email protected]

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Documentary

TBY | WED 30 NOV | 15.00 – 17.00

The Price of Peace Kim Webby/87 minutes/2015/New Zealand Pada tahun 2007, polisi Selandia Baru menggerebek sebuah permukiman desa untuk mencari teroris. Peristiwa ini merupakan awal cerita para demonstran Maori, Tame Iti, dan lainnya, yang kemudian dituduh melakukan “pembunuhan, pembakaran, penculikan”. Tame masuk penjara atas tuduhan penembakan, sedangkan yang lain dituduh melakukan terorisme. Tujuh tahun kemudian, pada tahun 2014, polisi mendatangi Tame dan keluarganya untuk meminta maaf kepadanya, keluarganya, dan sukunya atas tindakan mereka. Film Kim Webby ini mengambil konteks historis yang lebih luas dari perlawanan orang Tuhoe terhadap pemerintah Selandia Baru untuk meminta keadilan setelah 170 tahun pemerintah ingkar janji. In 2007, New Zealand police raided a small rural settlement in search of terrorists. Setting off a chain of events which took Maori protestors, Tame Iti and the others, charged with “murder, arson, kidnapping”. Tame went to jail on gun charges. The others were charged for terrorism charge. Seven years later, in 2014, the police returned to Tame’s family home to apologize to him, his family, and his tribe for their actions. Kim Webby’s film is set against the wider historical context of the fight by the Tuhoe people against the New Zealand government for justice after 170 years of broken promises. Director Kim Webby pernah bekerja sebagai sutradara, produser, reporter, dan presenter di televisi Selandia Baru. Kim adalah keturunan Cina dan Pākehā, yang juga bertalian erat dengan Ngāi Tūhoe. Saat ini ia adalah seorang terapis naturopati di Whakatane yang juga membuat film dokumenter. Pada awal kariernya, Kim menggarap serial Asia Downunder dan menyutradari film dokumenter Coming Home. Ia menyutradari sebuah dokumenter dengan sudut pandang orang pertama yang menampilkan pengobatannya dengan bantuan seorang dokter Kiwi di sebuah pulau terpencil di Sumatra, Indonesia. Ia juga bekerja dalam bidang pemberitaan untuk Television New Zealand. Kim Webby has worked extensively as a director, producer, reporter, and presenter in New Zealand television. Kim is Chinese and Pākehā descent, with close ties to Ngāi Tūhoe. She is currently a naturopath in Whakatane, while she also works as a documentary maker. Earlier in her career, Kim works for the series Asia Downunder and directs a documentary Coming Home. She directs a first-person documentary featuring her aid work with a Kiwi doctor on a remote island off the coast of Sumatra in Indonesia. She has also worked extensively in news and current affairs for Television New Zealand. Contact : Christina Milligan [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Special Program KOREAN CUTS Korean Cinema Showcase

KOREAN CUTS: DARI BUSAN KE JOGJA KOREAN CUTS: FROM BUSAN TO JOGJA Budi Irawanto

Sinema Korea dan Indonesia memiliki pertautan yang erat. Pengaruh sinema Korea itu tampak pada sejumlah sineas muda Indonesia yang mulai mengubah wajah sinema Indonesia dengan menawarkan keragaman gaya, genre, dan tema, serta tidak lagi terikat oleh konvensi lama. Tentu saja, proses transformasi dalam sinema Indonesia ini terus berlangsung hingga kini dan melahirkan banyak inovasi dan kreativitas baru yang didukung oleh kebijakan perfilman yang kondusif serta etos kerja khas kalangan sineas.

Korean and Indonesian cinemas share a close link. The influence Korean cinema has on several young Indonesian filmmakers has transformed the face of Indonesian cinema by offering diverse styles, genres, and themes, as well as the liberation from old conventions. Indeed, the transformation process on Indonesian cinema has persisted until now and created many innovations as well as new creative works supported by the conducive film policies and the distinctive work ethic among filmmakers.

Kita tahu, sinema Korea tidak saja sukses secara komersial, tetapi juga senantiasa mencuri perhatian juri dan publik dalam pelbagai festival internasional. Ini menjadi ilham penting bagi sineas Indonesia. Oleh karena itu, program kolaborasi antara JogjaNETPAC Asian Film Festival (JAFF) dan Korean Cultural Center (KCC) yang sudah berlangsung selama lebih dari dua tahun belakangan ini telah memberikan pengaruh terhadap perkembangan sinema Indonesia, terutama memberi ilham bagi kalangan perfilman di Indonesia untuk terus mengasah kreativitasnya agar mampu melahirkan karya yang diperhitungkan serta disegani.

We know that the Korean cinema is not only commercially successful, but it has also continued to steal the jury’s and public’s attention at various international festivals. This has become an important inspiration to Indonesian filmmakers. As such, the ongoing collaboration between Jogja-NETPAC Asian Film Festival (JAFF) and Korean Cultural Center (KCC) for the past couple of years has resulted in influencing the growth of Indonesian cinema, especially in inspiring Indonesian filmmakers to hone their creativity so as to create works that are considered as well respected.

Pemutaran khusus film Korea terbaru dan populer akan digelar untuk publik Indonesia di JAFF tahun ini yang sebagian berasal dari Festival Film Indonesia-Korea dengan program yang memang berkualitas. Pemutaran ini tidak

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A special screening of the recent and popular Korean films will be held for the Indonesian public during this year’s JAFF, some of which come from the Indonesia-Korea Film Festival, which has high-standard programmes. This screening will not only provide a glimpse into jaff-filmfest.org

Special Program KOREAN CUTS Korean Cinema Showcase hanya memberikan gambaran selintas tentang perkembangan sinema terbaru Korea, tetapi juga pengetahuan perihal aspirasi, budaya, dan wajah masyarakat kontemporer Korea. Film-film yang akan diputar adalah film yang berhasil membawa sinema Korea ke peta sinema global, antara lain: One Way Trip (Jeong Yeol Choi, 2016), The Wailing (Na Hong Jin, 2016), Worst Woman (Kim Jong Kwan, 2016), dan Train To Busan (Yeon Sang Ho, 2016). Tahun ini kami juga menjalin kerja sama dengan Busan International Short Film Festival (BISFF) dengan memutar film-film pendek terpilih dari Korea. Program ini tidak hanya bermanfaat bagi penonton film di Indonesia, tapi juga referensi baru bagi pembuat film-film pendek di Indonesia pada khususnya. Jinna Lee sebagai Direktur Program dari BISFF menyeleksi beberapa film yang pernah diputar dalam BISFF untuk dipertemukan dengan penonton film di Indonesia. Di samping itu, kami menyelenggarakan seminar yang antara lain membincangkan ihwal pendidikan film di Korea sebagai pelengkap program ini.


the latest growth of Korean cinema, but also, knowledge regarding the aspirations, culture and face of the contemporary Korean society. The films that will be shown are those that have successfully placed Korean cinema onto the map of global cinema, namely: One Way Trip (Jeong Yeol Choi, 2016), The Wailing (Na Hong Jin, 2016), Worst Woman (Kim Jong Kwan, 2016) and Train To Busan (Yeon Sang Ho, 2016). This year, we are also collaborating with Busan International Short Film Festival (BISFF) to screen selected Korean short films. This program is not only useful for the Indonesian audience, but it can also provide a new point of reference for short filmmakers in Indonesia. As the Program Director of BISFF, Jina Lee has selected several shorts which have been screened in BISFF to reach Indonesian audience. Aside from this, we will be holding a seminar to discuss the film education in Korea as a complement for this program.

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One Way Trip Choi Jeong-Yeol/93 minutes/2015/South Korea Yong-Bi (Ji Soo), Sang-Woo (Suho), Ji-Gong (Ryoo Joon-Yeol), dan Doo-Man (Kim Hee-Chan) adalah empat sekawan yang berusia 20 tahun. Mereka melakukan perjalanan ke Pohang selama dua hari satu malam karena Sang-Woo hendak mendaftarkan diri masuk militer. Pada malam hari, mereka minumminum di pantai sambil melihat pemandangan laut di malam hari. Saat itu mereka melihat seorang wanita dipukuli oleh seorang pria. Mereka pun berlari untuk menyelamatkannya. Yong-Bi (Ji Soo), Sang-Woo (Suho), Ji-Gong (Ryoo Joon-Yeol), and Doo-Man (Kim Hee-Chan) are 20-year-old quartet of friends. They take a trip to Pohang for one night and two days since Sang-Woo is about to enlist in the military. At night, they drink on the beach and watch the night view of the sea. At that time, they see a woman being beaten by a man. They run to save her. Director Choi adalah sutradara Korea yang sedang naik daun. Film pendeknya—The Unbearable Heaviness of Nagging (2008) dan Man (2009)—menggunakan teknik pengambilan gambar panjang dan/atau rekaman tunggal (one-scene-one-take), menampilkan tokoh dan cerita yang realistis. Ia telah diundang dan memenangkan penghargaan dari berbagai festival film termasuk IFF Rotterdam, KingBonn New Media Shorts Festival, The Blue Choice Dragon, dan Daejong Film Award. One Way Trip adalah debut film panjang Choi. Naskah filmnya mendapat komentar baik, terutama mengenai tokohnya yang menarik dan plotnya yang dinamis. Gaya bercerita Choi yang khas membuat filmnya menjadi sebuah mahakarya di antara film remaja lainnya. Choi is a Korean rising director. His short films—The Unbearable Heaviness of Nagging (2008) and Man (2009)—include a long take and/or one-scene-one-take techniques, capturing realistic characters and story. He has been invited and won awards from many film festivals including IFF Rotterdam, KingBonn New Media Shorts Festival, The Blue Dragon Awards, and Daejong Film Award. One Way Trip is Choi’s feature debut. The script received favorable comments, especially on the attractive characters and dynamic plot. Choi’s signature on storytelling style turn the film into a masterpiece among other youth films. Contact: Genie LEE [email protected]

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The Wailing Na Hong-jin/156 minutes/2016/South Korea Di sebuah desa yang tenang, tiba-tiba terjadi wabah kematian yang misterius dan sadis. Seorang polisi bernama Jong-Goo mendengar rumor tentang pria Jepang misterius yang tinggal di desa itu. Rumor tersebut mengatakan bahwa pria Jepang itulah penyebab wabah tersebut. Putri JongGoo, Hyo-Jin, mengalami gejala aneh yang mirip dengan yang dialami penduduk desa sebelum mereka mati. Jong-Goo mulai putus asa. Ia mendatangi daerah pegunungan untuk menemukan rumah pria Jepang tersebut. Sementara itu, ibu mertuanya memanggil dukun untuk melakukan pengusiran setan terhadap Hyo-Jin. Bayangan kematian pun bergelayut di udara. In a peaceful village, a plague of mysterious and violent deaths suddenly happens. Police Officer, Jong-Goo, hears a rumor about a mysterious Japanese man living nearby. The rumor puts the Japanese man as the cause of the mysterious and violent deaths. Jong-Goo’s daughter, Hyo-Jin, comes down with the crazed symptoms similar to what the other villagers had before their deaths. Jong-Goo becomes desperate. He heads out into the mountains to find the old Japanese man’s home. Meanwhile, his mother-in-law calls a shaman to perform an exorcism on Hyo-Jin. Death lingers in the air. Director Na Hong-jin (lahir 1974) adalah seorang sutradara dan penulis naskah film dari Korea Selatan. Untuk film debutnya The Chaser (2008), Na memenangkan Best Director di Grand Bell Awards dan Korea Film Awards. Film selanjutnya, The Yellow Sea (2010), diputar dalam kategori Un Certain Regard di 2011 Cannes Film Festival. The Wailing (2016), film ketiga Na, juga diputar di Cannes Film Festival. Na Hong-jin (born 1974) is a South Korean film director and screenwriter. For his feature film debut The Chaser (2008), Na won Best Director at the Grand Bell Awards and Korean Film Awards. His follow-up film, The Yellow Sea (2010), was screened in the Un Certain Regard section at the 2011 Cannes Film Festival. The Wailing (2016), Na’s third film, was also screened at the Cannes Film Festival. Contact: Well Go USA Entertainment www.wellgousa.com


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Train to Busan Yeon Sang-ho/118 minutes/2016/South Korea Seok-Woo adalah seorang manajer keuangan di Seoul yang sudah berpisah dari istrinya tinggal bersama putrinya, Soo-An. Seok-Woo tidak punya banyak waktu bersama putrinya. Pada malam sebelum SooAn berulang tahun, Soo-An bersikeras ingin menemui ibunya. Seok-Woo tidak punya pilihan lain selain membawanya ke Busan. Keesokan harinya, mereka naik kereta di Stasiun Seoul. Sebelum kereta berangkat, seorang gadis yang tampak seperti zombie melompat masuk ke kereta. Gadis itu terinfeksi virus mengerikan yang menyebar dengan cepat. Seok-Woo dan penumpang lainnya harus berjuang untuk hidup mereka. Seok-Woo is a finance manager in Seoul who lives separately from his wife, lives with his daughter, Soo-An. Seok-Woo does not spend much time with his daughter. On the night before Soo-An’s birthday, Soo-An insists on seeing her mother. Seok-Woo has no other choice, but to take her to Busan. The next morning, they board on a train at Seoul Station. Before the train runs, a zombie-like girl jumps onto it. The girl is infected with a horrific virus that spreads like wildfire. Seok-Woo and the other passengers must now fight for their lives. Director Ia menyutradarai film pendek animasi pertamanya, Megalomania of D (1997), D-Day (2000), dan The Hell (2003). Ia mendirikan rumah produksinya sendiri, Studio Dadashow, pada tahun 2004. Dua film pendek animasinya, The Hell: Two Kinds of Life (2006) dan Love is Protein (2008), diundang ke berbagai festival film internasional. The Hell: Two Kinds of Life memenangkan Asian Ghost Award di Short Shorts Film Festival Asia dan Public Award for Best Film School (Short Film Battle Royal) di Lyon Asian Film Festival pada tahun 2007; dan Love is Protein diputar dalam kompetisi di 2009 Curtocircuit International Short Film Festival of Santiago de Compostela. Yeon juga menyutradarai trailer animasi pembuka untuk Busan International Film Festival pada tahun 2010. He directed his early animated short films, Megalomania of D (1997), D-Day (2000), and The Hell (2003). He established his own production house, Studio Dadashow, in 2004. His two animated shorts, The Hell: Two Kinds of Life (2006) and Love is Protein (2008), were invited to various international film festivals. The Hell: Two Kinds of Life won the Asian Ghost Award at the Short Shorts Film Festival Asia and the Public Award for Best Film School (Short Film Battle Royal) at the 2007 Lyon Asian Film Festival; and Love is Protein was screened in competition at the 2009 Curtocircuit International Short Film Festival of Santiago de Compostela. Yeon also directed the animated opening trailer for the Busan International Film Festival in 2010. Contact: featpictures.com

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Worst Woman Kim Jong-kwan/94 minutes/2015/South Korea Eun-Hee (Han Ye-Ri) adalah pacar yang realistis dan kuat bagi Hyun-Oh (Kwon Yool). Ia bagaikan cinta pertama bagi Woon-Chul (Lee Hee-Joon). Eun-Hee adalah orang asing yang baik dan ramah bagi Ryohei (Ryo Iwase). Hari ini, ketiga laki-laki itu bertemu dengan Eun-Hee. Eun-Hee (Han Ye-Ri) is a realistic and strong girlfriend to Hyun-Oh (Kwon Yool). She is like a first love to Woon-Chul (Lee Hee-Joon). Eun-Hee is a kind yet friendly stranger to Ryohei (Ryo Iwase). Today, the three men meet Eun-Hee. Director Lahir di Daejeon pada tahun 1975. Lulus dari Seoul Institutes of the Arts. Filmnya How to Operate a Polaroid Camera diperkenalkan kepada publik melalui beberapa festival film, seperti Pucheon International Fantastic Film Festival dan Mise-en-scene Genres Film Festival pada tahun 2004. Born in Daejeon in 1975. Graduated from the Seoul Institutes of the Arts. Kim’s How to Operate a Polaroid Camera was introduced to the public through several film festivals, such as the Pucheon International Fantastic Film Festival and the Mise-en-scene Genres Film Festival in 2004. Contact: Indiestory [email protected]


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Special Program Cuts of Busan International Short Film Festival

Pengantar Cuts of Busan Short 2016 Cuts of Busan Short 2016 Introduction BISFF Programmer Jinna Lee

Pertama-tama, saya ingin menyampaikan rasa terima kasih kepada mereka yang sudah mempersiapkan Jogja-NETPAC Asian Film Festival (JAFF) tahun ini. Ketika saya datang ke JAFF pada tahun 2015, saya merasakan gejolak hasrat pembuatan film dan mencoba untuk membahas film di berbagai komunitas. Kami sangat bangga dapat memperkenalkan film-film pendek Korea bertajuk Cuts of Busan Short 2016. Busan International Festival Film Pendek (BISFF) dimulai pada tahun 1980 sebagai festival film pendek Korea dan BISFF akan menggelar edisi ke-34 pada April 2017 nanti. Kami memiliki 3 kategori kompetisi: Internasional, Korea (Nasional), dan NETPAC. Sejak tahun 2015, BISFF menggabungkan diri ke dalam NETPAC untuk menunjukkan antusiasme yang makin bertumbuh terhadap film pendek Asia. Sebagai hasilnya, film Asia mendominasi sebagian besar program dan juga Landscape of Asian Shorts, yang merupakan akses utama bagi film pendek Asia di tahun 2016. Sebagian besar orang Indonesia mungkin memiliki akses yang mudah ke K-pop, K-Drama, dan K-Film, namun tidak ke film pendek Korea. Di korea, ada lebih dari 1.000 film pendek yang diproduksi setiap tahun. Dari jumlah tersebut, 700-800 film dimasukkan ke dalam BISFF setiap tahunnya. Sebagian besar film pendek Korea diproduksi oleh mahasiswa kajian film. Jenis film yang mereka buat didominasi oleh Fiksi dan Animasi, sementara

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First, I would like to show my appreciation to those who had made the preparation needed for this year’s Jogja-Netpac Asian Film Festival(JAFF). When I visited JAFF in 2015, I felt lots of eagerness about filmmaking and try to discuss about films throughout the communities. We are very proud to introduce Korean shorts in “Cuts of Busan Short 2016.” The Busan International Short Film Festival (BISFF) started in 1980 as a Korean short film festival and BISFF will have its 34th edition in April 2017. We have 3 categories of competitions: International, Korean (National) and Netpac. Since 2015, BISFF has joined Netpac to show the growing interest in Asian shorts. As a result, Asian films pervade most of the sections as well as “Landscape of Asian Shorts,” which is the main window for Asian short films in 2016. Many Indonesian people may have easy access to K-pop, K-Dramas and K-Movies, but they do not have access to Korean shorts. In Korea, there are over 1,000 shorts produced annually. Among them, 700-800 Korean shorts, are annually submitted to BISFF. Most of Korean shorts are made by students who are studying in film studies in colleges and universities. There are lots of Fiction & Animation rather than Experimental and Documentary. BISFF focuses on short film, it means that a short film has to attempt adventurous trials within this running time to make a precisely perfect short film. These aims

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Special Program Cuts of Busan International Short Film Festival film Eksperimental dan Dokumenter hanya mengisi sebagian kecil dari keseluruhan.

we stated reflect on the selection of film from annual program.

BISFF hanya berfokus pada film pendek. Artinya, sebuah film pendek harus melewati berbagai uji coba dalam waktu yang terbatas untuk menjadi film pendek yang sempurna. Tujuan yang kami jabarkan di sini nampak pada berbagai pilihan film dari program tahunan.

Cuts of Busan Short 2016 will present 5 prestigious award recipient and nominee shorts that we try to highlight. Collectively, they form an interesting diversity of style, form, and subject matter Korean short films today. Deer Flower, a film receiving Grand Prix at BISFF, is an animation that creates new sensory experiences by employing a good mix of 3D painting, stop motion and 2D methods. From Now On achieves a rare quality of melancholy when it gets more poignant as the story shifts into something unexpected. In New Rapids, a feeling of doubt of a female protagonist is being explored in detail, as it portrays the inner chaos within her. This film receives the best acting award at BISFF and other film festivals because of its portrayal of wide range of emotions left unspoken by its female protagonist. Seol-hee, the recipient of Netpac Award, is a masterpiece that delivers a deep message of how close we can get into another person’s problem. The last one, an experimental work entitled The Plants: Jakarta Monorail 103, shoots 103 unfinished monorail columns in black and white and negative images, then fit them together with such rhythmic music, creating a type of an ancient tribe-like dynamics.

Cuts of Busan Short 2016 mempersembahkan 5 film pendek penerima dan nominasi penghargaan bergengsi yang coba kami angkat. Secara kolektif kelimanya menghadirkan keberagaman unik gaya, bentuk, dan pokok bahasan film Korea masa kini. Deer Flower, sebuah film yang berhasil meraih Grand Prix di BISFF, adalah film animasi yang memberikan pengalaman indrawi baru lewat kombinasi cerdas lukisan 3D, stop motion, dan metode 2D. From Now On menciptakan kualitas melankolis yang langka ketika cerita menjadi liar karena pergulirannya yang tak terduga. Dalam New Rapids, keraguan tokoh protagonis perempuan ditelusuri dengan terperinci melalui penggambaran kekacauan batin di dalam dirinya. Film ini menerima penghargaan akting terbaik di BISFF dan di festival film lain melalui penggambaran beragam emosi yang tetap tak tersampaikan oleh sang tokoh. Seolhee, sebuah film yang berhasil mendapatkan NETPAC Award, menyampaikan pesan mendalam tentang sejauh mana kita dapat masuk ke dalam masalah orang lain. Film yang terakhir, sebuah karya eksperimental berjudul The Plants: Jakarta Monorail 103, merupakan film yang menimpa 103 kolom monorail yang belum selesai dengan gambar hitam-putih dan gambar negatif, lalu melengkapinya dengan musik ritmis di sepanjang film, menciptakan semacam atmosfer kesukuan yang dinamis.

In this occassion, I hope that I can have a good chance to see recent Korean films’ diversity and color. In the future, there will be more great Korean independent films that can be introduced in Indonesia. Thank you very much JAFF.

Kali ini, saya berharap dapat memiliki kesempatan baik untuk melihat keberagaman dan warna film-film baru Korea. Di kesempatan yang akan datang, tentunya akan ada lebih banyak film-film independen Korea bagus yang dapat diperkenalkan di Indonesia. Terima kasih banyak JAFF.


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Animation

GRHATAMA | FRI 02 DEC | 16.30 – 18.00

Deer Flower Kim Kangmin/8 minutes/2015/South Korea, USA Pada musim panas di tahun 1992, Dujung, seorang siswa SD, pergi ke sebuah peternakan di daerah pinggiran kota dengan orangtuanya. Sementara orangtuanya percaya bahwa suatu kekhasan yang mahal dan langka dari peternakan itu akan memperkuat tubuh anak mereka, Dujung malah mengalami efek samping. In the summer of 1992, Dujung, an elementary student, goes to a farm in the suburbs with his parents. While his parents believe that the expensive and rare specialty from the farm will strengthen their son’s body, Dujung suffers side effects. Director Kim Kangmin, salah satu pendiri Studio Zazac, adalah seorang pembuat film dan desainer pemenang penghargaan yang tinggal di Los Angeles. Film-filmnya telah diputar secara internasional di beberapa festival termasuk Sundance, Annecy, Ottawa, AFI, dan banyak lagi. Ia adalah seniman animasi gerak henti (stop motion) yang sangat kreatif dan multitalenta dengan latar keterampilan yang kuat dalam animasi gerak henti dan grafis gerak. Karyanya menggabungkan media kerajinan tangan dengan latar belakang yang didesainnya. Kangmin mendapatkan gelar MFA Animasi Eksperimental dari California Institute of the Arts dan telah bekerja untuk perusahaan seperti Chiodo Bros., Bix Pix Entertainment, Cinderbiter, Shadow Machine, dan Screen Novelties. Kim Kangmin, co-founder of Studio Zazac, is an award winning filmmaker and designer based in Los Angeles. His films have been screened internationally in several festivals including Sundance, Annecy, Ottawa, AFI, and many more. He is a highly creative and multitalented stop motion artist with a strong background in stop motion and motion graphics. His work combines hand crafted media with designed backgrounds. Kangmin holds an MFA in Experimental Animation from the California Institute of the Arts and has since worked for companies such as the Chiodo Bros., Bix Pix Entertainment, Cinderbiter, Shadow Machine, and Screen Novelties. Contact: Jinna Lee [email protected]

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Fiction

GRHATAMA | FRI 02 DEC | 16.30 – 18.00

From Now On Lee Kyeongwon/17 minutes/2016/South Korea Seorang pria mencari rumah di sebuah kawasan yang asing. Ikhtisar cerita dan waktu yang drastis akan membuat penonton bingung pada awalnya, namun hal itulah yang menimbulkan ketegangan dan kesan mendalam pada ceritanya. Ada lebih banyak hal yang tak terlihat daripada yang terlihat. Ada kekosongan yang disengaja untuk mendorong berbagai tafsiran emosional. Momen dan cerita apa saja yang dialami oleh sang pria dan rumahnya? Karena penonton dibiarkan menebak, kita dipersilakan untuk mengingat, bukan tentang sang pria, tapi tentang kenangan pribadi kita sendiri. Hanyang villa atau tempat apa pun itu, rumah adalah di mana ingatan kita berdiam. A man walks into a foreign neighborhood to look for a house. The drastic summarization of the story and time will confuse the audience at first, but it brings suspense and a deeply lingering impression to the story. There is more of the unseen than the visible. This intentional void prompts various emotional interpretations. What sort of moments and stories did the man and the house share? Since the audience are left to guess, we are left to remember, not his, but our own personal memories. Hanyang villa or whatever else, houses are where our memories dwell. Director Lee Kyeong-won adalah lulusan sastra Inggris dari Universitas Dankook. Setelah lulus, ia mempelajari penyutradaraan film di Korean Academy of Film Arts. Ia juga mengembangkan skenario Late Autumn bersama sutradaranya. Sekarang Lee Kyeong-won bekerja sebagai asisten sutradara Lee Chang-dong yang menyutradarai Poetry. Lee Kyeong-won studied English literature at Dankook University. After graduation, he studied film directing at Korean Academy of Film Arts. He also developed Late Autumn scenario with the director. Now Lee Kyeong-won is an assistant to director Lee Chang-dong who directed Poetry. Contact: Jinna Lee [email protected]


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Fiction

GRHATAMA | FRI 02 DEC | 16.30 – 18.00

New Rapids Choi Jungmoon/20 minutes/2015/South Korea Dalam perjalanannya ke sebuah pertunjukan di Seoul, Hana bertemu dengan teman lamanya, Cheolha. Hana merasa bimbang. Ia mengikuti temannya, tetapi ketika ia akhirnya berhasil menjajari Cheolha, ia tidak bisa mengatakan perasaannya dan malah berbalik pergi. Penggambaran gejolak batin yang mungkin remeh ini merupakan detail yang penting dalam film ini. On her way to a performance in Seoul, Hana runs into an old friend, Cheolha. Hana feels herself wavering. She follows him, but when she finally catches up with him, she cannot tell him about her feelings and turns back. The belittle portrayal of inner turmoil is a notable detail in this piece. Director Film dokumenternya, Your Wings (2008), diundang ke IWFFIS dan memenangkan penghargaan Challenging Reality Award di Seoul Festival Film International Youth, serta mendapat penghargaan besar di Korea Youth Media Festival. Dia telah memproduksi: film dokumenter BanDal Theatre (2011), film pendek At the End of the Summer (2013); serta menyutradarai Drawing Paper dan Lonely Boy pada tahun 2012, dan Today serta Nopo-dong pada tahun 2013. Her documentary film, Your Wings (2008), was invited to the IWFFIS and won a Challenging Reality Award in Seoul International Youth Film Festival, and a grand award in the Korea Youth Media Festival. She produced: the documentary film BanDal Theatre (2011), the short film At the End of the Summer (2013); directed Drawing Paper and Lonely Boy in 2012, Today and Nopodong in 2013 as well. Contact: Jinna Lee [email protected]

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Fiction

GRHATAMA | FRI 02 DEC | 16.30 – 18.00

Seol-hee Bae Yeon-hee /19 minute/2015/South Korea Ketika bekerja di sebuah toko kelontong untuk memenuhi kebutuhannya, Yeonhee bertemu dengan teman sekelas semasa SMA, Seolhee. Seolhee adalah seseorang dengan keterbelakangan mental. Sejak saat itu, setiap hari Seolhee mengunjungi Yeonhee di toko. Yeonhee menunjukkan penolakan terhadap kunjungan rutinnya, tapi anehnya ia juga merasa penasaran. While working in a convenience store to make ends meet, Yeonhee meets her high school classmate, Seolhee. Seolhee is mentally handicapped. Everyday thereafter, Seolhee comes to visit Yeonhee at the convenience store. Yeonhee shows a disapproval of the persistent visit, but is also strangely curious. Director Bae Yeon-hee sedang menempuh studi di Jurusan Kajian Film di Dong-Eui University. Bae Yeon-hee is studying at the Department of Film Studies of Dong-Eui University. Contact: Jinna Lee [email protected]


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Experimental

GRHATAMA | FRI 02 DEC | 16.30 – 18.00

The Plants: Jakarta Monorail 103 Park Yongseok/5 minutes/2015/South Korea Rencana untuk menangani kemacetan lalu lintas di Jakarta dengan membangun monorail gagal akibat keputusan investasi yang buruk. Pembangunan itu tertunda selama 10 tahun. Beberapa bagian proyek konstruksi yang belum selesai itu menganjur ke arah jalan raya. Pembuat film dengan cermat mendokumentasikan 103 pilar beton bertulang yang menjadi monumen kegagalan besar yang tak bisa diacuhkan begitu saja. A plan for dealing with traffic jams in Jakarta by building a monorail failed because of poor investment decisions and was put on hold for 10 years. Pieces of the unfinished construction project jut out of the streets. The filmmaker carefully documents 103 reinforced concrete pillars that are impossible-to-ignore monuments to colossal failure. Director Sebagai seorang seniman, ia telah bergelut dalam berbagai jenis kesenian seperti fotografi, instalasi, dan film. Ia juga telah menyutradarai Dove (2004), Sun & Moon (2005), The Land of No Inhabitants (2006), dan The House of No Inhabitants (2012). Secara khusus, Sun &Moon (2005) diundang dalam 6th Jeonju International Film Festival. As an artist, he has worked on various genres such as photography, installation, and film. He also directed Dove (2004), Sun & Moon (2005), The Land of No Inhabitants (2006), and The House of No Inhabitants (2012). Especially, Sun & Moon (2005) was invited to the 6th Jeonju International Film Festival. Contact: Jinna Lee [email protected]

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Special Program CONNECT JAPAN Japanese Contemporary Cinema

CONNECT JAPAN: RELASI TERUS MENERUS CONNECT JAPAN: THE CONTINUOUS CONNECTION Budi Irawanto

CONNECT JAPAN merupakan bagian dari serangkaian program berkelanjutan yang menandai hubungan baik antara sinema Jepang dan Indonesia. Hal ini sejalan dengan mandat JAFF dalam mempromosikan sinema Asia di kalangan orang Asia, khususnya di Indonesia. Pada tahun ini kami tak hanya merancang program khusus pemutaran film, tapi juga aktivitas yang bertautan serta melampaui sinema. Dalam CONNECT JAPAN, tamu festival dan pengunjung memiliki kesempatan untuk mengenali, menghargai, memahami, dan mempelajari banyak budaya, seni, dan film Jepang dengan menghadiri kegiatan dalam beberapa hari selama festival. Selain itu, CONNECT JAPAN menyuguhkan berbagai kegiatan kreatif untuk menunjukkan karakteristik yang khas dari budaya film Jepang yang bisa banyak dipelajari oleh Indonesia. Program pemutaran sinema Jepang kontemporer merupakan ‘program pertukaran’ dengan Japanese Film Festival 2016 di Jakarta. Program ini akan memutar lima film terbaru karya sutradara ternama Jepang, antara lain: Kazoku Wa Tsuraiyo (Yoji Yamada, 2016), Creepie (Kiyoshi Kurosawa, 2016), Chihayafuru Khami no Ku (Norihino Koizumi, 2016), Chihayafuru Shimo no Ku (Norihino Koizumi, 2016), An (Naomi Kawase, 2016), JOGJA-NETPAC ASIAN FILM FESTIVAL

CONNECT JAPAN is part of a continuing series of programmes marking the close relationship shared between Japanese and Indonesian cinemas. This is analogous to JAFF’s mandate in promoting Asian cinema among Asians, especially in Indonesia. This year, we are not only offering special film screenings, but also, other activities related to as well as transcending cinema. In the CONNECT JAPAN program, festival goers as well as guests will be given the opportunity to get acquainted with, appreciate, understand, and learn various Japanese cultures, art, and films through the activities offered over the course of a few days during the festival. Aside from that, CONNECT JAPAN also offers other creative activities to showcase the distinctive characteristic of Japanese film cultures from which Indonesia can learn. The film screening of contemporary Japanese cinema is part of an ‘exchange program’ with Japanese Film Festival 2016 in Jakarta. In this particular program, five of the recent films directed by celebrated Japanese filmmakers will be screened, namely: Kazoku Wa Tsuraiyo (Yoji Yamada, 2016), Creepie (Kiyoshi Kurosawa, 2016), Chihayafuru Khami no Ku (Norihino Koizumi, 2016), Chihayafuru Shimo no Ku (Norihino Koizumi, 2016), An (Naomi Kawase, 2016), and Harmonium (Koji Fukada,

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serta Harmonium (Koji Fukada, 2016) yang meraih Jury Prize Un Certain Regard Cannes Films Festival tahun ini. Setelah pemutaran Harmonium, akan ada diskusi dengan sutradara Koji Fukada.

2016), a winner of Un Certain Regard at the Cannes International Film Festival 2016. Following the screening of Harmonium, there will be a discussion with the director Koji Fukada.

Di samping itu, ada juga pemutaran film-film dokumenter Asia bekerja sama dengan Festival Film Dokumenter (FFD) 2016. Khusus untuk tahun ini program ini akan memberi sorotan pada film-film dokumenter dan eksperimental Jepang, antara lain Tzukiji Wonderland (Naotaro Endo, 2016) dan A Stone from Another Mountain to Polish Your Own Stone (Go Shibata, 2016).

Moreover, there will also be screenings of Asian documentary films in collaboration with the Documentary Film Festival 2016 (FFD). For this year in particular, this program will provide a spotlight on Japanese documentary and experimental films such as, Tzukiji Wonderland (Naotaro Endo, 2016) and A Stone from Another Mountain to Polish Your Own Stone (Go Shibata, 2016).

Tahun ini, kami bekerja sama dengan Yamaguchi Center of Art and Media (YCAM) yang berdiri sejak November 2003. Kurator Eujin Sugihara memilih film penting Jepang yang bukan hanya unik, namun juga memberi perspektif penting dalam perfilman Jepang. Sebuah pertunjukan sinematik pun kami sajikan, kolaborasi antara Papermoon Puppet Theater dan Kana Ote. Kami juga menampilkan kolaborasi lain dari penata musik Jepang Yasuhiro Morinaga dan sutradara Indonesia Faozan Rizal. Kolaborasi ini bermula saat Yasuhiro Morinaga (pendiri sound production company dan label musik CONCRETE) yang tengah melakukan pertunjukan Cineconcert pada JAFF yang ke-9 bertemu dengan Faozan Rizal. Tahun lalu, Faozan Rizal melontarkan ide ketika mendengar sebuah bangunan bersejarah Pabrik Gula Colomadu hendak dibongkar. Lantas Yasuhiro Morinaga dan Faozan Rizal bersepakat merekam dan mengabadikan ruang tersebut. Maka, lahirlah karya trilogi: Anastasis, Burung Kayu di Pohon, dan On Genealogy of Silent.

This year, we will be collaborating with Yamaguchi Center of Art and Media (YCAM) that has been established since November 2003. The curator, Eujin Sugihara had selected important Japanese films that are not only unique, but also provide a crucial perspective in Japanese cinema. We are offering a cinematic showcase which is part of the collaboration between Papermoon Puppet Theater and Kana Ote. We will also be offering other collaborations involving Japanese sound designer Yasuhiro Morinaga (founder of sound production company and music label CONCRETE) and Indonesian filmmaker Faozan Rizal. This collaboration originated when Yasuhiro Morinaga, who was in the midst of performing for Cineconcert in the 9th JAFF, met Faozan Rizal. Last year, Faozan Rizal put forth the idea upon hearing the demolition of the historical building, the Colomadu Sugar Mill. They then agreed to record and immortalize the space. What resulted was the trilogy consisting of Anastasis, Burung Kayu di Pohon, and On Genealogy of Silent.

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Fiction


An/Sweet Bean Naomi Kawase/113 minutes/2016/Japan Sentaro mempunyai sebuah toko roti kecil yang menjual dorayaki—pastri berisikan saus kacang merah manis. Ketika seorang wanita tua, Tokue, melamar untuk bekerja di dapurnya, Sentaro dengan setengah hati menerimanya. Akan tetapi, Tokue membuktikan bahwa kedua tangannya memiliki sihir saat ia membuat saus kacang merah. Toko kecil itu menjadi semakin maju. Seiring waktu berjalan, Sentaro dan Tokue juga saling membuka hati untuk saling menceritakan luka lama. Sentaro runs a small bakery that serves dorayakis—pastries filled with sweet red bean paste. When an old lady, Tokue, offers to help in the kitchen, he reluctantly accepts. But Tokue proves to have magic in her hands when it comes to making sweet bean paste. The little business soon flourishes. And with time, Sentaro and Tokue will open their hearts to reveal old wounds. Director Lahir di Nara, Jepang, Naomi Kawase lulus dari Visual Arts College Osaka tahun 1989. Embracing (1992) and Katatsumori (1994) menerima pengakuan dan penghargaan internasional di Yamagata Documentary Film Festival. Tahun 1997, ia menjadi pemenang Camera d’Or termuda untuk film panjang pertamanya, Suzaku. Born in Nara, Japan, Naomi Kawase graduated from the Visual Arts College Osaka in 1989. Embracing (1992) and Katatsumori (1994) received international recognition and awards at the Yamagata Documentary Film Festival. In 1997, she became the youngest winner of the Camera d’Or, for her first feature, Suzaku. Contact: Rodrigo Brandao [email protected]


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Fiction


Chihayafuru part 1 Norihiro Koizumi/111 minutes/2016/Japan Chihaya, Taichi, dan Arata adalah teman masa kecil, yang diikat dengan kesamaan minat bertanding karuta (permainan kartu tradisional Jepang menggunakan puisi dan reaksi cepat). Terpisahkan oleh keadaan, mereka saat ini telah remaja, tetapi Chihaya tetap percaya bahwa kejuaraan karuta nasional akan menyatukan kembali pertemanan mereka. Namun, jika puisi klasik sudah dianggap tidak keren, apakah Chihaya berhasil mengumpulkan cukup siswa untuk membuat tim karuta? Chihaya, Taichi, and Arata are childhood friends, bound by their passion for competitive karuta (a traditional Japanese card game using poetry and lightning-fast reactions). Separated by circumstance, they are now teenagers, but Chihaya believes the karuta national championship will reunite their friendship. But when classical poetry is not exactly cool, can Chihaya find enough students to start a karuta team? Director Norihiro Koizumi adalah sutradara pemenang penghargaan yang tinggal di Jepang. Film pertamanya, Midnight Sun, yang disutradarai ketika ia berumur 25, menghasilkan lebih dari 1 miliar yen di jajaran film box office. Gachi Boy, Wrestling with a Memory, film selanjutnya, juga mendapat pujian dan memenangkan Audience Award di Udine Far East Film Festival. Norihiro Koizumi is an award winning film director based in Japan. His first film, Midnight Sun, directed as young as 25 in 2003, earned over 1 billion yen at the box office. Gachi Boy, Wrestling with a Memory as his follow up film, also went on to receive critical acclaim and have won the Audience Award in the Udine Far East Film Festival. Contact: Gryphon Entertainment [email protected]

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Fiction


Chihayafuru part 2 Norihiro Koizumi/112 minutes/2016/Japan Setelah kemenangan di turnamen karuta di Tokyo, tim Chihaya berhasil masuk kualifikasi untuk kejuaraan nasional. Kebahagiaan itu hanya bertahan sementara ketika ia mengetahui bahwa Arata telah berhenti bermain karuta. Chihaya memaksimalkan energinya untuk berlatih tetapi kompetisi itu sangat ketat—lebih-lebih untuk melawan Shinobu Wakamiya, Ratu Karuta. Merasa kehilangan keseimbangan, akankah Chihaya mendapatkan kembali kepercayaan diri untuk memimpin timnya? After a win at the Tokyo karuta tournament, Chihaya’s team qualify for the national championship. Her happiness is short-lived as she learns that Arata has quit karuta. She channels her energy into training but the competition is steep—especially against Shinobu Wakamiya, the Queen of Karuta. Thrown off balance, will Chihaya regain confidence in time to lead her team? Director Norihiro Koizumi adalah sutradara pemenang penghargaan dari Jepang. Film pertamanya, Midnight Sun, yang disutradarai ketika ia berumur 25, menghasilkan 1 miliar yen di jajaran film box office. Gachi Boy, Wrestling with a Memory, film selanjutnya, juga mendapat pujian dan memenangkan Audience Award di Udine Far East Film Festival. Norihiro Koizumi is an award winning film director based in Japan. His first film, Midnight Sun, directed as young as 25 in 2003, earned over 1 billion yen at the box office. Gachi Boy, Wrestling with a Memory as his follow up film, also went on to receive critical acclaim and have won the Audience Award in the Udine Far East Film Festival. Contact: Gryphon Entertainment [email protected]


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Fiction


Creepy Kiyoshi Kurosawa/130 minutes/2016/Japan Sebagai seorang detektif, Takakura berhenti dari tugasnya di kepolisian dan beralih menjadi dosen psikologi kriminal. Akan tetapi, keinginannya untuk menguak motif-motif kriminalitas masih ada dan dengan mantap ia menanggapi seorang teman lama, Nogami, yang memintanya membuka sebuah kasus lama. Ketika Takakura tengah bergulat dalam kasus itu, masa lalu dan masa kini menjadi semakin rumit dan penuh hal-hal mengejutkan. A detective, Takakura quits active service in the police force and takes up a position as a lecturer in criminal psychology. But his desire to get to the bottom of criminals’ motives remains and he does not hesitate long when his former colleague Nogami asks him to reopen an old case. While Takakura immerses himself, past and present suddenly become entangled, full of surprising twists and turns. Director Kiyoshi Kurosawa, lahir di Kobe 1955, memulai kariernya sebagai asisten sutradara bagi Shinji Somai. Karya terobosan internasionalnya adalah film Cure (1997). Ia menerima Prix Un Certain Regard di Cannes dua kali: untuk film Tokyo Sonata (2008) dan Journey to the Shore (2015). Ia mengajar di Tokyo University of the Arts sejak 2005. Kiyoshi Kurosawa, born in Kobe in 1955, started his career as an assistant director for Shinji Somai. His international breakthrough came with Cure (1997). He received the Prix Un Certain Regard in Cannes twice: for Tokyo Sonata in 2008 and Journey to the Shore in 2015. He has been teaching at the Tokyo University of the Arts since 2005. Contact: Shochikui Films [email protected]

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Fiction


Fuchi ni Tatsu (Harmonium) Koji Fukada/118 minutes/2016/Japan Toshio mempekerjakan Yasaka di bengkel kerjanya. Seorang kenalan lama yang baru saja bebas dari penjara ini mulai mencampuri kehidupan keluarga Toshio. Toshio hires Yasaka in his workshop. This old acquaintance, who has just been released from prison, begins to meddle in Toshio’s family life. Director Koji Fukada lahir di Tokyo dan lulus dari Film School of Tokyo. Film-film produksinya adalah Hospitalité (10), Hotori no Sakuko (13), Sayônara (15), dan Harmonium (16). Koji Fukada was born in Tokyo and graduated from the Film School of Tokyo. His films include Hospitalité (10), Hotori no Sakuko (13), Sayônara (15), and Harmonium (16). Contact Ola Byszuk [email protected]


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Fiction


Kazoku wa Tsuraiyo Yoji Yamada/108 minutes/2016/Japan Pada hari ulang tahun Tomiko, suaminya menanyakan apa yang ia inginkan sebagai hadiah yang berkesan. Tomiko menjawab, “Cerai.” Anak mereka mulai panik mendengar berita perpisahan itu. Lalu, di tengah kegemparan ini, setiap anggota keluarga mulai saling mengutarakan keluh kesahnya. On the birthday of Tomiko, her husband asks her what she wants as a memorial gift. She answers, “A divorce.” Their children are much thrown into a state of panic to hear this news of separation. Amid the sudden tumult of life, each member of the family begins to publicize respective grievances . Director Yamada Yoji lulus dari Tokyo University tahun 1954; pada tahun yang sama ia bergabung di Shochiku sebagai asisten sutradara. Tahun 1969, ia meluncurkan seri terkenal Tora-san, serial teaterikal terpanjang di dunia. The Twilight Samurai (Tasogare Seibei [2002]) menandai produksi filmnya yang ke 77 sekaligus 41 tahun kariernya sebagai sutradara sejak film pertamanya tahun 1961: Nikai no Tanin (Stranger Upstairs). Yamada Yoji graduated from Tokyo University in 1954, the year he joined Shochiku as an assistant director. In 1969, he launched the popular Tora-san series, the world’s longest theatrical film series. The Twilight Samurai (Tasogare Seibei [2002]) marks his 77th film as well as his 41th year as a director since his first film in 1961: Nikai no Tanin (Stranger Upstairs). Contact: Shochiku Co. Ltd. [email protected]

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Documentary

TBY | THU 01 DEC | 15.00 – 17.00

Tsukiji Wonderland Naotaro Endo/111 minutes/2016/Japan Tsukiji adalah pasar grosir ikan dan hasil laut terbesar di dunia. Pasar itu dibangun 80 tahun lalu di pusat kota Tokyo dan selalu mengagumkan karena kaya akan sejarah. Ikan dan hasil laut dari Tsukiji dipakai sebagai bahan dasar washoku, makanan Jepang yang masuk dalam Daftar Representatif Budaya Takbenda Warisan Manusia UNESCO tahun 2012. Film ini menyuguhkan hasrat dari para pekerja di Tsukiji dan esensi masakan Jepang. Tsukiji is the biggest wholesale fish and seafood market in the world. It was built 80 years ago in central Tokyo and has continued to fascinate people throughout its rich history. Fish and seafood from Tsukiji form the core of washoku, the traditional Japanese cuisine listed by UNESCO as Intangible Cultural Heritage of Humanity in 2012. The film shows the passion of those who work in Tsukiji and the essence of traditional Japanese cuisine. Director Naotaro Endo lahir tanggal 14 Februari 1978. Film indienya, Guzen No Tsukusi, memenangkan Audience Award di PIA International Film Festival. Ia telah menghasilkan sejumlah karya untuk televsi, iklan, dan video musik. Tsukiji Wonderland adalah debut film panjang pertamanya. Naotaro Endo was born on 14 February 1978. His independent film, Guzen No Tsutsuki, won the Audience Award at the PIA International Film Festival. He has made works for television, advertisements, and music videos. Tsukiji Wonderland is his first theatre feature film release. Contact : Shochiku Co. Ltd. [email protected]


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Special Program CONNECT JAPAN Japanese Experimental and Documentary

Jelajahi Film Kontemporer di Jepang Explore Contemporary Cinema in Japan Eijun Sugihara Program ini menampilkan 3 program dengan 4 film kontemporer terkenal di Jepang. Program-program ini terbuka untuk penonton umum. Pada saat yang bersamaan, mereka menanyakan pertanyaan dasar: Apa itu film? Apa itu sinematik? Apa itu kenyataan? Gui aiuoe:S - A Stone from Another Mountain to Polish Your Own Stone karya Go Shibata adalah salah satu film paling tak biasa dan eksperimental dalam beberapa dekade terakhir ini. Shibata, yang juga memainkan karakter utama berjanggut lebat, menyutradarai film seperti seorang musisi yang sedang menggubah lagu. Gui aiuoe:S adalah film dokumenter eksperimental tentang sebuah perjalanan, dengan kru film sebagai karakternya. Semua orang yang mereka temui selama perjalanan adalah warga lokal. Dan semua yang terekam dalam film, termasuk ceritacerita yang dikisahkan adalah apa yang sungguh terjadi. Ini adalah sebuah film dokumenter yang melampaui dunia film, melangkah mendekat ke dunia nyata, kemudian dicampur dengan bumbu fiksi; maka terciptalah sebuah film dengan rasa yang baru. Beberapa sineas mencoba menggabungkan beberapa elemen-elemen yang berada di luar film untuk mengembangkan kemungkinan baru dalam film. Film dokumenter minimalis karya Sho Miyake, The Cockpit berfokus pada musisi hiphop Jepang yang sedang membuat lagu baru sembari bermain dan berimprovisasi dalam suasana yang santai. Mereka menciptakan musik di sebuah ruangan kecil. Miyake memutuskan untuk memilih rasio framing yang paling klasikal, 1:1.33, untuk

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This program introduces 3 programs with 4 contemporary films that are prominent in Japan nowadays. They are open to any kind of audience. At the same time, they ask fundamental questions, what is cinema, what is cinematic and what is real? Go Shibata’s Gui aiuoe:S - A Stone from Another Mountain to Polish Your Own Stone is one of the most outlandish and experimental movie over the last decade. The director, Shibata, who is performing a main character with a rich beard, directs the film like musicians improvise songs. Gui aiuoe:S is an experimental road documentary about their journey, with the film crews as the characters. All the characters they come across during the journey are all real people, and all the things captured on the film, including the stories told, are what actually happened there for real. A documentary, which extends beyond the realm of a movie and approaches the real world, is blended with fiction; a film is accomplished with a completely new feel. Some filmmakers try to integrate some elements other than cinema to develop new possibility of cinema. Sho Miyake’s minimal documentary The Cockpit focuses on Japanese hip-hop musicians creating a new track while playing and improvising in a relaxed atmosphere. They make music in a tiny room. The Director Miyake decided to choose the most classical framing ratio, 1:1.33, to show how close they are. This film presents a beautiful mixture of a cinematic tradition and a pop culture. Ryusuke Hamaguchi’s Touching the Skin of Eeriness adopts a contemporary dance. It depicts the physical interactions between

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menunjukkan seberapa dekatnya mereka. Film ini menyajikan kombinasi apik dari tradisi perfilman dan budaya pop. Touching the Skin of Eeriness karya Ryusuke Hamaguchi mengadopsi sebuah tarian kontemporer. Film ini menggambarkan interaksi fisik aktor-aktor dalam satu sesi pelajaran tari dan menyajikan sensasi ketegangan yang istimewa. Yang kemudian harus diperhatikan adalah rentetan kejadian aneh yang terjadi di kafe. Cara Hamaguchi memasukkan improvisasi dialog ke dalam adegan-adegan yang disutradarainya dengan halus mengekspos kerentanan tubuh para aktor, dan tiba-tiba tampaklah bahwa kenyataan sinematik adalah sesuatu yang sangat rapuh. Di sisi lain, Anda akan, pada saat yang bersamaan, menemukan bahwa tubuh aktor hanya nyata di dalam film. Bangkok Nites karya Katsuya Tomita menggambarkan berbagai karakteristik dari orang yang hidup di provinsi-provinsi megapolis di dekat perbatasan Laos sudut timur laut Thailand yang terus tumbuh. Meski film ini adalah sebuah karya fiksi penuh, sebagian besar karakternya diperankan oleh orang-orang lokal yang bukan merupakan aktor profesional. Film ini dibuat oleh Kuzoku, sebuah kelompok independen beranggotakan sineas-sineas yang dijalankan oleh Tomita. Sebelumnya mereka telah menghabiskan beberapa tahun untuk menjalin kedekatan dengan masyarakat lokal dan menentukan posisi mereka di dalam cerita dengan cermat. Oleh karena itu, cara mengambilan gambar mereka sedikit mirip dengan yang dilakukan antropolog budaya. Mereka sukses mengintegrasikan sebuah sudut pandang unik. Sineas-sineas yang membuat film ini menyadari adanya luka yang ditorehkan oleh kolonialisme, sama seperti yang dilakukan oleh mantan prajurit Tentara Pertahanan Jepang di dalam film.

actors within dance lessons, and provides a special feeling of tension. What we must see in the film is a strange sequence at a caf́. Hamaguchi’s way of inserting an improvised dialogue in scenes directed delicately exposes the actors’ vulnerable bodies. It suddenly occurs that cinematic reality is such a fragile thing. On the other hand, you will, at the same time, discover that the actors’ bodies are real only inside the film. Katsuya Tomita’s Bangkok Nites describes various characteristics of people living in an endlessly expanding megalopolis and northeastern provinces in Thailand, near the Laotian border. The film is a total fiction, however, most of the characters are performed by local people that are not professional actors. The film is presented by Kuzoku, an independent group of filmmakers organized by Tomita. Together, they had spent several years in advance to shoot the film to build a close relationship with local people who live there and put them properly in the story. Therefore, their way of filming is partly similar to a cultural anthropologist’s one. They were successful in integrating an irreplaceable point of view. The filmmakers became aware of the scars left by colonialism, just like an ex-soldier of the Japanese Defense Army does in the film. These films are produced, directed and distributed independently by the filmmakers themselves. What is common among them is the close relationship built, not only in the film, but also between those who shoot a film and those who are shot. The utilization of a light-weight movie camera and other digital equipments may be the one removing the wall, a method just like what a welltrained documentary filmmaker uses. A new way of filmmaking way is emerging.

Film-film ini diproduksi, disutradarai, dan didistribusikan secara independen oleh para sineas Kuzoku. Satu hal yang menjadi wajar di antara mereka adalah kedekatan yang tidak hanya terjalin di dalam film tetapi juga di antara kru dan para aktor. Penggunaan kamera film dan peralatan digital kecil lainnya mungkin menjadi satu hal yang dapat menghapuskan sekat, sebuah metode yang sama dengan yang digunakan oleh sineas dokumenter yang terlatih. Sebuah cara baru pembuatan film telah tercipta.


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GRHATAMA | THU 01 DEC | 16.00 – 19.00

Bangkok Nites Katsuya Tomita/183 minutes/2016/Japan, France, Thailand, Laos Thaniya Road di Bangkok adalah area lokalisasi yang biasanya hanya dikunjungi pria Jepang. Luck adalah salah satu ratu yang tinggal di sana. Tinggal sendirian di apartemen mewah, ia menafkahi keluarga besarnya yang berada di daerah provinsi timur-laut. Suatu hari, Luck bertemu dengan Ozawa, seorang klien Jepang tempat ia menambatkan hatinya sejak lima tahun lalu. Ketika Luck pergi ke Laos, Ozawa menemaninya untuk diperkenalkan pada keluarga Luck. Selama tinggal di Laos, rasa lelah akan kehidupannya di Bangkok membuat Ozawa beranganangan untuk hidup tenang di desa kecil ini. Namun, ia kini menyadari bekas-bekas luka yang ditinggalkan oleh kolonialisme. Thaniya Road in Bangkok is a red-light district, frequented only by Japanese men. Luck is one of the queens who live there. Living alone in a luxury apartment, she provides her large family in the northeastern provinces. One day, Luck comes across Ozawa, a Japanese client whom she had fallen in love with five years earlier. When Luck goes to Laos, Ozawa accompanies her to introduce him to her family. During this short stay, weary of his life in Bangkok, Ozawa starts dreaming of a quiet life in this little village. However, she becomes aware of the scars left by colonialism. Director Katsuya Tomita lahir pada tahun 1972 di Kofu, Jepang. Setelah lulus dari SMA, ia menabung untuk membuat film dengan bekerja sebagai pekerja konstruksi dan sebagai sopir truk. Selama tiga tahun, menggunakan kamera 8mm, ia menghabiskan akhir pekannya membuat film pertamanya, Above the Clouds yang dirilis pada tahun 2003. Dengan penghargaan yang didapat untuk film ini, ia memproduksi Off Highway 20 (2007) dengan 16mm. Pada tahun 2008, ia memproduksi Saudade (2011). Film ini ditampilkan di Festival del film Locarno dan memenangkan Montgolfière d’Or di Festival des 3 Continents di Perancis. Katsuya Tomita is born in 1972 in Kofu, Japan. After graduating from high school, he saves money to make films by working as a construction worker and a truck driver. For three years, using an 8mm camera, he spends his weekends making his first film, Above the Clouds, which is released in 2003. With the award he wins for this film, he shoots Off Highway 20 (2007) on 16mm. In 2008, he decides to make Saudade (2011). This film is shown at the Festival del film Locarno and wins the Montgolfière d’Or at the Festival des 3 Continents in France. Contact: KUZOKU [email protected]

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GRHATAMA | WED 30 NOV | 16.30 – 18.00

Experimental

Gui aiueo:S A Stone from Another Mountain to Polish Your Own Stone Go Shibata/86 minutes/2010/Japan Para penumpang eksentrik dalam sebuah van adalah anggota dari sebuah band, Gui aiueo:S. Saat membuat film ini, mereka menggunakan perangkat pembuat film seperti musisi memainkan alat musik mereka. Dalam perjalanan, mereka mengalami “STONES FROM OTHER MOUNTAINS“. Mereka juga bertemu beberapa orang aneh yang bercerita tentang kisah-kisah tak terduga, yang belum pernah mereka lihat dengan mata mereka sendiri. Semuanya difilmkan dalam gaya film dokumenter dan kemudian diedit menjadi film perjalanan eksperimental yang menceritakan sebuah cerita fiksi. The eccentric passengers in the van are the members of a band, Gui aiueo:S. They made this movie by using filmmaking tools just like how musicians play their musical instruments. Through their journey, they experience “STONES FROM OTHER MOUNTAINS”. They also meet variety of idiosyncratic people who tell them stories of unfathomable world that they have not seen with their own eyes. Everything is filmed in a documentary style and subsequently edited into an experimental road movie that is telling a fictional story. Director Lahir pada tahun 1975 di Kanagawa. Seorang pembuat film. Lulusan Osaka University of Arts, Jurusan Perencanaan Konsep Visual. Filmnya meliputi: The Maiden Work NN-891102 [1999], Late Bloomer [2004] (memasuki kompetisi Fifth Tokyo FILMeX), Doman Seman [2009] (peringkat 2 dalam daftar majalah Eiga Geijutsu untuk sepuluh film Jepang terbaik tahun 2010), Gui aiueo:S [2010] (berpartisipasi dalam Yebisu International Festival for Art & Alternative Visions 2010, Hors Pistes 2013, dan kompetisi di PUNTO DE VISTA International Documentary Festival). Born 1975 in Kanagawa. Filmmaker. Graduated from Osaka University of Arts, Visual Concept Planning Department. Movies include: The Maiden Work NN-891102 [1999], Late Bloomer [2004] (entered the Fifth Tokyo FILMeX competition), Doman Seman [2009] (ranked 2nd in Eiga Geijutsu magazine’s list of the ten best Japanese movies in 2010), Gui aiueo:S [2010] (participated in the Yebisu International Festival for Art & Alternative Visions 2010, Hors Pistes 2013, and the competition at the PUNTO DE VISTA International Documentary Festival). Contact: Yamaguchi City Foundation for Cultural Promotion Yamaguchi Center for Arts and Media [YCAM] 7-7 Nakazono-cho, Yamaguchi, Yamaguchi,753-0075, Japan JOGJA-NETPAC ASIAN FILM FESTIVAL

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GRHATAMA | TUE 29 NOV | 16.30 – 18.45

The Cockpit Miyake Sho/64 minutes/2014/Japan Mengambil tempat di sebuah apartemen kecil, layaknya apartemen lainnya di Jepang. Musisi hiphop OMSB dan Bim bersama dengan teman-teman mereka hendak merekam sebuah lagu. Film ini menampilkan proses kreatif dengan sangat hati-hati dan intim. Selain menjadi dokumentasi berharga dari proses merekam sebuah lagu, film ini juga menampilkan rasa humor dan kasih sayang yang ada di dalam kehidupan sehari-hari anak-anak muda tersebut. Takes place in a small apartment much like any other in Japan. Hip-hop musicians, OMSB and Bim, get together with their friends to record a track. This film captures the creative process carefully and intimately. As well as being a valuable documentation of the act of creating a track, it is a record of the humour and affection in the daily lives of these young people. Director Miyake lahir pada tahun 1984 di Sapporo. Menyelesaikan kursus fiksi di Film School of Tokyo. Good for Nothing (2010) adalah film panjang pertamanya. Playback (2012) ditampilkan di International Competition di Locarno Film Festival. Filmnya The Cockpit telah diterima di First Films International Competition di festival film dokumenter internasional, Cińma du Ŕel. Karya filmnya yang lain adalah Diary Without Words/201466 [2014]. Born in 1984 in Sapporo. Completed the elementary fiction course at the Film School of Tokyo. Good for Nothing (2010) was his debut feature film. Playback (2012) was shown in the International Competition at the Locarno Film Festival. His current film The Cockpit has been accepted into the First Films International Competition in the international documentary film festival Cińma du Ŕel. His other works include Diary Without Words/201466 [2014]. Contact: Hiroshi Matsui [email protected]

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GRHATAMA | TUE 29 NOV | 16.30 – 18.45

Hybrid

Touching the Skin of Eeriness Ryusuke Hamaguchi/54 minutes/2013 Setelah kematian ayahnya, Chihiro hidup dengan kakak tirinya yang bernama Togo. Meskipun Togo dan pacarnya menerima kehadirannya dengan hangat, rasa kesepian Chihiro tetap hidup. Ia pun asyik berlatih tari modern dengan teman sekelasnya, Naoya. Namun, beberapa peristiwa mengganggu kemudian terjadi di kota tempat keduanya menari dengan lugunya. After the death of his father, Chihiro goes to live with his older half-brother named Togo. Although Togo and his girlfriend warmly take him in, Chihiro’s loneliness lingers, and he becomes engrossed in practicing modern dance with his classmate, Naoya. However, disturbing events soon start to take place in the town where the two so innocently dance. Director Hamaguchi Ryusuke lahir di Jepang pada tahun 1978. Dia lulus dari Universitas Tokyo pada tahun 2003 jurusan Estetika. Kemudian Ia bekerja selama tiga tahun sebagai asisten sutradara di film dan televisi. Minatnya dalam film membawanya untuk mengambil studi di Graduate School of Film dan New Media di Tokyo University of Arts. Setelah debutnya, Solaris (2007), Hamaguchi menyutradarai Passion, tugas akhirnya yang diputar di Filmex Tokyo dan Film Festival San Sebastian. Karya berikutnya antara lain The Depths, Intimacies, Touching the Skin of Eeriness, dan Happy Hour. Hamaguchi Ryusuke was born in Japan in 1978. He graduated from Tokyo University in 2003 in Aesthetics. Then he worked for three years as an assistant director in film and television. His interest in film led him to further studies in Graduate School of Film and New Media in Tokyo University of Arts. Following his feature debut, Solaris (2007), Hamaguchi shot Passion, his graduation project which was screened at the Tokyo Filmex and the San Sebastian Film Festival. His subsequent works include The Depths, Intimacies, Touching the Skin of Eeriness, and Happy Hour. Contact: Takata Satoshi [email protected]


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Special Program (O)ZEEING THE NEIGHBOUR Focus on Australian Contemporary Cinema

(O)ZEEING THE NEIGHBOUR: MENGENAL RUMPUT TETANGGA O)ZEEING THE NEIGHBOUR: GETTING TO KNOW THE GRASS ON THE OTHER SIDE Ifa Isfansyah

Australia adalah tetangga dekat Indonesia, namun terasa begitu jauh karena perbedaan kultural. Meski secara geografis dekat dengan Asia, Australia lebih dekat secara kultural dengan masyarakat Eropa. Hubungan awalnya dengan Indonesia dapat dilacak hingga kontak maritim antara orang Makassar, Sulawesi Selatan, dengan masyarakat asli Australia, sebuah jalinan yang kemudian diresmikan dengan pengakuan penuh Australia atas Republik Indonesia pada tahun 1949.

Australia is a close neighbour of Indonesia, yet it seems to be far away due to cultural differences. Though geographically close to Asia, Australia is culturally close to the European society. Australia’s early relationship with Indonesia can be traced back to the maritime contact between the people of Makassar, South Sulawesi, and the indigenous Australian, a connection later formalized through Australia’s full recognition of the Republic of Indonesia in 1949.

Terlepas dari gejolak politik yang mewarnai relasi pemerintah, kedekatan warga Australia dan Indonesia tetap kuat dan lestari. Lewat wahana artistik, sejumlah seniman dari kedua negara telah berkolaborasi tak hanya dalam penjelajahan batas kreativitas mereka, tetapi juga dalam pertukaran sensibilitas kultural yang unik. Film kemudian menjadi salah satu arena dan ekspresi kultural terbaik untuk menggambarkan kompleksitas masyarakat lewat cara-cara yang menarik dan kreatif.

Despite the political upheavals coloring the relationship between Indonesian and Australian government, the relationship between the people of these two countries remain strong and preserved. Through an artistic avenue, some Indonesian and Australian artists have been working collaboratively not only to explore the limit of their creativity, but also exchange their unique cultural sensibilities. Film is one of the best arenas as well as cultural expressions to depict the complexity of society in a delicate and creative way.

Jogja-NETPAC Asian Film Festival (JAFF) tahun ini mulai memperbesar ruang lingkup promosi film ke wilayah Pasifik, termasuk Australia. Oleh karena itu, program khusus ini dirancang untuk memperoleh pemahaman yang lebih baik tentang Australia sebagai tetangga dekat Indonesia. Selain itu,

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This year’s Jogja-NETPAC Asian Film Festival (JAFF) starts expanding the scope of cinema promotion to the Pacific region, including Australia. Therefore, this special program is designed to get a better understanding of Australia as a close neighbour of Indonesia.

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Special Program (O)ZEEING THE NEIGHBOUR Focus on Australian Contemporary Cinema inisiatif pertama ini akan dikembangkan dengan konsisten di masa mendatang guna menciptakan jalinan yang kuat dan lestari antara Indonesia dan Australia.

Moreover, this first initiative will be developed consistently in the future in order to create a solid and sustainable relationship between Indonesia and Australia.

Melalui program ini, kami ingin meningkatkan kesadaran dan menumbuhkan pemahaman warga Indonesia akan warga Australia lewat karya sinematik. Kami ingin mereka berinteraksi intim dengan beragam lapisan kebudayaan dan masyarakat Australia yang khas dengan mengapresiasi berbagai film lewat cara yang bebas stereotipe dan tak lagi konvensional. Kami berharap bahwa program ini akan mengilhami dan mendorong tumbuhnya proses kreatif yang melibatkan Indonesia dan Australia lewat sebuah wahana artistik dengan menyebarluaskan film-film Australia. Pemutaran film ini bertujuan untuk mengenalkan sejumlah film terbaik Australia kepada penonton Indonesia guna memperluas perspektif dan memperdalam pemahaman terhadap aspek-aspek budaya dan masyarakat negara tersebut. Program ini akan menghadirkan tiga film terpilih: Tanna (Bentley Dean, Martin Butler, 2015), The Dressmaker (Jocelyn Moorhouse, 2015), dan The Water Diviner (Russel Crowe, 2014).

With this program, we want to raise awareness and foster understanding of Indonesians toward Australians through cinematic works. We want Indonesian to interact intimately with the many facets of Australian distinctive culture and society by appreciating various cinematic works in ways that go beyond the stereotypical and conventional. Hopefully this program will inspire and encourage the development of a creative engagement between Indonesia and Australia through artistic avenue by spreading Australian cinematic works. This film screening aims to show some of the finest Australian films to Indonesian audiences in order to broaden their perspective and to deepen their understanding on the various aspects of Australian culture and society. In this program, three selected films will be screened: Tanna (Bentley Dean, Martin Butler, 2015), The Dressmaker (Jocelyn Moorhouse, 2015), and The Water Diviner (Russel Crowe, 2014).

Selain program pemutaran, kami juga akan menggelar kuliah umum, satu dari sekian program khas JAFF. Program ini memuat unsur pendidikan dan mendorong pemahaman kritis akan tema festival, yang menyoroti pentingnya hubungan antara Asia dan Pasifik dalam bidang film, melalui dialog menarik antara pembicara dan peserta. Kuliah umum akan menghadirkan seniman, pembuat film, dan kaum intelektual terkemuka Australia untuk berbicara tentang tema “Oceanic Culture in Cinema”. Selain itu, akan diluncurkan sebuah buku yang didasarkan pada film berjudul The Mirror Never Lies yang disutradarai oleh Kamila Andini.


Besides screening program, we also have public lecture program, one of the distinctive programs of JAFF. It possesses educational elements and encourages critical understanding on particular issues related to the festival’s theme, which highlight the importance of the connection between Asia and Pacific in the cinematic field, through an engaging dialogue between the speaker and the audience. In this public lecture, the Australian distinguished artist, filmmaker, and scholar will be invited to talk about the theme “Oceanic Culture in Cinema.” Moreover, there will be a book launch based on the film The Mirror Never Lies directed by Kamila Andini.

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Fiction

GRHATAMA | WED 30 NOV | 12.00 – 14.00

Tanna Bentley Dean, Martin Butler/100 minutes/2015/Australia Tanna berlatar di Pasifik Selatan tempat Wawa, seorang gadis dari salah satu suku tradisional terakhir, jatuh cinta dengan cucu kepala suku, Dain. Ketika perang antarsuku semakin berkecamuk, tanpa sepengetahuannya, Wawa telah dijodohkan untuk kepentingan perdamaian. Sepasang kekasih itu pun kabur tetapi mereka tertangkap oleh prajurit musuh yang bermaksud membunuh mereka. Mereka harus memilih antara hati atau masa depan suku mereka. Tanna is set in the South Pacific where Wawa, a young girl from one of the last traditional tribes, falls in love with her chief’s grandson, Dain. When an intertribal war escalates, Wawa is unknowingly betrothed as part of a peace deal. The young lovers run away, but are pursued by enemy warriors intent on killing them. They must choose between their hearts and the future of the tribe. Director Bentley Dean merupakan salah satu peserta ABC’s inaugural Race Around the World series tahun 1997. Setelah bekerja sebagai sutradara paruh waktu dan sinematografer, ia mulai bekerja untuk SBS International Current Affairs Program Dateline tahun 2001. Bentley melanjutkan produksi film dokumenter termasuk Anatomy of a Coup, The President Versus David Hicks, The Siege, dan A Well-Founded Fear. Martin Butler pindah ke Australia tahun 1981 dan menghabiskan 25 tahun setelahnya untuk memproduksi laporan dokumenter pemenang penghargaan. Tahun 2009, ia bersama Bentley Dean membuat Contact di Western Desert, Australia. Setelah itu, ia memproduksi First Footprints dan Tanna, yang memenangkan Best Feature Film of International Film Critics Week dan Best Director of Photography di 72nd Venice Film Festival. Bentley Dean was a participant in the ABC’s inaugural Race Around the World series in 1997. After working as a freelance director and cinematographer, he started working for SBS’s international Current Affairs Program Dateline in 2001. Bentley went on to make a number of documentaries including Anatomy of a Coup, The President Versus David Hicks, The Siege, and A Well-Founded Fear. Martin Butler migrated to Australia in 1981 and spent the next 25 years producing award winning documentary reports. In 2009 he teamed up with Bentley Dean to make Contact in the Western Desert of Australia. After Contact he produced First Footprints and Tanna, which won Best Feature Film of International Film Critics Week and Best Director of Photography at the 72nd Venice Film Festival. Contact: Bentley Dean [email protected]

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Fiction

GRHATAMA | THU 01 DEC | 12.00 – 14.00

The Dressmaker Jocelyn Moorhouse/119 minutes/2015/Australia Diangkat dari novel laris Rosalie Ham, The Dressmaker adalah film comedi drama yang mengisahkan pahit manis kehidupan di Australia era 1950an. Tilly Dunnage adalah seorang wanita canggung yang sejatinya cantik dan bertalenta. Ia kembali ke rumahnya di kota kecil Dungatar untuk memperbaiki masa lalu. Bersenjatakan mesin jahit dan selera gaya yang bagus, ia menyulap wanita-wanita di kota Dungatar dan dengan itu ia berhasil membalas dendam pada siapa pun yang pernah melukainya. Based on the best-selling novel by Rosalie Ham, The Dressmaker is a bittersweet, comedy-drama set in early 1950s Australia. Tilly Dunnage, a beautiful and talented misfit, returns home to the tiny town of Dungatar to right the wrongs of the past. Armed with her sewing machine and incredible sense of style, she transforms the women of the town and in so doing gets sweet revenge on those who did her wrong. Director Jocelyn Moorhouse lahir di Melbourne dan menamatkan pendidikan di Australian Film Television dan Radio School tahun 1984. Film-filmnya telah ditayangkan di banyak festival film internasional dan memenangkan banyak penghargaan. Ia menyutradarai drama pertamanya, Sex with Strangers karya Laura Eason, di Sydney Theatre Company pada bulan Agustus 2012. Jocelyn Moorhouse was born in Melbourne and graduated from the Australian Film Television and Radio School in 1984. Her films were screened in numerous international film festivals, winning many awards. She directed her first play, Sex with Strangers by Laura Eason, at the Sydney Theatre Company in August 2012. Contact: Fiona Nix [email protected]


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Fiction

GRHATAMA | THU 01 DEC | 12.00 – 14.00

Water Diviner Russell Crowe/111 minutes/2014/Australia, USA, Turkey Empat tahun setelah perang Gallipoli, seorang petani Australia, Joshua Connor, melakukan perjalanan ke Turki untuk mencari tiga anaknya yang tak kembali sejak peperangan. Ketika sampai di Istanbul, ia bertemu teman senasib yang juga mengalami kehilangan: Ayshe, seorang pemilik hotel, dan Walikota Hasan, pejabat berkebangsaan Turki yang berperang melawan putraputra Connor. Four years after the Battle of Gallipoli, Australian farmer Joshua Connor travels to Turkey to find his three sons, who never returned home from the war. When he arrives in Istanbul, he meets others who have also suffered losses: hotelier Ayshe and Major Hasan, a Turkish officer who fought against Connor’s sons. Director Russell Ira Crowe adalah aktor, produser, dan musisi asal New Zealand. Ia tinggal di Australia dan America. Ia mulai terkenal sejak membintangi The Gladiator, film yang membuatnya memperoleh Academy Award. Statusnya sebagai selebritas papan atas Hollywood menanjak cepat setelah ia membintangi Gladiator, A Beautiful Mind, American Gangster, dll. Ia tidak hanya menjadi aktor kawakan tetapi juga musisi yang bertalenta. Russell Ira Crowe is a New Zealand film actor, producer and musician. He is mostly based in Australia and America, and became famous worldwide with perhaps the most brilliant film of his career, The Gladiator, for which he was honored with an Academy Award. His position as an A-list Hollywood celebrity quickly escalated when he did movies like, Gladiator, A Beautiful Mind, American Gangster, etc. He is not just an actor but also a musician of great talent. Contact: PT Omega Film

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Special Program TRIBUTE TO ABBAS KIAROSTAMI

CATATAN PROGRAM TRIBUTE TO KIAROSTAMI NOTES ON TRIBUTE TO ABBAS KIAROSTAMI Budi Irawanto

Sosok sutradara terkemuka Iran, Abbas Kiarostami (1940-2016), dan karyanya tidak hanya dikagumi oleh audiens internasional, tetapi juga dipuji oleh sutradara di seluruh dunia. Misalnya, sutradara Akira Kurosawa pernah menyatakan, “Kata-kata tak bisa mengambarkan perasaan saya tentang film-filmnya… Ketika Satajit Ray wafat, saya amat berduka. Tetapi setelah menyaksikan film-film Kiarostami, saya bersyukur kepada Tuhan yang telah menganugerahi kita sosok yang bisa menggantikannya.” Begitu pula, sutradara kondang Perancis Jean-Luc Godard menyatakan, “Sejarah film diawali dengan D.W. Griffith dan diakhiri dengan Abbas Kiarostami.” Lahir di Teheran pada 22 Juni 1940, Abbas Kiraostami adalah seorang seniman mumpuni yang dikenal sebagai sutradara film, penyair, dan pelukis. Ia mulai membuat video untuk iklan televisi sebelum memproduksi sejumlah film meski dalam kondisi politik yang sulit. Sebelum pecah Revolusi pada 1979, Kiarostami adalah kepala Pusat Pengembangan Intelektual Anak dan Pemuda (Kanoon) yang memproduksi film-film pendek edukatif untuk anak muda. Film panjangnya Where is the Friend’s Home? (1987) secara cerdas menyampaikan kritik lewat pengamatan yang cermat akan kondisi sosio-kultural di Iran. Film ini merupakan bagian dari Trilogi Koker bersama dengan film And Life Goes On [a.k.a. Life, and Nothing More](1992) dan Through the Olive Trees (1994). Utamanya, filmnya yang meraih penghargaan, Taste of Cherry (1997), dengan indah menunjukkan kerapuhan hidup dan keniscayaan kematian. Inilah sebentuk


The stature of Iranian film director Abbas Kiarostami (1940-2016) and his works have not only been widely adored by international audiences, but also, highly praised by film directors across the world. For instance, the Japanese film director Akira Kurosawa once said, “Words cannot describe my feelings about his films… When Satyajit Ray passed on I was very depressed. But after seeing Kiarostami’s films, I thanked to God for giving us just the right person to take his place.” Likewise, French film director Jean-Luc Godard remarked, “Film begins with D.W. Griffith and ends with Abbas Kiarostami.” Born in Tehran on 22 June 1940, Kiarostami was an accomplished artist and recognized as filmmaker, poet, and painter. He started making a video for TV commercial before producing several films though in the difficult political condition. Prior to the 1979 Revolution, Kiarostami was a head of Iran’s Center for the Intellectual Development for Children and Young Adults (Kanoon), which produced educational short films for the youths. His feature Where is the Friend’s Home? (1987) launched social critiques cleverly with meticulous observation of the real sociocultural conditions in Iran. This film was part of the Koker Trilogy, along with And Life Goes On [a.k.a. Life, and Nothing More] (1992) and Through the Olive Trees (1994). In particular, Kiarostami’s award-winning film, Taste of Cherry (1997), brilliantly shows the fragility of life and finality of death. This is a philosophical and meditative sort of film dealing with perennial human questions. Moreover, Close-

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film yang filosofis sekaligus meditatif ihwal pertanyaan abadi umat manusia Lebih jauh, filmnya yang bertajuk Close-Up (1990), adalah sebuah mahakarya metasinema sebagai renungan tentang film dan pembuat film yang membaurkan batas fakta dan fiksi, seni dan hidup. Sensibilitas humanis disertai pesan politik yang halus, kita tahu, telah menjadi penanda khas karya Kiarostami. Bekerja di bawah tekanan sensor yang ketat, Kiarostami justru melahirkan karya luar biasa yang mengulik problem kemanusiaan universal. Lebih jauh, film-film Kiarostami menjadi bukti ketajaman daya visual dan sensitivitasnya yang tak lazim terhadap orang lain. Keterampilan terbaik dari Kiarostami adalah menangkap momen—adegan atau gambar—yang tampak akrab lantas menyulihnya menjadi sesuatu yang menyentuh, puitis, misterius, dan pada akhirnya indah. Tak mengherankan jika filmfilm Kiarostami memiliki pesona dan resonansi yang kuat pada penonton di seantero dunia. Sepanjang kariernya, Kiarostami telah melahirkan tak kurang 40 film yang terdiri dari film panjang, dokumenter, dan film pendek, yang hampir semuanya dibuat di Iran. Namun, sejumlah film terakhirnya disyut di luar Iran dan dengan bintang-bintang bukan orang Iran; umpamanya Certified Copy (2010) yang dibintangi aktris terkenal Perancis Juliette Binoche disyut di Italia, film Like Someone in Love (2012) melakukan syut di Jepang, dan Kiarostami diberitakan sempat merencanakan pembuatan film di Cina. Karena itu, kami merancang program Tribute to Abbas Kiarostami; kami akan memutar filmnya yang terakhir, Take Me Home (2016), yang disyut di Italia bagian selatan dengan mengkesplorasi beragam lanskap di area itu. Selain itu, kami juga akan mempertontonkan dokumenter indah tentang Abbas Kiarostami yang bertajuk 76 Minutes 15 Seconds with Abbas Kiarostami yang disutradarai Seifollah Samadian. Judul dokumenter ini persis merujuk usia hidup Kiarostami: 76 tahun 15 hari. Dokumenter ini tak hanya menangkap momenmomen langka yang tampak seperti film panjang “di balik layar”, tapi juga menunjukkan metode kerja Kiarostami dalam membuat film.

Up (1990) is a meta-cinematic masterpiece of Kiarostami that meditated on film and filmmakers blurring the lines between fact and fiction, art and life. As it is well known, the humanist sensibility with political subtleties has been a distinctive mark of Kiarostami’s films. Working under the strict film censorship in Iran, Kiarostami has made remarkable works dealing with universal human problems. Furthermore, Kiarostami’s films are evidence of his visual acuity and uncanny sensitivity to other people. The great skill of Kiarostami was taking moments— scenes or images—that feel familiar and transforming them into something charged, poetic, mysterious, and finally quite beautiful. Unsurprisingly, his works have strong appeal and resonate to the global audiences. In his entire career, Kiarostami has produced at least 40 films comprising features, documentaries, and shorts, which are mostly made in Iran. But his last few films were shot outside Iran with non-Iranian actors, such as Certified Copy (2010) starred by French famous actress Juliette Binoche which was shot in Italy, Like Someone In Love (2012) shot in Japan, and he reportedly planned to make a film in China. Therefore, in order to pay a tribute to Abbas Kiarostami, we will be screening Kiarostami’s last film Take Me Home (2016) that was shot in south Italy exploring the different landscapes in that area. Furthermore, we will also be showing a wonderful documentary on Abbas Kiarostami entitled 76 Minutes 15 Seconds with Abbas Kiarostami directed by Seifollah Samadian. The title of this documentary refers to the exact age of Kiarostami: 76 years and 25 days. This intimate documentary captured rare moments, which looked like “behind the scenes” features, but it also shows Kiarostami’s work method in making his films. We believe this program will be a reminiscent of the greatness of Kiarostami and his beautiful works.

Kami percaya program ini akan menjadi kenangan akan kebesaran Kiarostami sekaligus keindahan karyanya.

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GRHATAMA | FRI 02 DEC | 18.30 – 20.30

Documentary

76 Minutes and 15 Seconds with Abbas Kiarostami Seifollah Samadian/76 minutes/2016/Iran Film ini merupakan potret seorang seniman yang pendekatannya pada seni dan kehidupan membuatnya menggandrungi kehidupan itu sendiri. Tujuan utama film dokumenter ini adalah berbagi 76 menit dan 15 detik dari kehidupan dan karya Abbas Kiarostami yang belum pernah terungkap, dalam rangka memperingati 76 tahun dan 15 hari perjalanan kreatifnya. Gambar-gambar dokumenter ini dipilih dari rekaman berdurasi ratusan jam, yang diambil sepanjang 25 tahun persahabatan dengan Abbas Kiarostami, dari berbagai acara baik di dalam maupun di luar Iran, misalnya festival film, pameran foto, sesi fotografi, acara seni, lokakarya, dan beberapa momen unik dari kehidupan sehari-hari Kiarostami. This is a portrait of an artist, whose exceptional approach to art and life defined him as one of the most ardent admirers of life itself. The leading aim of this documentary is to share 76 minutes and 15 seconds of undiscovered moments of Abbas Kiarostami’s life and work, in commemoration of his 76 years and 15 days of creative journey. The shots of this documentary are selected out of hundreds of hours of footages, filmed during 25 years of friendship, inside and outside Iran in various occasions: film festivals, photo exhibitions, photography sessions, artistic events, workshops, and some unique moments of his daily life. Director Seifollah Samadian, seorang lulusan Sastra Inggris, lahir pada tahun 1954 di Oroumieh, Iran. Ia memulai kariernya sebagai fotografer sejak 1968 dan sebagai pembuat film dokumenter sejak 1978. Ia telah terlibat sebagai juri, kurator pameran foto, dan mengadakan lokakarya di berbagai acara nasional dan internasional. Ia adalah direktur pendiri Annual Image Visual Arts Festival dan Tassvir Film Festival sejak 2003, serta pendiri dan pemimpin redaksi Tassvir (Image) Magazine sejak 1991. Film dokumenter pendek pertamanya, Iranian Revolution, dibuat tahun 1979. Karya lainnya adalah India 82 (dokumenter pendek, 1982), Tehran, Fall of 83 (dokumenter pendek, 1983), The White Station (seni video pendek, 1999), Tehran, 25th Hour (dokumenter pendek, 1999), The Art of Killing (seni video pendek, 2003), Bam, The 3rd Day, The 10th Day (dokumenter pendek, 2004), The Day You Were Not There (film pendek, 2005), Once Upon a Time, Marrakech (dokumenter, 60 menit), 76 Minutes and 15 Seconds with Abbas Kiarostami. Born in 1954 in Oroumieh, Iran, Seifollah Samadian is a graduate of English Literature. He started his career as a photographer in 1968 and as a documentary filmmaker in 1978. He has been involved as a jury, curator of photo exhibitions, and running workshops in numerous national and international events. He has also been the founding director of the Annual Image Visual Arts Festival and Tassvir Film Festival since 2003, as well as running Tassvir (Image) Magazine as a founder and chief editor since 1991. He made his first short documentary film, Iranian Revolution, in 1979 and his other films are: India 82 (short documentary, 1982), Tehran, Fall of 83 (short documentary, 1983), The White Station (short video-art, 1999), Tehran, 25th Hour (short documentary, 1999), The Art of Killing (short video-art, 2003), Bam, The 3rd Day, The 10th Day (short documentary, 2004), The Day You Were Not There (short film, 2005), Once Upon a Time, Marrakech (60 minutes, documentary), 76 Minutes and 15 Seconds with Abbas Kiarostami (documentary, 2016). Contact: Mohammad Atebbai [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

GRHATAMA | FRI 02 DEC | 18.30 – 20.30

Take Me Home Abbas Kiarostami /16 minutes/2016/Iran Abbas Kiarostami membawa kameranya ke bagian selatan Italia dan memperlihatkan video yang indah dan penuh keceriaan dari jalan-jalan sempit dan berbagai tangga di sana. Abbas Kiarostami takes his camera to south of Italy and shows us a beautiful and playful video of alleys and stairs there. Director Lahir di Teheran pada 22 Juni 1940, Abbas Kiarostami memulai karirnya sebagai pelukis. Dia memulai debutnya dengan sebuah film pendek The Bread and Alley pada tahun 1970. Where is the Friend’s Home? (1987), And Life Goes on… (1992), dan Through the Olive Trees (1994) adalah film yang memberikan pengakuan internasional baginya. Taste of Cherry (1997) memenangkan Cannes Palme d’Or dan The Wind Will Carry Us (1999) memenangkan Venice Grand Jury Prize. Like Someone in Love (2012) yang dibuat di Jepang adalah film panjang terakhirnya. Ia meninggal pada tanggal 4 Juli 2016 di usia 76. Born in Tehran on 22 June 1940, Abbas Kiarostami started his career as a painter. He debuted with short The Bread and Alley in 1970. Where is the Friend’s Home? (1987), And Life Goes on… (1992), and Through the Olive Trees (1994) established his international acclaim. Taste of Cherry (1997) won the Cannes Palme d’Or, and The Wind Will Carry Us (1999) the Venice Grand Jury Prize. Like Someone in Love (2012) filmed in Japan was his last feature. He died on 4 July 2016 at the age of 76. Contact: Mohammad Atebbai [email protected]

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Special Program IRANIAN INDEPENDENTS

Mohammad Atebbai Lahir di Teheran tahun 1962, Mohammad Atebbai mendapatkan gelar master Kajian Film dan sarjana Penyutradaraan Teater dari Tehran University. Ia memulai karier perfilmannya di Farabi Cinema Foundation tahun 1989; pada saat itu ia telah menjadi penanggung jawab bagian pemutaran film-film Iran dalam festival film internasional selama delapan tahun. Ia meninggalkan Farabi tahun 1997 dan membentuk “Iranian Independents” untuk promosi dan pemasaran film independen Iran di kancah internasional. Ia telah mengurusi lebih dari 200 film panjang dan dokumenter dalam 20 tahun terakhir. Mohammad Atebbai telah aktif di berbagai bidang dalam industri perfilman Iran selama 30 tahun terakhir sebagai promotor internasional bagi film Iran, agen penjualan, penulis, peneliti, dan jurnalis. Ia juga terlibat dalam kerja sama produksi film seperti The Circle oleh Jafar Panahi, yang memenangkan Venice Golden Lion. Sebagai jurnalis dan penulis di media Iran sejak 1987, ia telah mengelola Film International, satu-satunya terbitan film berbahasa Inggris di Iran, selama tiga tahun dan kini menjadi anggota dari Iranian Society of Film Critics & Writers. Mohammad pernah menjadi juri dalam sejumlah festival film; mengajar tentang perfilman Iran dalam bahasa Inggris di India, Jepang, Spanyol, Armenia, dan Amerika Serikat; serta menggelar lokakarya tentang pemasaran film internasional dan strategi festival film di Iran dalam banyak kesempatan. Sejak 2012, ia menjadi perwakilan resmi perfilman Iran untuk Venice Film Festival, anggota Board NETPAC (Network for Promotion of Asian Cinema), dan anggota Nomination Council di Asia Pacific Screen Awards selama empat tahun.


Born in 1962 in Tehran, Mohammad Atebbai received an MA in Film Studies and BA in Stage Directing from Tehran University. He started his film career at Farabi Cinema Foundation in 1989 where he was in charge of the screening of Iranian films in international film festivals for eight years. He left Farabi in 1997 and established “Iranian Independents” for the promotion and marketing of Iranian independent films internationally. He has handled more than 200 feature and documentary films in past 20 years. Mohammad Atebbai has been active in different fields in the Iranian film industry for the past 30 years as international promoter of Iranian cinema, sales agent, writer, researcher, and journalist. He was involved in the co-production of films such as Jafar Panahi’s Venice Golden Lion winner The Circle, too. As a journalist and writer on the Iranian media since 1987, he has ran Film International, the only English film periodical in Iran, for three years and is now a member of Iranian Society of Film Critics & Writers. Mohammad has been on the jury of numerous film festivals; has lectured on Iranian cinema in English in India, Japan, Spain, Armenia, and USA; and has held workshops on international film marketing and film festival strategies on different occasions in Iran as well. Since 2012, he is the official representative of the Venice Film Festival for Iranian cinema, a board member of NETPAC (Network for Promotion of Asian Cinema), and a Nomination Council member of Asia Pacific Screen Awards for four years.

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Iranian Independents Didirikan pada tahun 1997 oleh Mohammad Atebbai, Iranian Independents telah terlibat dalam produksi, promosi, dan pemasaran lebih dari 200 film panjang dan dokumenter independen Iran yang bergengsi dalam 20 tahun terakhir. Iranian Independents adalah gerakan pertama dalam industri perfiman Iran untuk promosi film internasional yang bergerak di sektor swasta. Gerakan ini lebih merupakan sebuah lingkaran sineas independen Iran ketimbang sebuah perusahaan. Sejumlah sutradara film Iran dapat memperoleh pengakuan internasional melalui Iranian Independents, seperti Manijeh Hekmat, Mani Haghighi, Maziar Miri, Naghi Nemati, Ali Mosaffa, Shahram Mokri, Reza Dormishian, Nima Javidi, ....

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Founded in 1997 by Mohammad Atebbai, Iranian Independents has been involved in the production, promotion, and marketing of over 200 prestigious Iranian independent feature and documentary films over the past 20 years. Iranian Independents is the very first movement in Iranian film industry for international promotion of movies in private sector. It is more like a circle of very independent Iranian filmmakers, rather than a company. A good number of Iranian film directors could achieve their international recognition through Iranian Independents like Manijeh Hekmat, Mani Haghighi, Maziar Miri, Naghi Nemati, Ali Mosaffa, Shahram Mokri, Reza Dormishian, Nima Javidi,….

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Fiction

GRHATAMA | WED 30 NOV | 18.30 – 21.00

Immortality Mehdi Fard Ghaderi/145 minutes/2016/Iran

Ketika aku membayangkanmu, aku merasakan semacam keabadian; ketika aku memanggilmu, aku merasakan semacam keabadian; ketika aku melihatmu, aku merasakan semacam keabadian; ketika menyentuhmu, aku merasakan semacam keabadian; ketika aku menciummu, lagi-lagi aku merasakan semacam keabadian. When I try to imagine you, I feel kind of immortality; when I call you, I feel kind of immortality; when I look at you, I feel kind of immortality; when I touch you, I feel kind of immortality; when I smell you, again I feel kind of immortality. Director Lahir pada tahun 1986 di Neishapour, Mehdi Fard Ghedari mendapatkan gelar dalam bidang restorasi gedung kuno dari Zabol University dan ia juga menyelesaikan pelatihan film Iranian Young Cinema di Tehran. Ia memproduksi film pendek pertamanya, Alternation, tahun 2005. Film pendek lain yang ia produksi meliputi Life of Khorshid (2008), Gramophone (2010), dan Story of Rainy Night (2014) telah ditayangkan dan memenangkan penghargaan. Immortality (2016) adalah film panjang pertamanya. Born in 1986 in Neishapour, Mehdi Fard Ghedari has a degree in the restoration of ancient buildings from Zabol University and he also finished the Iranian Young Cinema film courses in Tehran. He made his first short film, Alternation, in 2005. His other short films, Life of Khorshid (2008), Gramophone (2010), and Story of Rainy Night (2014) have been screened and have won awards. Immortality (2016) is his debut feature film. Contact: Mohammad Atebbai [email protected]


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GRHATAMA | TUE 29 NOV | 19.00 – 21.00

Lantouri Reza Dormishian/115 minutes/2016/Iran Lantuori adalah nama geng yang beranggotakan para pengusir setan, pencuri, pemeras di Tehran. Pasha, salah satu anggota geng, jatuh cinta pada Maryam, seorang aktivis/jurnalis sosial yang mengadakan kampanye, “No to Violence“. Maryam menolak cinta Pasha dan Pasha menyiramkan cairan asam ke wajah Maryam yang berujung pada hilangnya penglihatan Maryam. Maryam meminta sebuah qesas (penebusan) dan menuntut hukuman mata ganti mata yang sesuai syariat Islam. Lantouri is the name of a gang of exorcists, thieves, blackmailers in Tehran. Pasha, a member of the gang, falls in love with Maryam, a social activist / journalist who has started a campaign, “No to Violence“. Maryam rejects Pasha‘s love and Pasha splashes acid on Maryam‘s face and she loses her sight. Now, Maryam asks for qesas (revenge) and requests eye-for-eye punishment according to the Islamic Punitive Laws. Director Lahir tahun 1981 di Tehran, Reza Dormishian mempelajari bahasa Inggris dan terlibat dalam jurnalisme film. Reza Dormishian mulai memproduksi film pendek sejak tahun 2002 dan Hatred adalah film panjang pertamanya, yang diproduksi di Istanbul. Born in 1981 in Tehran, Reza Dormishian has studied English Language and then he was involved in film journalism. Reza Dormishian started making short films since 2002 and Hatred is his first feature film, produced in Istanbul. Contact: Mohammad Atebbai [email protected]

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Fiction

GRHATAMA | THU 01 DEC | 19.15 – 21.00

Risk of Acid Rain Behtash Sanaeeha/105 minutes/2015/Iran Seorang pria tua kesepian melakukan perjalanan ke Teheran untuk mencari teman lama yang hilang. Saat sendirian di kota, ia berteman dengan resepsionis hotel yang bermimpi untuk migrasi ke Mars dan dengan seorang gadis hilang arah yang melarikan diri dari sebuah klinik. Merasa sama-sama eksentrik, ketiganya memulai sebuah petualangan di ibukota padat penduduk, mencari belahan jiwa sang lelaki tua. A lonesome old man heads off to Tehran in search of a long lost friend. Alone in the city, he befriends a hotel receptionist who dreams of immigrating to Mars and an aimless girl who has escaped from a clinic. United by eccentricity, the three start an adventurous journey in the overpopulated capital looking for the old man’s soul mate. Director Lahir di Shiraz tahun 1980, Behtash Sanaeeha menyelesaikan pendidikan di teknik sipil. Lalu, ia meninggalkan program master arsitekturnya dan mulai menulis naskah serta menyutradarai film pendek, dokumenter, dan iklan. Tahun 2015, ia menyutradarai film panjang pertamanya, Risk of Acid Rain, yang membawanya tampil dengan banyak pencapaian dalam festival film dan menjadi titik tolak yang kentara dalam perpindahannya ke ranah pembuatan film panjang. Born in Shiraz in 1980, Behtash Sanaeeha graduated in civil engineering and later left his master program in architecture and started to write scripts and direct short films, documentaries, and commercials. In 2015 he directed his first feature film, Risk of Acid Rain, which granted him a series of accomplished festival appearances as well as a strong shift to feature filmmaking. Contact: Mohammad Atebbai [email protected]


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Special Program FOCUS ON DJENAR MAESA AYU

Djenar Maesa Ayu Melawan Djenar Maesa Ayu Strikes Back Ismail Basbeth

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Seberapa banyak pembuat film perempuan di Indonesia? Seberapa banyak peran kunci yang mereka pegang sebagai tim utama baik sebagai sutradara, produser, penulis, penata kamera, penata gambar, dan/atau yang lainnya? Iya, akan terkejut kita menyadari begitu sedikitnya perempuan yang berkarya dalam dunia film Indonesia. Tak heran, di dunia film internasional sendiri pun kondisinya tak jauh beda, seolah dunia film hanya dimiliki oleh para laki-laki. Jika tak percaya, coba Anda cek dalam ingatan sendiri, berapa banyak perempuan keluar sebagai nama sutradara favorit? Ah, tentu saja, bisa jadi banyak, namun tentu Anda tahu yang saya maksudkan.

How many female filmmakers are there in Indonesia? To what extent do they hold the key roles within the A-team, as a director, producer, writer, camera person, director of photography, and/or other positions? Yes, we will be surprised as realizing that there is only a small number of female doing their works in Indonesian cinema. While not surprisingly, the same thing goes in the international world of cinema; it seems to suggest that cinema only belongs to male. Should you not believe, try to recall how many females have won the accomplishment as favorite director? There are, of course, many, but I am sure that you all know what I mean.

Djenar Maesa Ayu menjadi istimewa tidak hanya karena ia seorang perempuan. Ia begitu kuat dan berkarakter, terbuka dan merdeka; dan yang terutama ia amat berani untuk ‘telanjang’ dan membuka dirinya di hadapan publik melalui karya-karyanya. Tidak, tidak, yang saya maksudkan bukan bugil. Yang saya maksudkan adalah ia begitu berani membuka dirinya lebar-lebar, mengeksplorasinya begitu dalam, hingga kita hampir selalu yakin, tokohtokoh dan kisah-kisah yang ia ceritakan melalui karya tulis cerpen, novel, maupun film selalu bersumber pada hidupnya sendiri, pada pribadinya, pada pengalamannya yang beragam dan berkelok, terutama pada ketidakadilan yang ia dan orang-orang di sekelilingnya alami. Paling tidak itu kesan dan pemahaman yang saya dapatkan dari menikmati karya-karyanya dan sedikit dari perkenalan dengannya secara pribadi.

Djenar Maesa Ayu becomes special not merely due to her being a female. She is so strong and distinct, open and independent; and the most prominent thing is that she dares to be ‘naked’ and open herself publicly through her works. No, I am not addressing the state of being nude. I want to say that she is gallant to open herself as wide as possible, to explore it that far, that we almost always feel certain that her characters and narratives being told through her short stories, novels, and films are the fruits of her very own life, personality, and of her experiences that vary and wind, particularly around the injustices she and the people surrounding her encounter. Those are, at the very least, the impression and comprehension I acquired by enjoying her works and by slightly knowing her in person. This year, we are fortunate to have the chance jaff-filmfest.org


Tahun ini kami begitu beruntung mendapat kesempatan untuk memutar keempat film yang telah ia buat dalam program Fokus. Djenar memulai kariernya sebagai produser, penulis, dan sutradara dalam film Mereka Bilang, Saya Monyet, yang merupakan adaptasi dari cerita pendek miliknya yang berjudul sama. Sedang film kedua dan ketiganya, meski berjudul sama dengan cerita-cerita pendek yang pernah ia tuliskan, SAIA dan NAY, bukanlah sebuah karya adaptasi, melainkan lebih seperti sebuah autobiografi dari pengalaman hidupnya sendiri yang kemudian difilmkan. Sementara film keempatnya, hUSh, tidak berdasarkan cerpen dan merupakan karya mockumentary yang disutradarai bersama Kan Lume, sutradara independen dari Singapura. Menarik sekali, bukan? Iya, ia mengadopsi dan mengadaptasi cerita dari hidupnya menjadi karya tulis dan juga karya film. Kedua medium ini begitu berbeda ritual dan perlakuannya, begitu berbeda cara distribusi dan pola konsumsinya; namun Djenar mampu membuat karyanya selalu didengar, dengan tentu saja selalu beranggaran rendah dan merdeka. Mereka Bilang, Saya Monyet (2008), bercerita tentang penulis yang mengalami pelecehan seksual di masa kecilnya, telah diapresiasi berbagai festival film internasional, di antaranya Singapore International Film Festival, Tallinn Black Nights Film Festival, dan Asian Hot Shot Film Festival. Meski tidak sukses secara komersial di Indonesia, film ini memenangkan penghargaan Penulis Adaptasi Terbaik, Pemeran Utama Wanita Terbaik, dan Pemeran Pembantu Wanita Terbaik di Festival Film Indonesia 2009. SAIA (2009) diangkat dari kumpulan cerpen berjudul sama, bercerita tentang pengalaman seksual yang begitu personal dan berani. Penonton dihadapkan pada satu peristiwa panjang dan tak mampu berbuat apa pun selain berhenti dan menatap, bahkan ketika sang tokoh perempuan mengalami kekerasan seksual. NAY (2015) bercerita tentang seorang wanita yang panik dan marah ketika menyadari dirinya hamil dan pasangannya tak mau bertanggung jawab. Sepanjang perjalanan di dalam mobil ia berdialog dengan dirinya sendiri karena orang-orang di luar hidupnya tak mampu membantunya sedikit pun. Saat dirilis di bioskop layar utama Indonesia selama beberapa hari, film ini sempat mengguncang jagat film Indonesia, karena dengan sadar ia ‘mencuri’ cara yang pernah dipakai film lain untuk menceritakan ceritanya sendiri. Film NAY memenangkan penghargaan NETPAC Award


to screen the four films she made within the Focus program. Djenar initiated her career as the producer, writer, and director of the film Mereka Bilang, Saya Monyet, an adaptation of her short stories entitled the same. While her second and third films, despite being titled with the same titles of her short stories, SAIA and NAY, are not adaptations, but likely resemble an autobiography of her own life being filmed. The fourth film, hUSh, is not based on any short stories and is a mockumentary work directed in collaboration with Kan Lume, an independent director from Singapore. It is fascinating, isn’t it? Yes, she adopted and adapted the stories of her life into writings and films. These two media are completely different in terms of rites and treatments, in terms of distribution and consumption pattern; nevertheless, with low-budget and independent manners, Djenar is capable of making her works prominent and heard. Mereka Bilang, Saya Monyet (2008), telling a story of a writer encountering sexual harassment in her childhood, has been appreciated in many international film festivals, namely Singapore International Film Festival, Tallinn Black Nights Film Festival, and Asian Hot Shot Film Festival. Despite being not quite successful commercially in Indonesia, the film won Penulis Adaptasi Terbaik (Best Adaptation Writer), Pemeran Utama Wanita Terbaik (Best Actress), and Pemeran Pembantu Wanita Terbaik (Best Female Supporting Actor) in Festival Film Indonesia 2009. SAIA (2009) is the screened version of an anthology of short stories under the same title, narrating a very personal and audacious sexual adventure. Spectators are confronted with a long event and could do nothing but stop and stare at it, even when a female character encounters sexual violence. NAY (2015) portrays a woman who gets panic and upset after figuring out that she is pregnant while her partner does not want to be responsible for it. Along her journey in a car, she has a conversation with herself since no one else can help her. At its release time in Indonesian primary cinema screens for several days, the film shook Indonesian cinema; the reason is that she consciously ‘stole’ a style that has been utilized in another film to narrate her own story. NAY achieved NETPAC Award in our festival last year. hUSh is her first collaboration project with another director; it will premiere and compete in our program for the first time this year. A film with documentary style, it is wildly telling a story of a woman from Bali trying her fortune to be a singer in Jakarta.

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di festival kami pada tahun 2015 lalu. hUSh adalah film kolaborasi pertamanya dengan sutradara lain, diputar perdana sekaligus masuk dalam program kompetisi kami tahun ini. Film dengan gaya dokumenter ini begitu liar dalam menceritakan seorang perempuan dari Bali yang mengadu nasib di Jakarta sebagai penyanyi. Film ini seperti sedang menggugat stigma dan kultur kemasyarakatan Indonesia pada umumnya yang masih begitu merendahkan posisi perempuan. Yang selalu membuat saya takjub, meski bergerak secara mandiri dan hampir selalu didukung oleh dana pribadi ataupun dana patungan, Djenar selalu berhasil membuat orang lain ‘mendengar’ suaranya, suka maupun tidak. Tujuannya pasti, secara politis ia memberi ruang dan tempat yang pantas dan semestinya untuk suara-suara perempuan yang tertindas dan tersingkirkan di dalam karya-karyanya.

The film is likely challenging Indonesian common society’s stigma and culture that still position female at a lower level. What constantly amazes me is that even though she moves independently and is mostly self- or crowd-funded, Djenar always manages to make other people ‘listen to’ her voice, notwithstanding they like it or not. Her goal is certain, politically she is creating a worthy space for the voices of oppressed and marginalized women within her works. Referring back to the questions I posed in the beginning, how many women resembling Djenar Maesa Ayu are there?

Merujuk kembali pertanyaan-pertanyaan di atas, jadi ada berapa banyak perempuan seperti Djenar Maesa Ayu?

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Director Ibu dari Banyu Bening dan Bidari Maharani, serta nenek dari Embun Kinnara ini lahir di Jakarta 14 Januari 1973. Ia menerbitkan enam kumpulan cerpen berjudul Mereka Bilang, Saya Monyet!, Jangan Main-Main (Dengan Kelaminmu), Cerita Pendek tentang Cerita Cinta Pendek, 1 Perempuan 14 Laki-laki, T(w)ITIT!, SAIA dan sebuah novel berjudul Nayla. Cerpennya yang berjudul Menyusu Ayah menjadi cerpen terbaik Jurnal Perempuan 2003, sementara Waktu Nayla meraih penghargaan Cerpen Terbaik Kompas di tahun yang sama. Djenar juga menyutradarai Mereka Bilang, Saya Monyet! (2008) dan SAIA (2009). Ia mendapat Piala Citra dari kategori Skenario Adaptasi Terbaik bersama Indra Herlambang dan Sutradara Baru Terbaik pada Festival Film Indonesia 2009. Sementara film SAIA tidak didistribusikan di Indonesia. Nay, film ketiganya, memenangkan NETPAC Award di JAFF 2015. The mother of Banyu Bening and Bidari Maharani and the grandmother of Embun Kinnara, was born in Jakarta on 14 January 1973. She has published six anthologies of short stories entitled Mereka Bilang, Saya Monyet!, Jangan Main-Main (Dengan Kelaminmu), Cerita Pendek tentang Cerita Cinta Pendek, 1 Perempuan 14 Laki-laki, T(w)ITIT!, SAIA and a novel entitled Nayla. Her short story, Menyusu Ayah became the best short story in Jurnal Perempuan 2003, while Waktu Nayla won an award of Cerpen Terbaik Kompas (Kompas Best Short Story) in the same year. Djenar also directed Mereka Bilang, Saya Monyet! (2008) and SAIA (2009). She won Piala Citra for Skenario Adaptasi Terbaik (Best Adaptation Scenario) with Indra Herlambang and for Sutradara Baru Terbaik (Best New Director) at Festival Film Indonesia (Indonesian Film Festival) 2009. SAIA is not distributed in Indonesia. Nay, her third film, won NETPAC Award in JAFF 2015. Contact: Djenar Maesa Ayu [email protected]


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Fiction

Mereka Bilang, Saya Monyet! Berkisah tentang Adjeng, seorang penulis cerita anak muda yang terjebak dalam kehidupan sehari-hari. Di depan ibunya, Adjeng bersifat sangat pasif dan penurut. Namun jika bersama temantemannya, Adjeng berubah menjadi wanita yang agresif dan suka bertindak tanpa berpikir panjang.

Djenar Maesa Ayu/90 minutes/2008/ Indonesia

TBY | TUE 29 NOV | 12.30 – 14.30

Setelah Adjeng berhenti menjadi penulis, Ia bersenang-senang dengan teman-temannya tiap malam di diskotik. Namun, bayangbayang masa lalu selalu menghantuinya -pelecehan seksual oleh ayahnya saat Ia remaja. Adjeng juga dihantui kenangan buruk dengan ibunya yang terlampau protektif, yang akan menjadi sangat marah jika Adjeng tidak mau makan makanan yang dibeli ibunya. Ibunya bahkan pernah menyuruh Adjeng memakan makanan yang dimuntahkan. Adjeng is a writer of youth stories who stuck with her daily life. With her mother, Adjeng appears passive and submissive, while with her friends, she appears into an aggressive yet impulsive woman. Having quitted as a writer, Adjeng spends every night having fun at the discotheque. However, her past haunts her every single time -a sexual abuse from her father when she was a teenager. Also, a horrible past with her overprotective mother who will get mad if Adjeng refuses to eat the food bought by her. Her mother even asks Adjeng to eat spewed-up meals.

Fiction

SAIA SAIA adalah seorang perempuan yang menyimpan trauma akibat pengalaman batin dan fisik yang tidak menyenangkan. Setiap hari Saia, perempuan berusia 35 tahun, mengintip tindak kekerasan seksual seorang laki-laki terhadap perempuan yang terjadi di seberang kamarnya lewat jendela dan merekamnya dengan kamera video. Setiap perkembangan situasi yang disaksikan telah mempengaruhi sisi psikologis maupun fisiknya. Sampai suatu hari ia menyaksikan aksi pembunuhan, dan setelahnya tidak lagi terdapat aktivitas di kamar seberang. Setelah beberapa saat menunggu, Saia menghampiri kamar tersebut. Namun ternyata kamar itu kosong, tidak ada seorang pun yang menempati kamar tersebut. Jenazah korban pembunuhan pun tidak ditemukan. Djenar Maesa Ayu/80 minutes/2009/ Indonesia

TBY | WED 30 NOV | 12.30 – 14.30

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SAIA is a 35-year-old woman who has the trauma of an unpleasant mental and physical experience. Saia pries through the window on a sexual assault of a man against a woman that occurs across her room and records it with a video camera. Any progress that she witnessed every day, affects her psychologically and physically. Until one day she witnesses a murder, and there is no activity after. She waits for a while and goes inside the room. But there is no one, even the murdered body.

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Fiction

NAY Nay, seorang aktris, mendapati janin dikandungannya telah berumur sebelas minggu. Nay pun mengutarakan hal ini kepada pacarnya Ben, yang ternyata lebih mementingkan ibunya ketimbang janin mereka. Suasana menjadi semakin sulit ketika Nay mendapat kabar bahwa Ia mendapatkan peran utama di sebuah produksi film berskala internasional.

Djenar Maesa Ayu/80 minutes/2015/ Indonesia

TBY | THU 01 DEC | 12.30 – 14.30

Nay menceritakan masalahnya kepada Adjeng, manajernya, yang tidak setuju jika Nay menyia-nyiakan kesempatan berharga demi janinnya. Dalam sebuah perjalanan di dalam mobil, Nay menghadapi berbagai fakta dan karakter asli dari Ben, Adjeng, Mami Ben dan Pram. Nay pun kembali berhadapan dengan sejarah kelamnya: figur Ayah yang tak pernah dikenalnya dan Ibu yang pernah mengecewakannya. Nay is an actress who finds her pregnancy is eleven weeks old already. Nay speaks about her pregnancy to her boyfriend, Ben, who puts his mother as the priority before the baby. Things get more complicated when Nay is selected as the main actress in an international film production. Adjeng, her manager, disagrees if Nay throws this opportunity for the baby. During the trip in a car, Nay deals with new facts and true characteristics of Ben, Adjeng, Mami Ben and Pram. Again, Nay confronts her dreary past: a figure of a father whom she never recognized and a mother who used to disappoint her.

Fiction

hUSh hUsh bercerita tentang seorang calon penyanyi dari Bali yang merantau ke Jakarta demi menggapai kesuksesan. Selama perantauannya di Jakarta, Ia menemui berbagai halangan, termasuk dari kekasihnya yang sangat ambisius dan tidak tulus mencintainya. Ia juga menemui perubahan dalam dirinya yang menjadi semakin materialistis dan kehilangan makna persahabatan yang tulus. hUsh tells a story of an aspiring singer from Bali who decided to move to Jakarta to be successful. During her time at Jakarta, she encounters many problems, including her boyfriend who is very ambitious and insincerely loving her. She also finds herself becoming a materialistic woman and having lost the meaning of a sincere friendship. Djenar Maesa Ayu & Kan Lume/70 minutes/2016/Indonesia



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Special Program SHORT 2016 FROM CULTURE OFFICE OF YOGYAKARTA

Pengantar: DIY Short 2016 Introduction: DIY Short 2016 Suluh Pamuji Programmer

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Program ini disajikan lewat pemutaran enam film pendek yang produksinya didanai oleh Seksi Perfilman Daerah Istimewa Yogyakarta (DIY). Tujuan dari program ini adalah menyampaikan pertanggungjawaban para pembuat film dan Pemerintah Daerah kepada publik DIY. Enam film pendek—tiga fiksi dan tiga dokumenter—yang diputar dalam program ini adalah film pendek yang telah dinyatakan lolos kurasi dan pitching pada April 2016 lalu.

This program is presented through the screening of six short films whose productions are funded by the Film Department of Daerah Istimewa Yogyakarta (DIY). This program serves as filmmakers and regional government’s responsibility to the public of DIY. The six short films—three fictions and three documentaries—screened in this programs are those managing to pass curating and pitching processes in April 2016.

JAFF mendukung dengan cara memberi ruang dan jembatan bagi enam film pendek dalam pemutaran perdananya. Happy Family, karya Eden Junjung, mengangkat dan menyambungkan isu pekerja, religi, dan desa-kota dalam satu jalinan narasi. Kleang Kabur Kanginan yang disutradarai Riyanto Tan menunjukkan perjuangan orangtua untuk mendapatkan secuil perhatian dari anak mereka yang merantau. Makbul Mubarak, sutradara yang aktif mengembangkan dan menjalankan Cinema Poetica, dalam film terbarunya Ruah mengangkat topik yang seperti tidak habis digali oleh film Indonesia: poligami. Kali ini isu poligami digambarkan dengan lucu dan mengejutkan.

JAFF gives its support by providing space and bridge for these six short films in their premiere. Happy Family, a film by Eden Junjung, promotes and connects issues related to the working class, religion, and rural-urban relation in one string of narration. Kleang Kabur Kanginan by Riyanto Tan depicts parents’ struggle in begging a small fraction of attention from their far away son. Makbul Mubarak, a director actively develops and run Cinema Poetica, presents his latest film, Ruah, that promotes one topic that never stops attracting Indonesian filmmakers: polygamy. This time polygamy is told in a funny and surprising way. Jamu: Saking Wingking Mengajeng by Nur Wucha Wulandari tells a story about a woman who is both a housewife and a person who jaff-filmfest.org


Jamu: Saking Wingking Mengajeng karya Nur Wucha Wulandari menceritakan kisah seorang ibu rumah tangga sekaligus orang yang memenuhi sebagian besar kebutuhan keluarganya dengan membuat dan berjualan jamu. Film ini sangat menarik karena mampu menghadirkan optimisme terhadap kemungkinan kita menggali, dan mencari pendapatan dari, produk yang sudah diwariskan kepada kita. Jogja Kembali, film terbaru dari Aan Ratmanto, mengangkat dan mencoba menunjukkan narasi non-arusutama atas hadirnya Jogja Kembali di Yogyakarta. Terakhir, film dokumenter dari Ninndi Raras Sosrokusuman, mengangkat isu kontemporer yang digelisahkan banyak orang Jogja saat ini: kampung-dalam-kota dengan interaksi khasnya berhadapan dengan modal besar dalam bentuk hotel yang mengintervensi kehidupan mereka. Bagi kami, sebuah film dibuat untuk bertemu dan dipertemukan dengan penontonnya. Program pemutaran ini sekaligus juga menjadi ruang untuk mencatat perkembangan film-film pendek DIY yang diproduksi dengan sistem kurasi dan pitching. Bagi kami, kualitas film yang diproduksi dengan dukungan pemerintah dan dana publik harus terus dijaga dan dipertanggungjawabkan pada publik itu sendiri.

fulfill most of her family’s needs by producing and selling jamu. The film is very interesting because of its capability in sparking optimism on the possibilities for us to explore and earn our living from a product that we have already inherited. Jogja Kembali, the latest work of Aan Ratmanto, promotes and tries to depict a non-mainstream narration on the event called Jogja Kembali that took place in Yogyakarta. Lastly, the latest documentary by Ninndi Raras Sosrokusuman, promotes a contemporary issue creating unrest among many Jogjanese now: village-within-a-city and its distinct intimacy standing before big capital manifested in hotels that intervene their life. For us, a film is made to experience an encounter with the audiences. This screening program also serves as a means to document the development of DIY’s short films produced under curating and pitching systems. For us, maintaining the quality of and being responsible for the films produced with governmental support and public funds are compulsory. After JAFF, we hope that the six short films can be appreciated by a wider public. Happy watching,

Pasca-JAFF, kami berharap enam film pendek tersebut juga mendapat apresiasi dari publik yang lebih luas.

Suluh Pamuji, Programmer

Selamat menonton, Suluh Pamuji, Programmer


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Fiction

TBY | FRI 02 DEC | 19.00 – 22.00

Happy Family Eden Junjung/24 minutes/2016/Indonesia Setelah berulang kali menelepon dan mencari kabar tanpa mendapatkan jawaban yang pasti, Ahmad (65), seorang penjaga masjid yang hidup sendiri di pinggiran kampung di Indramayu, Jawa Barat, memutuskan pergi ke Yogyakarta untuk mencari anak perempuannya, Kusuma (27), bermodalkan alamat yang didapat dari agen penyalur tenaga kerja yang telah mengirimkan anaknya 4 tahun lalu. After making phone calls for so many times and searching for words about his daughter without finding any exact answer, Ahmad (65), a mosque caretaker living alone in the countryside of Indramayu, West Java, decides to go to Yogyakarta to find his daughter, Kusuma (27), only with the address he gets from the worker placement agent which sent his daughter to work in Yogyakarta four years ago. Director Eden Junjung (l. 1990) belajar di Program Studi Televisi dan Film, Institut Seni Indonesia Yogyakarta. Ia memulai karier di industri film sebagai asisten sutradara untuk film-film panjang, seperti Another Trip to the Moon (sutradara: Ismail Basbeth) dan Aach… Aku Jatuh Cinta (sutradara: Garin Nugroho); ia juga telah bekerja sebagai editor untuk beberapa film pendek. Junjung adalah sutradara film dokumenter pendek Buruh Seni, yang terpilih dalam festival film dokumenter tertua di Indonesia, Festival Film Dokumenter, tahun 2012 dan memenangkan Piala Maya di tahun yang sama. Film fiksi pendeknya Bunga dan Tembok masuk sebagai nominasi film pendek terbaik di Botoga Short Film Festival, Kolombia, Amerika Selatan. Happy Family adalah film fiksi pendek kedua yang disutradarinya. Eden Junjung (b.1990) studied in Film and Television department in Indonesian Institute of the Arts (Institut Seni Indonesia) in Yogyakarta. He started his career in the film industry as an assistant director for features such as Another Trip to The Moon (director: Ismail Basbeth) and Aach… Aku Jatuh Cinta (director: Garin Nugroho.); he has also worked as an editor for many short films. He is the director of a short documentary entitled Buruh Seni , which was selected in the oldest documentary film festival in Indonesia, Festival Film Dokumenter, in 2012 and won Maya Awards (Piala Maya) in the same year. His first short fiction film Bunga dan Tembok (Flowers in the Walls) is nominated as the best short film in Botoga Short Film Festival in Columbia, South America. Happy Family is his second short fiction film. Contact: Ismail Basbeth | [email protected]

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TBY | FRI 02 DEC | 19.00 – 22.00

Documentary

Jamu: Saking Wingking Mèngajèng Nur Wucha Wulandari/21 minutes/2016/Indonesia Ibu Murjiati (46) memenuhi kebutuhan utama keluarganya dengan membuat dan berjualan jamu. Sebanyak 80% dari perempuan di Dusun Kiringan, Bantul, Yogyakarta mampu mengolah kebutuhan domestik rumah tangga dan mengorganisasi anggota kelompok masyarakat di lingkungannya untuk membuat dan berjualan jamu. Murjiati (46) supported her family by making and selling jamu (traditional medicinal beverage). As much as 80% of the women in Kiringan Hamlet, Bantul, Yogyakarta are capable of managing their domestic needs and organizing several groups of community members to make and sell jamu. Director Nur Wucha Wulandari lahir di Pangkep dan pada saat ini berdomisili di Balikpapan, Kalimantan Timur. Ia menyelesaikan pendidikan SD, SMP, dan SMA di beberapa kota di Kalimantan Timur dan melanjutkannya ke Institut Seni Indonesia, Yogyakarta. Beberapa karyanya seperti, Salah Apa (2010), Alter Ego (2012), dan Potret (2015) meraih beberapa penghargaan: nominasi film pendek Indonesia di Indonesian Film Festival Australia, Face of Indonesia di JAFF(2015), dan nominasi film pendek untuk Piala Maya (2015), serta XXI Short film Festival. Ia bekerja dalam produksi film komersial sebagai asisten sutradara, sutradara, dan penulis naskah. Ia mendirikan dan mengolah komunitas bernama Ruang Imajinasi Film yang fokus pada pembuatan video, film, dan lokakarya. Nur Wucha Wulandari was born in Pangkep, and is now living in Balikpapan, East Kalimantan. She finished her elementary, junior high, and senior high schools in several cities in East Kalimantan and proceeded to have higher education at the Indonesian Institute of the Arts, Yogyakarta. Some of her works, Salah Apa (2010), Alter Ego (2012), and Potret (2015), received some rewards: nominated for Indonesian short film in Indonesian Film Festival Australia, nominated for JAFF’s Face of Indonesia (2015), nominated for short film in Piala Maya, and XXI Short Film Festival. In the world of commercial film production, she works as assistant director, director, and script writer. She founded and manages a community named Ruang Imajinasi Film which is focusing in the making of video, film, and workshop. Contact Nastitya Whiwanda [email protected]


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Documentary

TBY | FRI 02 DEC | 19.00 – 22.00

Jogja Kembali Aan Ratmanto/24 minutes/2016/Indonesia Dari dua peristiwa besar yang terjadi pasca-Agresi Militer Belanda II: Serangan Umum 1 Maret 1949 dan Peristiwa Jogja Kembali. Peristiwa kedua tenggelam dalam bayang kejadian pertama. Akibatnya, peristiwa ini dituturkan dan diwariskan dalam keadaan yang tidak utuh. Selama ini narasi Jogja Kembali selalu berhenti pada tanggal 29 Juni 1949. Pada kenyataannya, Jogja Kembali hanyalah satu bagian dari penarikan tentara Kerajaan Belanda dari Daerah Istimewa Yogyakarta yang berlangsung sejak 24 hingga 30 Juni 1949 dan ditutup dengan Proklamasi 30 Juni 1949 oleh Sri Sultan Hamengkubuwono IX. Jogja Kembali adalah simbol pengalihan kekuasan dari Belanda ke Republik Indonesia. There are two major events occurring after Dutch Military Agression II: Serangan Umum 1 Maret 1949 and Jogja Kembali. Among those two, the latter is drowned in the shadow of the former. As a result, it is told and bequeathed not as a whole. Hitherto, the narration of Jogja Kembali always stops on 29 June 1949. In reality, Jogja Kembali is only an episode belonging to the withdrawal of the forces of the Kingdom of Netherlands from Yogyakarta Special Region lasted from 24 to 30 June 1949 and was concluded with 30 June 1949 Proclamation carried out by Sri Sultan Hamengku Buwono IX. Jogja Kembali is a symbol of power transfer from the Netherlands to the Republic of Indonesia. Director Aan Ratmanto adalah seorang mahasiswa pascasarjana yang belajar di Jurusan Sejarah di Universitas Gadjah Mada Yogyakarta. Selain Jogja Kembali yang ia sutradarai, ia juga berperan dalam pembuatan film dokumenter lain berjudul Jas Merah Sang Garuda. Pada film dokumenter tersebut ia menjadi ketua tim riset. Selain membuat film, ia juga menulis sejumlah buku. Buku-buku yang pernah ditulisnya antara lain adalah: Gelaran Almanak Seni Rupa Yogyakarta 1999-2000 (2009), Mengawal Transisi: Sri Sultan Hamengku Buwono IX dan Pemerintahan Transisi Republik Indonesia di Yogyakarta 1949 (2012), dan Pasukan Siliwangi: Loyalitas, Patriotisme, dan Heroisme (2012). Aan Ratmanto is a postgraduate student studying in the Department of History in Gadjah Mada University, Yogyakarta. Apart from Jogja Kembali that he directs, he also plays a role in the making of another documentary film entitled Jas Merah Sang Garuda. In that documentary, he becomes the head of the research team. In addition to making films, he also writes several books. Some of the books he has written are: Gelaran Almanak Seni Rupa Yogyakarta 1999-2000 (2009), Mengawal Transisi: Sri Sultan Hamengku Buwono IX dan Pemerintahan Transisi Republik Indonesia di Yogyakarta 1949 (2012), and Pasukan Siliwangi: Loyalitas, Patriotisme, dan Heroisme (2012). Contact Aan Ratmanto [email protected]

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Fiction

TBY | FRI 02 DEC | 19.00 – 22.00

Kleang Kabur Kanginan Riyanto Tan /22 minutes/2016/Indonesia Sepasang suami istri yang tinggal di pegunungan terpencil berusaha untuk mendapatkan kabar dari anaknya. Anak semata wayang yang dulu dengan susah payah mereka biayai sekolahnya hingga kini mendapat pekerjaan yang baik di perantauan. Namun kini anak itu semakin jarang memberi kabar. Menunggu telepon dari sang anak menjadi aktivitas keseharian mereka berdua. Mereka hanya ingin mendengar anak mereka menanyakan kabar mereka di desa atau sekadar basa-basi mengenang cerita masa lalu. Mereka hanya ingin mendengar kisah anak mereka yang sudah sukses di perantauan. Untuk mendengar sebuah kabar tersebut mereka melakukan berbagai upaya agar anaknya mudah menelepon. A couple of husband and wife living in a remote mountain struggle to contact their son. Their only child, whom they worked for so hard while he was studying and is now able to get a fine job in a place far away from home. But recently the child never sends them any word. Waiting for his phone calls has become their daily activity. Their only wish is to hear their son asking how they are doing in the village or have small talks about things happening in the past. They just want to hear their son’s success story at work. To hear some words from their son, they do everything they can to make him call . Director Riyanto Tan Ageraha lahir pada tanggal 13 Maret 1978 di Bantul, Yogyakarta. Kecintaannya pada dunia seni dimulai saat ia memilih untuk belajar teater di SMKI Negeri Yogyakarta dari tahun 1996-1999. Pada tahun 1997 ia mendapatkan penghargaan sebagai Aktor Pria Terbaik dalam Festival Teater SLTA se-DIY. Ia membuat film pertamanya yang berjudul Dua Puluh Empat Jam pada tahun 2001. Keinginan membuat film mendorongnya untuk mengumpulkan teman-teman sekampusnya dan membuat sebuah komunitas film bernama LookOut Community yang pada tahun 2007 berganti nama menjadi LookOut Pictures. Komunitas inilah yang menjadi tempatnya berproses di dunia film. Riyanto Tan Ageraha was born in 13 March 1978 in Bantul, Yogyakarta. His love to the world of art began when he chose to study theatre in SMKI Negeri Yogyakarta in 1996-1999. In 1997 he received an award as Aktor Pria Terbaik (Best Male Actor) in Festival Teater SLTA in Yogyakarta Special Region. He made his first movie entitled Dua Puluh Empat Jam in 2001. His desire in making film encouraged him to gather his friends in the university and establish a film community named LookOut Community, which changed its name into LookOut Pictures in 2007. This community becomes the home for his process in the world in film. Contact Riyanto Tan [email protected] JOGJA-NETPAC ASIAN FILM FESTIVAL

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Fiction

Ruah

TBY | THU 01 DEC | 19.00 – 21.00 TBY | FRI O2 DEC | 19.00 – 22.00

Makbul Mubarak/27 minutes/2016/Indonesia Halim Hardiyanto adalah seorang tokoh masyarakat yang rajin beribadah dan bersedekah. Ia yang sudah beristri bermaksud menikahi seorang wanita yang jauh lebih muda dari dirinya untuk tujuan ibadah. Akan tetapi istrinya tidak setuju dan menyumpahi Halim jika nekat menikah lagi. Kemalangan dan kejadian aneh berduyun-duyun datang setelah Halim menikahi Mega, wanita muda itu. Halim Hardiyanto is a public figure who loves worshipping God and giving charity. He is already married but wants to marry a young woman for the sake of worship. However, his wife disagrees and curses him if he recklessly marries that young woman. Misfortunes and weird things keep coming as he marries Mega, that young woman. Director Makbul Mubarak mengembangkan dan menjalankan Cinema Poetica. Dari 2009 sampai 2011, ia aktif sebagai pengurus literasi dan lokakarya di bioskop komunitas Kinoki. Ia adalah alumni Kajian Film dan Media di Korea National University of Arts, juga peserta Berlinale Talent Campus untuk kritik film pada tahun 2012. Makbul Mubarak developed and preserved Cinema Poetica. From 2009 till 2011, he was active as an organizer for literacy and workshop in a community cinema, Kinoki. He is an alumnus of Film and Media Studies in Korea National University of Arts, and was also a participant in Berlinale Talent Campus for film critic in 2012. Contact Makbul Mubarak [email protected]

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Documentary

TBY | FRI 02 DEC | 19.00 – 22.00

Sosrokusuman Ninndi Raras/25 minutes/2016/Indonesia Film ini menceritakan Kampung Sosrokusuman, yang saat ini tinggal separuh. Hal ini disebabkan oleh setengahnya lagi telah dimiliki oleh pengusaha untuk perluasan hotel dan pusat perbelanjaan. Saat ini, Sosrokusuman tidak memiliki ruang publik untuk melakukan kegiatan bersama, karena lapangan tenis yang biasa digunakan untuk olahraga dan interaksi warga tak lagi ada. Bahkan warga tidak bisa saling bertemu karena terbatasi oleh seng. Mbah Ledjar dan warga Sosrokusuman lainnya menuntut dikembalikannya akses jalan dan fasilitas publik di Sosrokusuman. This film tells about Kampung Sosrokusuman, whose ownership is now split into two; due to the hotel and supermarket expansion, one area is occupied by entrepreneurs, while the rest belongs to the society. Today, Sosrokusuman does not have any public space; the tennis court, the place for the community to interact and do sport, is now gone. Mbah Ledjar and other Sosrokusuman people demand to get back the street access and public facilities in their neighborhood. Director Seorang penulis perempuan yang tinggal di Yogyakarta, Indonesia. Alumnus Fakultas Ilmu Sosial dan Politik Universitas Atmajaya Yogyakarta. Peduli pada persoalan identitas dan kehidupan anak-anak muda. Di usianya yang telah menginjak 27, Ninndi telah membuat empat film: Rahasia (2011), Gula-Gula Usia/Sweet Seventy (2014), Kitorang Basudara (2015), dan Sosrokusuman (documentary, 2016). A young female writer who was born in Yogyakarta, Indonesia. An alumna of the Faculty of Social and Political Sciences, Atma Jaya University, Yogyakarta. Has a great concern on the issues of identity and the lives of young people. Today at the age of 27, she has made four films: Rahasia (2011), Gula-Gula Usia/Sweet Seventy (2014), Kitorang Basudara (2015), and Sosrokusuman (documentary, 2016). Contact: Ganesya [email protected]


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Public Lecture

Catatan Public Lecture Public Lecture Note

Dalam rapat terakhir tahun lalu, diputuskan tema JAFF tahun ini adalah Islandscape. Tema ini dipilih untuk merespon regionalisme Asia yang meluas hingga ke Pasifik. Pada saat yang sama Netpac diikuti oleh JAFF juga mencoba berusaha melibatkan Pasifik untuk membangun afiliasi dengan film Asia.

In the final meeting last year, it was decided that the theme for this year’s JAFF’s would be Islandscape. The theme was chosen to response Asia’s regionalism which is spreading to the Pacific. At the same time, Netpac, followed by JAFF, is also trying to invite the Pacific into an affiliation with Asian cinema.

Jika ditanya apa yang menyatukan Asia dan Pasifik? Jawabannya hanya satu: Laut. Budaya maritim membalut dua wilayah beda kultur itu dalam benang merah yang menarik untuk ditelaah. Maka, dipilih tema Oceanic Culture in Asian and Pacific Cinema sebagai salah satu tema Public Lecture. Dari satu topik itu kami mencoba memperluas konektivitas Asia Pasifik melalui Asia Pacific Film Market.

If we are to be asked: what unites Asia and Pacific? There is only one answer: the ocean. Maritime culture ties these two culturally different regions with a red string intriguing so many. Thus, Oceanic Culture in Asian and Pacific Cinema is chosen as one of the themes in Public Lecture. From this single topic, we try to expand Asia Pacific connectivity through Asia Pacific Film Market. Different from the previous years, this time we would like to try our best in summoning Pacific film experts so that they can convey relevant insights to the public. Though being not really far from each other, Pacific’s culture, including its movies, barely gets any attention from the public in Asia. JAFF attempts to open up a space that can bridge these neighboring regions.

Berbeda dari tahun-tahun sebelumnya, kali ini kami berupaya menghadirkan ahli film Pasifik untuk memberikan wawasan pada publik soal Pasifik. Meskipun dekat, budaya termasuk film dari wilayah Pasifik nyaris tidak pernah mendapatkan perhatian dari publik Asia. JAFF mencoba membuka ruang pertautan antara Asia dan Pasifik. Di sisi lain, JAFF selalu ingin memperbincangkan isu-isu dalam negeri yang juga menjadi diskusi di Asia. Tahun ini, kami menilai setidaknya ada 3 isu penting di perfilman yaitu: arsip, pendidikan dan kolaborasi film dengan seni lain. Maka

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On the other hand, JAFF constantly yearns to discuss domestic issues circulating in Asia. This year there are at least three issues we deem significant: archiving, film education, and collaboration with other forms of art.

jaff-filmfest.org

Public Lecture

dicanangkan 3 seminar dengan tema: Problems and Prospects of Film Archive in Asia, Film Education dan Beyond Cinema. Dalam ketiga diskusi tersebut, secara berurutan, kami ingin melibatkan para kolega kami di Asia yaitu Singapura, Korea dan Jepang.

Therefore, we plan to hold 3 seminars raising these themes: Problems and Prospects of Film Archive in Asia, Film Education dan Beyond Cinema. Within these three dialogues, we want to, in a sequential manner, engage our colleagues in three Asian coutries: Singapore, Korea, and Japan.

Menginjak dekade kedua, JAFF ingin merefleksikan dirinya sekaligus menemukan peta jalan baru, maka digelar seminar dengan tema Festival Film: Kebijakan, Manajemen dan Kepenontonan. Kami ingin melibatkan pemangku kepentingan festival yang lebih luas, tidak terbatas pada komunitas dan industri film, tetapi juga pemerintah dan khalayak.

Stepping into its second decade, JAFF wants to both reflect itself and find a new roadmap. To be able to do that, a seminar themed Festival Film: Kebijakan, Manajemen dan Kepenontonan (Film Festival: Policy, Management and Audience) will be held. We desire to involve more film festival stakeholders by meeting those beyond film communities and industry, the government and the general public.

Masih soal festival, agar penyelenggara festival dapat bertemu para pembuat film, maka diselenggarakan lokakarya Festival Curating and Programming. Melalui lokakarya ini para penyelenggara festival di tanah air dapat belajar memilih dan merancang program pemutaran. Di sisi lain, para pembuat film dapat memahami logika para programer festival kelas dunia. Mengikuti tradisi JAFF, tahun ini pun kami meluncurkan buku film. Laut Bercermin (The Mirror Never Lies) Sebuah Catatan dan Tafsir Film dipilih karena buku ini menawarkan gaya dan cara baru penulisan film Indonesia. Belakang layar film The Mirror Never Lies (Laut Bercermin) diceritakan oleh sutradara melalui catatan produksi dan distribusi. Melampui layar, para peneliti mencoba menuliskan wacana film tersebut dari berbagai sudut pandang: anak dan perempuan, laut, lokalitas, hingga simbol filmis. Ada 6 seminar, 1 peluncuran buku, dan 1 lokakarya yang dipersembahkan untuk publik JAFF. Selamat berenang dari Asia ke Pasifik sambil menikmati keindahan labirin Asia dan Indonesia!


To make it possible for the festival committee to meet the filmmakers, we will hold a Festival Curating and Programming workshop. Through this workshop, festival committees in this country can learn how to pick and choose and design screening programs. Aside from that, they can comprehend the logic employed by world class festival programmers. Preserving JAFF’s tradition, this year we will also launch a book on film. Laut Bercermin (The Mirror Never Lies) Sebuah Catatan dan Tafsir Film is chosen because it offers new style and method for writing Indonesian film. Things happening behind the scene of The Mirror Never Lies (Laut Bercermin) is told by the director through production and distribution notes. Going beyond the screen, the researchers try to write the discourses presented by the film using various perspectives: from children and women, the sea, locality, to filmic symbol. There will be 6 seminars, 1 book launching, and 1 workshop presented to the public of JAFF. Enjoy the swim from Asia to the Pacific while indulging in the beauty of the Asian and Indonesian labyrinth!

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Public Lecture SCHEDULE

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Public Lecture SPEAKER PROFILES

Garin Nugroho

Setelah selesai menempuh pendidikan sekolah menengah di Semarang, Garin Nugroho merantau ke Jakarta untuk belajar film di Fakultas Sinematografi, Institut Kesenian Jakarta (selesai pada tahun 1985). Pria kelahiran Yogyakarta ini merasa tidak cukup hanya belajar film. Garin juga mengikuti pendidikan di Fakultas Hukum Universitas Indonesia (selesai tahun 1991). Garin memulai karier sebagai sutradara lewat produksi film dokumenter. Namanya mulai dikenal setelah produksi film panjang pertamanya, Cinta dalam Sepotong Roti (1990). Film tersebut langsung mendapat penghargaan Film Terbaik di Festival Film Indonesia 1991. Film keduanya, Surat untuk Bidadari (1992), membawa Garin ke dunia panggung film internasional. Sejak itu, namanya melejit dan merambah ke berbagai festival film internasional. Pada Perayaan 250 tahun Mozart (2006), Garin terpilih menjadi salah satu dari enam ‘innovative directors’ dunia untuk membuat film, yang kemudian melahirkan Opera Jawa. Di akhir tahun 2006, Garin ikut mendirikan Jogja-NETPAC Asian Film Festival. After finishing high school in Semarang, Garin Nugroho went to Jakarta to learn about movie in the Faculty of Cinematography in Jakarta Arts Institute (graduated in 1985). Eager to learn more, Garin, who was born in Yogyakarta, studied in the Faculty of Law in the University of Indonesia (graduated in 1991). Garin started his directing career through documentary productions. People began to know his name after his first feature, Cinta Dalam Sepotong Roti (1990). The film instantly earned the title of Film Terbaik (Best Movie) in Festival Film Indonesia 1991. His second film, Surat untuk Bidadari (1992), brought him to the international stage. Starting from that moment, he gained an incredible fame paving his way to various international film festivals. In the sestercentennial celebration of Mozart (2006), he earned a place among the world’s six ‘innovative directors’ to make movies, an opportunity that gave birth to Opera Jawa. In the end of 2006, Garin co-founded Jogja-NETPAC Asian Film Festival.

Ian Conrich

Ian Conrich adalah Anggota Kehormatan di University of Vienna. Sebelumnya ia adalah Guru Besar Madya di University of South Australia, Dosen Budaya Film dan Visual di University of Derby, serta direktur pendiri Centre for New Zealand Studies (Pusat Studi Selandia Baru) di Birkbeck, University of London. Pada tahun 2005, ia adalah Dosen Tamu MacGeorge di University of Melbourne, dan tahun 2005-2006 merupakan Dosen Tamu di University of Oxford di Institut Antropologi Sosial dan Budaya. Ia menjabat sebagai ketua New Zealand Studies Association sejak tahun 1997 dan anggota pelaksana di Pacific History Association. Ia juga menjadi kepala penyunting Journal of New Zealand and Pacific Studies, penyunting penasihat untuk Film and Philosophy, dan anggota dewan Journal of British Cinema and Television, Interactive Media, Notes of the Anthropological Society Vienna, dan Studies in Australasian Cinema. Dia telah menjadi penyunting tamu di Harvard Review, Post Script, Asian Cinema, dan Studies in Travel Writing. Sejumlah buku yang telah ia tulis meliputi Studies in New Zealand Cinema (2009), Easter Island, Myths, and Popular Culture (2011), serta berkontribusi dalam The Cinema of Sri Lanka: South Asian Film in Texts and Contexts (2017) dan Gothic Dissections in Film and Literature: The Body in Parts (2017). Ian juga menulis dan menyunting, atau menjadi anggota tim penyunting, lebih dari 13 buku, termasuk New Zealand Filmmakers (2007), Contemporary New Zealand Cinema (2008), The Cinema of New Zealand (di Polandia, 2009), dan Rapa Nui - Easter Island: JOGJA-NETPAC ASIAN FILM FESTIVAL

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Cultural and Historical Perspectives (2016). Dia telah berkontribusi dalam lebih dari 50 buku dan jurnal. Karyanya telah diterjemahkan ke dalam bahasa Perancis, Jerman, Denmark, Norwegia, Polandia, Hungaria, dan Ibrani. Ian Conrich is an Honorary Fellow at the University of Vienna. Previously he was an Associate Professor at the University of South Australia, Professor of Film and Visual Culture at the University of Derby, and the founding Director of the Centre for New Zealand Studies, Birkbeck, University of London. He was the 2005 MacGeorge Visiting Scholar at the University of Melbourne, and in 2005-2006 was a Visiting Scholar at the University of Oxford, in the Institute of Social and Cultural Anthropology. Chair of the New Zealand Studies Association since 1997 and member of the Executive for the Pacific History Association, he is the Principal Editor of the Journal of New Zealand and Pacific Studies, Associate Editor of Film and Philosophy, and a board member of the Journal of British Cinema and Television, Interactive Media, Notes of the Anthropological Society Vienna, and Studies in Australasian Cinema. He has been a Guest Editor of the Harvard Review, Post Script, Asian Cinema, and Studies in Travel Writing. He authored Studies in New Zealand Cinema (2009), Easter Island, Myths, and Popular Culture (2011), and co-author of The Cinema of Sri Lanka: South Asian Film in Texts and Contexts (2017) and Gothic Dissections in Film and Literature: The Body in Parts (2017). He is an author, editor or co-editor of a further thirteen books, including New Zealand Filmmakers (2007), Contemporary New Zealand Cinema (2008), The Cinema of New Zealand (in Polish, 2009), and Rapa Nui - Easter Island: Cultural and Historical Perspectives (2016). He has contributed to more than 50 books and journals; and his works have been translated into French, German, Danish, Norwegian, Polish, Hungarian, and Hebrew.

Kamila Andini

Kamila Andini lahir di Jakarta, 6 Mei 1986. Dia belajar Sosiologi dan Seni Media di Deakin University, Melbourne, Australia. Minatnya pada budaya, pemberdayaan perempuan, dan masalah lingkungan mengantarkannya pada film. Pada tahun 2011, ia merilis film debutnya The Mirror Never Lies, yang menangkap kehidupan pengembara laut di Indonesia. Film ini telah berkeliling ke lebih dari 30 festival film termasuk Busan, Edinburgh, Seattle, dan Berlinale International Film Festival, serta mendapatkan lebih dari 15 penghargaan. Kedua film pendeknya, Following Diana dan Memoria, menceritakan isu-isu perempuan, baik di daerah perkotaan Jakarta dan juga di daerah pascakonflik, Timor Leste. Saat ini, ia sedang mengerjakan tahap pascaproduksi untuk film panjang keduanya, The Seen and Unseen, yang terpilih pada program residensi Cinefondation dari Festival Film Cannes. Kamila Andini was born in Jakarta, 6 May 1986. She studied Sociology and Media Arts in Deakin University, Melbourne, Australia. Her concerns on culture, woman empowerment, and environmental issue lead her passion to tell stories with the medium of film. In 2011, she released her debut feature film The Mirror Never Lies, which portraits the life of sea wanderer in Indonesian ocean. The film has traveled through more than 30 film festivals including Busan, Edinburgh, Seattle, and Berlinale International Film Festival, and achieved more than 15 awards around the festival circuits. Her two short films, Following Diana and Memoria, potrait woman issues both in the urban area of Jakarta and in post-conflict area of Timor Leste. She is currently in the post-production stage for her second feature film The Seen and Unseen, which was selected at the Cinefondation Residence program from Cannes Film Festival.

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Budi Irawanto

Budi Irawanto adalah seorang Dosen Senior di Jurusan Ilmu Komunikasi, Fakultas Ilmu Sosial dan Politik, Universitas Gadjah Mada. Ia menyelesaikan penelitiannya tentang politik budaya perfilman kontemporer di Indonesia dan Malaysia, untuk program PhD-nya di Jurusan Kajian Asia Tenggara di National University of Singapore pada tahun 2015. Ia menulis dua buku tentang perfilman Indonesia dan menyumbangkan artikel untuk jurnal Asian Cinema dan untuk satu edisi Asian Documentary Today (2012) yang telah disunting dan diterbitkan oleh Asian Network Documentary (AND) dan Busan International Film Festival. Sejak tahun 2006, ia menjabat sebagai direktur Jogja-NETPAC Asian Film Festival (JAFF), sebuah festival film Asia terdepan di Indonesia. Ia juga menjabat sebagai presiden juri NETPAC di Berlin International Film Festival dan Cinemalaya (Filipina Festival Film Independen), presiden juri di Festival Film Dokumenter (FFD) Yogyakarta, anggota juri di ChopShot Southeast Asia Documentary Film Festival, dan DMZ Documentary Film Festival (Korea). Budi Irawanto is a Senior Lecturer at the Department of Communication Studies, Faculty of Social and Political Sciences, Gadjah Mada University. He completed his research on cultural politics of contemporary Indonesian and Malaysian cinema for his PhD program in the Department of Southeast Asian Studies at the National University of Singapore in 2015. He wrote two books on Indonesian cinema and contributed articles to the Asian Cinema journal and an edited volume of Asian Documentary Today (2012) published by Asian Network Documentary (AND) and Busan International Film Festival. Since 2006, he has served as the director of Jogja-NETPAC Asian Film Festival (JAFF), a premier Asian film festival in Indonesia. He also served as NETPAC jury president at the Berlin International Film Festival and Cinemalaya (Philippines Independent Film Festival), president jury at the Yogyakarta Documentary Film Festival (FFD), jury member at the ChopShot Southeast Asia Documentary Film Festival and the DMZ Documentary Film Festival (Korea).

Endah Wahyu Sulistianti Lahir di Klampok, 27 Desember 1973. Alumnus Arsitektur ITB (1992 - 1997) ini dikenal di berbagai bidang industri media, di antaranya: jurnalisme, film dokumenter, broadcasting dan media production. Setelah mengambil gelar Master of Fine Arts di the New York Film Academy (LA Universal Studios Campus) dengan beasiswa Fullbright, ia tercatat pernah menjadi jurnalis dan produser berita di berbagai media, seperti Tempo, RCTI, BBC Radio and Website, Voice of America, Eagle Institute Metro TV; ia tercatat sebagai pengajar di SAE Institute. Ia pernah memenangkan Piala Citra, Festival Film Indonesia, untuk kategori Best Short Documentary, The Last Journey. Born in Klampok, 27 December 1973. An alumna of Architectures from Institute Teknologi Bandung (1992-1997), Endah is known for her works in media industry, such as journalism, documentary, broadcasting and media production. Having taken her Master of Fine Arts from the New York Film Academy (LA Universal Studios Campus) with the help from Fullbright scholarship, Endah has worked as a journalist and producer in various media, some of which are Tempo, RCTI, BBC Radio and Website, Voice of America, Eagle Institute Metro TV; she also works as a lecture in SAE Institute. Endah’s The Last Journey once won Piala Citra from Festival Film Indonesia as Best Short Documentary. JOGJA-NETPAC ASIAN FILM FESTIVAL

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Budi Wibowo

Budi Wibowo lahir di Salatiga, 27 Januari 1961. Gelar pendidikan terakhir yang diraihnya adalah Magister Manajemen. Saat ini, ia tinggal bersama keluarga di Dusun VIII Ngestiharjo, Kasihan, Bantul, Daerah Istimewa Yogyakarta. Dalam perjalanan kariernya sebagai pegawai negeri, Budi Wibowo pernah menduduki beberapa jabatan yang berbeda, mulai dari Auditor pada Inspektorat Daerah Kabupaten Kulon Progo (1985-2000), Kepala Bagian Hukum Sekretariat Daerah Kabupaten Kulon Progo (2000-2001), Kepala Inspektorat Daerah Kabupaten Kulon Progo (2001-2005), Kepala Badan pengelola Keuangan Daerah Kabupaten Kulon Progo (2005-2008), Kepala Bappeda Kabupaten Kulon Progo (2008-2010), dan Sekretaris Daerah Kabupaten Kulon Progo (2010-2013). Dari tahun 2013 hingga sekarang, Budi Wibowo menjabat sebagai Kepala Badan Perpustakaan dan Arsip Daerah DIY. Budi Wibowo was born in Salatiga, 27 January 1961. He got his master degree in Management. Currently, he lives with his family in Dusun VIII Ngestiharjo, Kasihan, Bantul, Yogyakarta Special Region. In the course of his career as a civil servant, Budi Wibowo has held several different positions, from the Auditor at Regional Inspectorate of Kulon Progo District (1985-2000), Head of Legal Section of Kulon Progo Regional Secretariat (2000-2001), Head of Kulon Progo Regional Inspectorate (2001-2005), Head of the Regional Office for Management of Finance in Kulon Progo District (2005-2008), Head of Bappeda (Development and Planning Agency) of Kulon Progo District (2008-2010), and the Regional Secretary of Kulon Progo District (2010-2013). From 2013 until now, Budi Wibowo has served as the Head of Badan Perpustakaan dan Arsip Daerah DIY (Yogyakarta’s Library and Archives).

Tee Pao Chew

Tee Pao Chew adalah pengarsip di Asian Film Archive (AFA). Ia bekerja bersama Direktur Eksekutif-nya dalam menyusun strategi program pelestarian dan perluasan jangkauan arsip, sembari mengampanyekan upaya advokasi dan pelestarian oleh AFA. Ia telah menyampaikan presentasi mengenai advokasi pelestarian film. Ia juga merupakan salah satu penulis pada bab Independent Digital Filmmaking and its Impact yang berbicara tentang pengarsipan film di Singapura untuk sebuah buku yang akan terbit berjudul Singapore Cinema: Negotiating Conformities and Erasures. Tee Pao Chew is an archivist of the Asian Film Archive (AFA). He works with the Executive Director in strategizing the archive’s key preservation and outreach programs, while promoting AFA’s advocacy and preservation efforts. He has delivered presentations on the advocacy of film preservation. He is also a coauthor of a chapter of Independent Digital Filmmaking and its Impact on film archiving in Singapore for a forthcoming book Singapore Cinema: Negotiating Conformities and Erasures.

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Dyna Herlina Suwarto, M.Sc

Dyna Herlina S., M.Sc adalah dosen Jurusan Komunikasi di Universitas Negeri Yogyakarta, Indonesia. Dia menyelesaikan dua program sarjana di Jurusan Manajemen Universitas Negeri Yogyakarta (2004) dan di Jurusan Komunikasi di Universitas Gadjah Mada (2005). Dia lulus dengan predikat cum laude untuk kedua program tersebut. Setelah itu, ia mendapatkan gelar master di Magister Manajemen, Universitas Gadjah Mada, Indonesia pada tahun 2012, juga dengan predikat summa cum laude (IPK 4,00). Minat penelitiannya adalah yang berkaitan dengan media dan penonton (film, iklan, dan televisi). Ia telah menerbitkan beberapa penelitiannya, kebanyakan pada konferensi internasional. Kompilasi karyanya dapat diunduh di http://staff.uny.ac.id/dosen/dyna-herlina-suwarto-msc. Dyna Herlina S., M.Sc is a lecturer of Communication Department at Yogyakarta State University, Indonesia. She completed two undergraduate programs from Management Department in Yogyakarta State University (2004) and Communication Department in Gadjah Mada University (2005). She graduated cum laude for both programs. Afterwards, she received her Master Degree at Magister of Management Program in Gadjah Mada University, Indonesia in 2012, also summa cum laude (GPA 4.00). Her research interests are related to media and audience (film, advertisement, and television). She had published some of her researches mostly at international conference. The compilation of her work can be downloaded from http://staff.uny.ac.id/dosen/dyna-herlina-suwarto-msc.

Imam Karyadi Aryanto

Pria kelahiran Magelang, 22 April, ini menyelesaikan pendidikannya di Program Magister Administrasi Publik, Universitas Gadjah Mada, pada tahun 2015. Saat ini, Imam bekerja sebagai Perencana Fungsional pada Badan Perencanaan Pembangunan Daerah, Daerah Istimewa Yogyakarta. Ia tertarik pada film sejak berkuliah di jurusan Ilmu Komunikasi, UGM, yang diselesaikannya pada tahun 2006. Sejauh ini, Imam telah menerbitkan tiga buku: Yesus di Hollywood (2009), Menatap Masa Depan ASN (2014, sebuah karya berkelompok), dan Festival Film di Daerah Istimewa Yogyakarta (2015). Buku yang disebutkan terakhir berangkat dari naskah penelitian tesisnya dan mendapatkan nominasi Apresiasi Film Indonesia (2015) untuk Kategori Kajian Film. Born in Magelang, on 22 April, he completed his master in Public Administration Master Program in Gadjah Mada University (UGM) in 2015. Currently, Imam works as Functional Planner in Badan Perencanaan Pembangunan Daerah (Yogyakarta Regional Development Planning Agency). His interest in film has arisen since he took his undergraduate degree in Communication Studies, UGM, in 2006. Imam has published three books hitherto: Yesus di Hollywood (2009), Menatap Masa Depan ASN (2014, a collaborative group), and Festival Film di Daerah Istimewa Yogyakarta (2015). The latest work departs from his thesis master and earned a nomination in Apresiasi Film Indonesia (2015) for the category of Film Studies.


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Maman Wijaya

Maman Wijaya lahir di Sumedang, 6 Juli 1966. Saat ini tinggal di Bandung. Sempat menduduki jabatan di berbagai lembaga, kini Maman Wijaya merupakan Kepala Pusat Pengembangan Perfilman, Kementerian Pendidikan dan Kebudayaan. Maman terlibat dalam banyak pelatihan dan juga telah menerbitkan banyak buku dan makalah. Maman Wijaya was born in Sumedang, on 6 July 1966. Currently, he resides in Bandung. Being used to occupy several positions in some institutions, Maman Wijaya is now the Head of Pusat Pengembangan Perfilman (Center of Film Development) of the Ministry of Education and Culture. Maman has been involved in numerous trainings and published a great number of books and papers.

Eijun Sugihara

Lahir pada tahun 1982. Eijun belajar di jurusan seni di Tokyo University of the Arts dan melanjutkan ke jurusan Produksi Film di universitas yang sama. Sejak saat itu, ia mulai terlibat dalam produksi film. Dia mulai bekerja di Auditorium Shibuya, sebuah teater independen di Tokyo, pada 2011 (ditutup pada tahun 2014). Ia memperbarui pengetahuannya akan pentingnya bioskop bagi film, serta keberagaman para penonton yang mengantre yang akan membuat teater itu terasa lebih hidup. Beberapa film yang ia pilih untuk ditayangkan adalah Saudade (Katsuya Tomita, 2011), Playback (Sho Miyake, 2012), The Vortex of Love (Hitoshi Ohne, 2013), The Sex Cannon Ball Run (Company Matsuo, 2013), The Movie (2014), dll. Sejak bergabung dengan YCAM (Yamaguchi Center for Arts dan Media) pada tahun 2014, Eijun bertanggung jawab atas program pemutaran film seperti YCAM Cinema dan YCAM Bakuon Film Festival, serta program pembuatan program YCAM Film Factory. Born in 1982. Eijun majored in art at Tokyo University of the Arts and later went on to pursue studying film at the Department of Film Production. He began to get involved in coordinating film production ever since. He began to work at a new independent theater, Auditorium Shibuya, in 2011 (closed in 2014). He renewed his recognition of the importance of cinemas to films, as well as of the diversity of the people in the lineup that would bring more liveliness to the theater. Among the movies he selected are Katsuya Tomita’s Saudade (2011), Sho Miyake’s Playback (2012), Hitoshi Ohne’s The Vortex of Love (2013), Company Matsuo’s The Sex Cannon Ball Run (2013), The Movie (2014), etc. Since he joined YCAM (Yamaguchi Center for Arts and Media) in 2014, Eijun has been responsible for organizing film screening programs such as YCAM Cinema and YCAM Bakuon Film Festival, as well as for film making programs YCAM Film Factory.

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Maria Tri Sulistyani (Ria)

Maria Tri Sulistyani, lahir pada tahun 1981, dikenal sebagai Ria Papermoon karena perjalanan eksperimental-tak-henti-nya dengan Papermoon Puppet Theatre, sebuah kelompok yang berbasis di Yogyakarta-Indonesia yang didirikan tahun 2006. Setelah lulus dari Ilmu Komunikasi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Gadjah Mada, Ria dan suaminya (Iwan Effendi l.1979, perupa) telah menjalankan kelompok ini selama 10 tahun dan menampilkan pertunjukan untuk penonton dari berbagai kalangan usia, dari anak-anak hingga orang tua. Semua ide pertunjukannya selalu datang dari cerita orang-orang sekitar. Alasannya untuk menghidupkan boneka-bonekanya adalah agar dekat di hati tiap penonton. Selama 10 tahun terakhir, Papermoon Puppet Theatre telah menjadi dapur eksperimen bagi keenam anggotanya yang memiliki beragam latar belakang. Papermoon telah membawa Ria bertemu dengan banyak orang di berbagai kota dan negara seperti New York, Rhode Island, Philadelphia, Washington DC, Iowa, Easton, Baltimore (Amerika Serikat); Amsterdam (Belanda); Yokohama dan Kochi (Jepang); India; Korea Selatan; Malaysia; Singapura; Adelaide, Melbourne, Darwin (Australia); London (Inggris); Cardiff (Wales); Edinburgh dan Glasgow (Skotlandia); Berlin (Jerman); Myanmar; dan Thailand. Sejak beberapa tahun lalu, Papermoon telah melibatkan film dalam perjalanan eksperimentalnya. Mulai dari membuat video kolaborasi dengan MOCCA tahun 2008, membuat film gerak-henti (stop-motion) menggunakan boneka mereka “Pohon Kecil” tahun 2009, membuat dan menggunakan video sebagai bagian dari pertunjukan langung mereka—Mwathirika (2010) dan Laki Laki Laut (2013), hingga membuat sebuah film eksperimental bersama Edwin dan Tanakhir Films (2014), dan yang terakhir, memuat adegan pentas boneka mereka di film AADC #2, semuanya itu telah membawa Papermoon pada perjalanan eksperimen film lainnya. Maria Tri Sulistyani, born in 1981, is well-known as Ria Papermoon due to her neverending experimental journey with Yogyakarta-Indonesia based Papermoon Puppet Theatre she founded in 2006. Graduated from Communication Studies, Faculty of Social and Political Science, Gadjah Mada University, Ria and her husband (Iwan Effendi b. 1979, a visual artist) have been co-directing the company for these past 10 years and performing for a wide-range age of audiences, from children to elderly. All her ideas for the performances always come from people’s stories. Being close to the audiences’ hearts is her reason to make her puppets alive. Papermoon Puppet Theatre has been an experimenting kitchen of 6 members with different backgrounds for 10 years. The company has taken her to meet many people in different cities and countries such as New York City, Rhode Island, Philadelphia, Washington DC, Iowa, Easton, Baltimore (USA); Amsterdam (the Netherland); Yokohama and Kochi ( Japan); India; South Korea; Malaysia; Singapore; Adelaide, Melbourne , Darwin (Australia); London (England); Cardiff (Wales); Edinburgh and Glasgow (Scotland); Berlin (Germany); Myanmar; and Thailand. Film has been included in Papermoon’s experimental journey since few years back. From making a video in collaboration with MOCCA on 2008, making stop motion movie using their puppets “Pohon Kecil” in 2009, making and using video as part of their live performances—MWATHIRIKA (2010) and Laki Laki Laut (2013), to making an experimental movie with Edwin and Tanakhir Films (2014), and having their puppets scene on the blockbuster movie AADC #2, all have brought Papermoon to another journey of film experimentation. JOGJA-NETPAC ASIAN FILM FESTIVAL

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Yasuhiro Morinaga

Yasuhiro Morinaga adalah penata musik dan suara asal Jepang. Morinaga telah bekerja dalam beberapa proyek film, seni pertunjukan, dan instalasi di seluruh dunia. Karyanya sangat dipengaruhi oleh penelitian lapangan yang mendokumentasikan musik etnik, ritual perdukunan, dan komunikasi aura di Asia. Karya-karyanya yang eklektik telah ditampilkan dalam berbagai festival internasional dan tempat penting di seluruh dunia seperti Venice Biennale, Cannes Film Festival, Venice International Film Festival, Smithsonian Institution, dan masih banyak lagi. Yasuhiro Morinaga is a Japanese music director and sound designer. Morinaga has worked on multiple projects in film, performing arts, and installations around the world. His works are strongly based on the field research works documenting ethnic music, shamanistic rituals, and aural communication in Asia. Morinaga’s eclectic works have been presented in international festivals and venues around the world such as Venice Biennale, Cannes Film Festival, Venice International Film Festival, Smithsonian Institution, and many more.

Gerzon R. Ayawaila Lahir di Jakarta, 25 September 1957. Bekerja sebagai produser, sutradara, dan dosen untuk film dokumentar dan dokumenter televisi. Menempuh berbagai bidang dan strata pendidikan mulai dari D3 Akademi Sinematografi, belajar di Nederlandse Film Academie, belajar di Program Studi Antropologi Visual, Universiteit van Amsterdam, meraih gelar S1 Teori dan Estetika Film di Institut Kesenian Jakarta/Universitas Indonesia , mendapat gelar S2 Penciptaan Seni di ISI Surakarta, dan sedang menempuh pendidikan S3 di ISI Surakarta. Ia adalah dosen tetap di Fakultas Film dan Televisi, Institut Kesenian Jakarta, dari tahun 1996 hingga kini, mengajar mata kuliah Teori Film dan Produksi Dokumenter Televisi. Gerzon Ayawaila juga aktif menulis karya ilmiah dan mengisi berbagai seminar. Pada tahun 2016 ia menjadi produser, sutradara, dan penulis skenario sebuah dokumenter etnografis, Mertedung, dengan lokasi di Pakpak Bharat, Sumatra Utara, bersama dengan Departemen Sejarah & Kebudayaan Kemendikbud. Born in Jakarta, 25 September 1957. He is working as producer, director, and lecturer for film and television documentaries. He has been taking various studies: from diploma program in Akademi Sinematografi, studying in the Nederlandse Film Academie, taking Visual Anthropology study program in Universiteit van Amsterdam, earning his undergraduate degree in Film Theory and Aesthetics in Jakarta Arts Institute/University of Indonesia, earning his master degree in Art Creation in ISI Surakarta, and currently taking his doctoral degree in the same university. He has been a tenure lecturer at the Faculty of Film and Television in Jakarta Arts Institute since 1996, teaching Theory of Film and Television Documentary Production. Gerzon Ayawaila is also active in writing scientific papers and speaking in various seminars. In 2016, he became the producer, director, and screenwriter for an ethno-documentary, Mertedung, which takes place in Pakpak Bharat, North Sumatra, in collaboration with the Department of History and Culture, the Ministry of Education and Culture.

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Park Sungho

Lahir di Seoul, Korea Selatan, tahun 1977. Belajar pascaproduksi dan teori film di Jurusan Sinema, Universitas Chung-Ang. Bekerja di Busan International Film Festival selama satu dasawarsa untuk membantu mempromosikan sinema Asia. Dari tahun 2008 hingga 2013 bekerja di Asian Film Academy untuk menemukan talenta-talenta baru. Setelah melakukan perjalanan selama dua tahun ke 40 negara sebagai wisatawan beransel (backpacker), sejak 2014 menetap di Kamboja untuk membantu para pembuat film di sana. Born in Seoul, South Korea in 1977. Studied post-production and film theory at Cinema department at Chung-Ang University. Worked at Busan International Film Festival for a decade to help promoting Asian cinema. From 2008 to 2013, worked at Asian Film Academy to discover new talents. After traveling around 40 countries for two years as a backpacker, he has settled in Cambodia to support the filmmakers in the region since 2014. Selected Filmography: The Copy (1996), Cinematographer, 1996 Busan International Film Festival (Korea) In the Jungle (2000), Co-director, 2000 Brooklyn International Film Festival (USA) Over the Lezbow (2007), Actor, 2007 Women Make Waves Film Festival (Taiwan)

Tito Imanda

Tito Imanda adalah pembuat film, akademisi, dan antropolog. Tesisnya membahas tentang industri film di Indonesia. Ia menyelesaikan gelar masternya di jurusan Media, Budaya, dan Komunikasi, New York University pada tahun 2007. Setelah kembali ke Jakarta, ia aktif terlibat dalam kelompok kerja untuk perbaikan kondisi ekonomi politik film Indonesia. Dalam beberapa tahun terakhir dia lebih sering mengajar dan menjalankan pekerjaan manajerial sebagai ketua Sekolah Media dan Komunikasi di Binus International. Pada tahun 2010, ia telah membangun program studi Film yang merupakan sekolah film kedua di Indonesia yang menawarkan gelar sarjana. Saat ini dia melewatkan sebagian besar waktunya di Yogyakarta dan London. Ia sedang menyelesaikan program doktoral di Jurusan Media dan Komunikasi, Goldsmiths, University of London. Topik tesisnya adalah pembuatan film kolaborasi dengan sekelompok wayang orang dari Gunung Merapi. Tito Imanda is a filmmaker, scholar, and anthropologist. His master thesis is about the political economy of Indonesian film industry, at the Department of Media, Culture, and Communication, New York University in 2007. Coming back to Jakarta, he has been actively invovled in the working group dedicated to improve the political economy condition of Indonesian cinema. In several recent years, his activities include teaching and conducting managerial work as the chairman of School of Media and Communication in Binus International. He then founded the department of Film in 2010; which was the second film school in Indonesia offering bachelor degree. At the moment, he mostly stays in Yogyakarta and London. He is completing his doctoral program in the Department of Media and Communication, Goldsmiths, University of London. The topic of his thesis is collaborative filmmaking with a group of wayang orang (human puppetry) from Mount Merapi. JOGJA-NETPAC ASIAN FILM FESTIVAL

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Isabelle Glachant

Isabelle Glachant memulai kariernya sebagai jurnalis untuk stasiun TV Perancis, Canal +, dan mulai mengerjakan film Cina pada tahun 2004 sebagai Produser Eksekutif untuk Shanghai Dreams (Wang Xiaoshuai, 2005, Jury Price, Cannes). Sebagai Produser Pendamping untuk Lost in Beijing (LI Yu, 2007, Competition Berlinale), City of Life and Death (Lu Chuan, TIFF 2009), Produser untuk Love and Bruises (Lou Ye, TIFF 2011), Red Amnesia (Wang Xiaoshuai, 2014, Competition Venice), ia menjadi produser film seperti In Love We Trust (Wang Xiaoshuai, 2008, Silver Bear Best Script, Berlin), dan 11 Flowers (WANG Xiaoshuai, 2011, produksi kolaborasi Perancis-Tiongkok resmi pertama, TIFF 2011) Sebagai CEO untuk Chinese Shadows, perusahaan yang berfokus pada kolaborasi produksi antara Tiongkok dan Eropa, ia baru-baru ini memprakarsai sebuah perusahaan Penjualan Internasional, Asian Shadows, yang berfokus pada distribusi film-film Asia, mewakili film seperti Siti karya Eddie CAHYONO (Telluride, 2015), atau Paths of the Soul karya Zhang Yang (TIFF 2015). Ditunjuk sebagai Knight of the Art and Letters oleh Kementerian Budaya Perancis, Glachant juga menjadi perwakilan Cina dari Unifrance Films sejak tahun 2012. Isabelle Glachant started as journalist for French TV station Canal + and began working on Chinese films in 2004 as Executive Producer of Shanghai Dreams (Wang Xiaoshuai, 2005, Jury Price, Cannes). Associate Producer of Lost in Beijing (Li Yu, 2007, Competition Berlinale), City of Life and Death (Lu Chuan, TIFF 2009), Co-Producer of Love and Bruises (Lou Ye, TIFF 2011), Red Amnesia (Wang Xiaoshuai, 2014, Competition Venice), she produced films like In Love We Trust (Wang Xiaoshuai, 2008, Silver Bear Best Script, Berlin) and 11 Flowers (Wang Xiaoshuai, 2011, first official French-Chinese coproduction, TIFF 2011). CEO of CHINESE SHADOWS, a company that focuses on Coproduction between China and Europe. She recently started an International Sales company, ASIAN SHADOWS, that focuses on the distribution of Asian films, representing films like Siti by Eddie Cahyono (Telluride 2015), or Paths of the Soul by Zhang Yang (TIFF 2015). Made Knight of the Art and Letters by the French Ministry of Culture, Glachant is also, since 2012, UNIFRANCE FILMS’ Greater China representative.

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WORKSHOP

Curating and Programming

Gertjan Zuilhof Gertjan Zuilhof lahir di tahun 1955, saat musik rock and roll mulai melesat. Ia memulai karirnya dengan menggambar kartun untuk majalah SMA dan kemungkinan akan mengakhiri kariernya seperti itu juga. Ia bekerja sebagai sejarawan seni, kritikus film dan programer festival film. Untuk Rotterdam Festival, ia mengerjakan beberapa proyek di Asia dan Afrika, seperti Forget Africa. Selain membuat beberapa program film, ia juga mengembangkan pamerannya sendiri. Pameran terakhirnya adalah hasil kerja sama dengan seniman dan sutradara dari Burma/Myanmar. Hampir sepanjang hidupnya, Zuilhof bekerja untuk International Film Festival Rotterdam, tetapi saat ini ia juga menjadi programer dan kurator independen. Sebagai programer untuk Asia Tenggara, ia telah mengunjungi Indonesia beberapa kali dalam satu dasawarsa terakhir. Ia gemar membuat gambar-gambar yang aneh. Pada tahun 2012, Ia memamerkan beberapa gambarnya di Rumata Art Space, Makassar. Saat ini di Yogyakarta, ia tengah mempersiapkan pameran keduanya di Indonesia yang akan memamerkan gambar-gambarnya yang konyol. Gertjan Zuilhof was born 1955, the year when rock and roll music really took off. He started his career by drawing cartoons for high school magazine and maybe somehow he will end his career by drawing cartoons too. He worked as an art historian, film critic, and film festival programmer. For the Rotterdam Festival, he did several projects in Asia and Africa like Forget Africa. Apart from making film programs, he developed his own exhibition. His most recent one was with artists and filmmakers from Burma/Myanmar. Zuilhof worked for the International Film Festival Rotterdam for almost a lifetime, but is an independent programmer and curator at the moment. As a programmer for South East Asia he visited Indonesia many times in the last decade. He loves to make strange drawings. In 2012, he showed a number of them in Rumata Art Space, Makassar. He is now in Yogyakarta, preparing his second Indonesian exhibition that will show his silly drawings.


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Chinese Independent Films: Part of Curating & Programming Workshop by Gertjan Zuilhof Ketika seorang kepala desa di Shanxi terbunuh, salah satu warga dijadikan kambing hitam oleh polisi. Gambargambarnya mengenai penyiksaan dijadikan bahan tuduhan atas pembunuhan yang tidak ia lakukan dan mengantarnya mendekam di penjara selama lima tahun. Semua ini adalah bukti atas kebrutalan polisi di Shanxi. When a village mayor in the Shanxi province gets killed, one of the villagers is chosen by the police as a scapegoat. His drawings of the torture to which he was subjected to plead guilty to the murder he did not commit, yet for which he spent five years in prison, are a testament of police brutality in Shanxi.

Documentary

Man’s World Tao Han, Han Tao/70 minutes/2016/ China

Director Han Tao (1979) hidup dan bekerja sebagai seniman, sutradara, penerbit, dan kurator di Beijing. Karya-karyanya telah dipamerkan di seluruh dunia. Man’s World adalah film panjang keempatnya. Han Tao (1979) lives and works as an artist, director, publisher, and curator in Beijing. His works have been exhibited all over the world. Man’s World is his fourth fulllength film.

Tuturan memainkan peran penting dalam film dokumenter investigatif ini. Ketika layar masih hitam, kita mendengar sebuah percakapan antara petugas dan sineas yang ingin mengambil gambar tentang penyakit paru-paru di Sichuan. Rekaman suaranya membongkar strategi khas dari penyensoran, dari ramah tamah palsu hingga ancaman terbuka. The spoken word plays the main role in this investigative documentary. While the screen remains black, we listen to a conversation between officials and filmmakers who want to shoot a film about lung disease in Sichuan. The audio record exposes the typical strategy of censorship, progressing from false affability to the point of open threats.

Documentary

Welcome

Director Sutradara dan produser Zhu Rikun (1976) adalah salah satu tokoh penting dalam kancah film indie China. Film sebelumnya, seperti The Dossier (2014), fokus untuk mengkritik rezim China yang represif.

Rikun Zhu/ 63 minutes/2016/China Director and producer Zhu Rikun (1976) is one of the most important figures on the Chinese independent film scene. His previous films, such as The Dossier (2014), have focused on criticizing China’s repressive regime.

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FORUM KOMUNITAS

Meningkatkan Kualitas Komunitas Film di Era Kemajuan Teknologi Improving the Quality of Film Community in the Era of Technology A. Yani, Fauzi Rahmadani, Aulia Rizky, Said Nurhidayat

Kini pergerakan komunitas film terasa semakin kuat dan tak terpatahkan, bahkan menyusup hingga ke pelosok daerah di Indonesia. Apabila dicermati melalui berbagai media online ataupun media sosial, bisa dikatakan bahwa hampir selalu ada kegiatan pemutaran film dalam bentuk pemutaran reguler maupun festival film yang digelar di setiap bulan. Ditambah lagi, kegiatan tersebut digelar secara sukarela atau lewat penggalangan dana dengan satu tujuan sederhana, yaitu menyediakan tempat bagi para sineas untuk menunjukkan karyanya. Tak jarang, forum diskusi langsung dengan para penonton secara langsung juga dilakukan. Berawal dari mimpi dan dipacu dengan semangat berkarya, komunitas menjadi semakin produktif dalam memproduksi film dan membuka ruang pemutaran, walau terkadang hanya bermodal kenekatan yang ditopang oleh kemajuan teknologi semata. Namun, belum adanya pemetaan yang cukup valid untuk membaca fenomena muncul dan tenggelamnya komunitas film di Indonesia, segala potensi, persoalan yang dihadapi serta siasat-siasat untuk bertahan dan terus berkembang, mendorong kami untuk menghadirkan program diskusi khusus bertajuk Pemetaan Komunitas Film di Indonesia. Diskusi ini diisi oleh Cinema Poetica Research Center, sebuah lembaga kajian dan riset, dan diharapkan dapat menjadi udara segar untuk meninjau lebih lanjut peran komunitas film dalam dunia perfilman nasional. Di era Milenial, kemunculan media-media alternatif sebagai sarana penghubung antara JOGJA-NETPAC ASIAN FILM FESTIVAL

Nowadays, the movement of film community seems to be getting stronger and overwhelming. It even penetrates the remote areas of Indonesia. If observed through various online media or social media, one can almost say that there is always a screening held, both in the form of regular screening and film festival, every month. Moreover, those activities are held through voluntary efforts or fundraising with a simple purpose of providing room for filmmakers to present their films. Direct discussion fórum with the audience are often done as well. Started with a dream and encouraged by the spirit to create, communities become more productive in producing films or providing spaces for screening, though sometimes it is merely fueled by technology-powered recklessness. However, the absence of valid mapping that can be used in reading the ups and downs of Indonesian film communities, their potentials, the problems they face and the strategies to survive and continually develop encourage us to create a discussion program entitled Pemetaan Komunitas Film di Indonesia (Mapping Film Communities in Indonesia). The discussion will have Cinema Poetica Research Center, a research and study center, as its speaker. We hope that it can bring some fresh air and become a space to have a further observation on the role of film community within the world of national film. In the era of Millenials, the emergence of alternative media as a medium to connect businessman who needs idea or video content with community as the creative content provider

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pelaku bisnis yang memerlukan ide atau konten video dengan komunitas sebagai penyedia konten kreatif menjadi sorotan kami selanjutnya. Untuk membicarakan hal ini kami mengundang Yoodeo dan Layaria untuk memberikan tawaran baru bagi komunitas. Selain itu, menjamurnya layar alternatif sebagai ruang yang dibentangkan oleh komunitas film demi membangun ekosistem menonton film di daerah, membuat kami tergerak untuk menyuguhkan workshop Pengelolaan Komunitas Pemutaran dengan pembicara dari Kolektif yang bertujuan untuk memberikan pendidikan film non-formal bagi komunitas. Kami juga mendapatkan dukungan tambahan lewat kehadiran Kaninga Cinema yang akan mengajak komunitas film untuk membuat bioskop berkonsep mikrosinema atau bioskop mini dengan memanfaatkan ruang-ruang kosong di berbagai daerah seperti balai desa, gedung serbaguna hingga gedung olahraga dan mengubahnya menjadi tempat menonton film. Nantinya diharapkan bahwa permasalahan kekurangan ruang memutar dan ruang menonton dapat teratasi. Ketika ruang untuk memutar sudah diperbanyak, maka kualitas film pun juga harus ditingkatkan. Oleh karena itu, workshop Journey From Camera to Screen dari Focused Education kami berikan sebagai bentuk upaya menjaga dan meningkatkan kualitas film yang diproduksi. Tanpa menghilangkan agenda rutin dari forum komunitas, presentasi komunitas tahun ini akan dihadiri oleh 6 Komunitas dari 5 Pulau di Indonesia, yakni Beta Films Ambon, Komunitas Kedung Kebumen, Komunitas Photography Conceptual Cinematography Banjarmasin, Ambataro Production Kendari, Ruang Film Sukabumi, dan Tanah Indie Makassar.

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becomes our next concern. To discuss this, we invite Yoodeo and Layaria to give the communities some new offers. Furthermore, the increasing number of alternative screens as spaces offered by the film community in order to create regional film-watching ecosystem inspires us to hold a workshop entiled Pengelolaan Komunitas Pemutaran (Screening Community Management) from Kolektif which is aimed to provide non-formal film education for the community. We also receive additional support from Kaninga Cinema that will invite film communities to create movie theaters implementing the concept of micro-cinema or mini cinema by using various ‘vacant’ places such as village hall, multi-purpose buildings, and sport center and turning them into screening venues. It is hoped that the problem regarding the lack of screening and film-watching spaces can be solved. When the number of rooms for screening has been doubled, film quality should also be improved. Therefore, a workshop entitled Journey From Camera to Screen from Focused Education is given as an effort to preserve and improve the quality of the films produced. Without erasing community forum’s routine agenda, this year’s community presentation will be attended by 6 communities from 5 islands in Indonesia, namely Beta Films from Ambon, Komunitas Kedung from Kebumen, Komunitas Photography Conceptual Cinematography from Banjarmasin, Ambataro Production from Kendari, Ruang Film Sukabumi, and Tanah Indie from Makassar.

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FORUM KOMUNITAS Participants of Community Forum

1.

BETA FILMS

Beta Films merupakan komunitas yang didirikan pada akhir Desember 2014, atas inisiatif Piet Manuputty. Ia adalah salah seorang anak muda yang pada mulanya bergelut dalam salah satu komunitas teater Secangkir di Kota Ambon. Ia kemudian hijrah dan memilih film sebagai medium untuk berkreasi. Beta Films saat ini bergerak dalam produksi film pendek dan program pemutaran film. Beta Films is a film community which was established at the end of December 2014 and initiated by Piet Manuputty. He initially struggled in a theater community, Secangkir, located in Ambon City. He then moved out and chose film as a medium for creation. Beta Films is currently engaged in the production of short films and screening program.

2.

PCC BANJARMASIN

PCC Banjarmasin (Photography Conceptual Cinematography) berdiri sejak awal 2012. Komunitas ini awalnya fokus pada Photography Conceptual. Seiring berjalannya waktu, komunitas ini akhirnya memiliki 2 divisi yaitu divisi fotografi dan divisi film pendek. PCC Banjarmasin (Photography Conceptual Cinematography) was established at the beginning of 2012. This community was initially focused on Conceptual Photography. Over time, the community finally has two divisions, namely photography division and short film division.

3.

TANAH INDIE MAKASSAR

Tanah Indie merupakan lembaga nirlaba yang didirikan sejak 1999. Lembaga ini mengutamakan programnya pada kajian & diskusi/seminar, lokakarya, pameran, perisalahan dan penerbitan bertopik beragam ekspresi dan perkembangan masyarakat kota mutakhir. Kegiatan Tanah Indie lainnya adalah gerobak bioskop Dewi Bulan, yaitu sebuah program dengan konsep layar tancap yang diadakan setiap bulan. Selain itu program lainya adalah pameran serta kerja kolaborasi yang berkaitan seni dan wacana kebudayaan. Tanah Indie is a nonprofit organization, established in 1999. It conducts and holds studies and discussions/seminars, workshops, exhibitions, treaties and publication on various topics related to expressions and the development of the current urban communities. Tanah Indie also holds ‘cinema wagon’ called Dewi Bulan, a monthly open-air cinema program. Other programs are exhibition and other related collaborative work of art and cultural discourse.


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FORUM KOMUNITAS Participants of Community Forum

4.

AMBATARO PRODUCTION KENDARI

Ambataro Production adalah komunitas film Sulawesi Tenggara yang berdiri sejak 2009 yang saat ini berdomisili di Kota Kendari. Sebagai komunitas film, Ambataro Production berperan aktif dalam mengembangkan dan memajukan kegiatan perfilman di Sulawesi Tenggara. Established in 2009, Ambataro Production is a Southeast Sulawesi film community, currently residing in Kendari City. As a film community, Ambataro Production has actively participated in developing and promoting the films from Southeast Sulawesi. 5.

RUANG FILM SUKABUMI

Ruang Film Sukabumi merupakan penggiat film yang berbasis komunitas dan menjadi identitas perfilman Sukabumi, Jawa Barat. Komunitas ini bermarkas di Jl. Prana No.8A Cikole Sukabumi. Kegiatannya tidak jauh dari nonton film, diskusi film, memutarkan film untuk warga Sukabumi (layar tancleb). Para anggota pun memiliki kegiatan membuat film pendek bersama-sama. Komunitas ini diharapkan bisa menjadi wadah bagi anak muda Sukabumi. Didirikan pada 17 Agustus 2014 oleh Agus Permana, kegiatannya meliputi: Workshop Film, Produksi Film, Pemutaran Film, dan Perpustakaan Film. Ruang Film Sukabumi is a community-based film activist group and a representative of Sukabumi, West Java, cinema. This community is located in Jl. Prana No.8A Cikole Sukabumi. They hold film screening, film discussion, and open-air cinema for Sukabumi people. The members also actively produce short films together. This community is expected to be a forum for young people in Sukabumi. Founded on 17 August 2014 by Agus Permana, their activities include Film Workshop, Film Production, Film Screenings and Film Library.

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KOMUNITAS KEDUNG

Komunitas Kedung merupakan wadah untuk mengembangkan bakat dan minat terhadap film, video dan berbagai bentuk seni kontemporer dan seni media baru yang dijalankan secara gotong royong dan nirlaba. Komunitas Kedung is a place to develop talent and interest in film, video and other forms of contemporary art and new media art; it is non-profit and run in mutual cooperation manner.

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FORUM KOMUNITAS Workshop & Discussion

Discussion on Mapping Film Communities in Indonesia Tentang CPRC Didirikan pada tahun 2010, Cinema Poetica menaruh minat besar terhadap dunia perfilman di Indonesia. Ketertarikan tersebut kemudian diwujudkan dalam bentuk kegiatan jurnalistik dan mengkritik film. Cinema Poetica digerakkan oleh anak-anak muda yang turut berkegiatan sebagai kurator dan pengelola program festival film serta mitra komunitas film lainnya. Di tahun 2015, Cinema Poetica mendirikan lembaga kajian dan strategi media audiovisual yang tidak terbatas pada film layar lebar dan bioskop, namun juga mencakup teknologi, audiens dan pasar audiovisual di Indonesia. Cinema Poetica Research Center (CPRC) memprioritaskan diri dalam menghasilkan riset yang berkualitas, strategis dan independen untuk pelaku di industri media audiovisual secara khusus dan untuk publik umum. About CPRC Established in 2010, Cinema Poetica concerns on the world of film in Indonesia. This concern is then realized in the form of journalistic activities and film criticism. Cinema Poetica is actuated by young people who participate as curator and program manager of film festivals and other film communities. In 2015, Cinema Poetica established an institute on research and audiovisual media strategy, which is not limited to feature movies and theaters, but also includes technology, audience and audiovisual market in Indonesia. Cinema Poetica Research Center (CPRC) prioritizes itself in producing quality, strategic and independent research for the actors in the audiovisual media industry and for public.

Pemateri / Speakers Levriana Yustriani Levriana Yustriani sedang menempuh program master bidang Komunikasi Media Global di Universitas Melbourne, Australia. Setelah menamatkan S1 di Universitas Indonesia pada tahun 2012, Levriana bergabung sebagai peneliti di pusat kajian komunikasi UI dan sebagai jurnalis di Majalah Indonesia 2014—sebuah inisiatif publikasi terkait pendidikan politik semasa pemilu 2014. Berbagai penelitian yang dilakukan Levriana berkaitan erat dengan isu media, teknologi, anak muda, dan partisipasi politik. Di tahun 2014, Levriana bergabung dengan Saiful Mujani Research and Consulting sebagai peneliti di bidang media. Beberapa projek penelitian yang dilakukan antara lain: Monitoring and Evaluation konten stasiun televisi di indonesia, Sistem Siaran Jaringan dan industri perfilman nasional.


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Levriana Yustriani is taking master program in Global Media Communications, University of Melbourne, Australia. After completing her undergraduate at University of Indonesia in 2012, Levriana joined as a researcher at the center of communication studies, University of Indonesia, and as a journalist in Majalah Indonesia 2014—an publication initiative related to political education during the general election in 2014. Various studies conducted by Levriana are closely related to the issues of media, technology, youth and political participation. In 2014, Levriana joined Saiful Mujani Research and Consulting as a researcher in media section. She carried out several research projects, including: Monitoring and Evaluation of the content of television stations in Indonesia, Network Broadcast System, and the national film industry. Deden Ramadani Deden Ramadani adalah peneliti sosial dengan latar belakang pendidikan sosiologi di Universitas Indonesia. Deden senang terlibat pengerjaan penelitian dengan isu dan topik yang beragam. Selama masa studinya, Deden pernah terlibat dalam penelitian tentang aktivitas rumah tangga dan ketenagakerjaan di Papua Barat bersama dengan LabSosio Universitas Indonesia. Deden juga dipercaya menjadi Koordinator Riset untuk ECPAT Indonesia. Deden mengenal dunia film sejak SMA sebagai pembuat film pendek. Deden aktif sebagai pengurus filmindonesia.or.id., situs web yang menyajikan tentang perfilman indonesia. Salah satu tulisan Deden yang berjudul “Catatan Tengah Tahun Film Indonesia 2014” pernah mendapatkan penghargaan dari Festival Film Indonesia tahun 2014. Deden Ramadani is a social researcher with an educational background in sociology at the University of Indonesia (UI). Deden is keen to be involved in the researches on diverse issues and topics. During his study at UI, Deden was engaged in a research on household activities and employment in West Papua together with LabSosio, University of Indonesia. Deden is also trusted to be a Research Coordinator for ECPAT Indonesia. Deden gets into the world of film since high school as a short filmmaker. Deden is an active board in filmindonesia.or.id., a website that presents issues on the Indonesian cinema. An article by Deden entitled “Catatan Tengah Tahun Film Indonesia 2014” received an award from Festival Film Indonesia 2014.

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Lokakarya Pengelolaan Komunitas Pemutaran oleh Kolektif Workshop on Screening Community Management by Kolektif

Distribusi adalah jalur yang menghubungkan film dengan penonton. Distribusi juga membuka jalur bagi sineas untuk menghadirkan film, sekaligus memberikan kesempatan bagi penonton untuk mendapat pilihan tontonan. Tahap selanjutnya adalah upaya memunculkan ruang diskusi yang membuahkan wacana, dalam konteks sosial, lewat film. Untuk itu dibutuhkan jaringan eksibitor, salah satunya lewat komunitas film. Komunitas film berperan sentral dalam aktivitas pemutaran yang melibatkan diskusi dan partisipasi (elemen) lokal. Luasnya jangkauan dan minimnya aktivitas distribusi menuntut komunitas untuk bergerilya agar dapat bertahan untuk jangka waktu yang panjang. Bagaimana menyusun program dan mengadakan diskusi secara rutin? Bagaimana menjangkau sineas dan meyakinkan filmnya untuk diputar? Bagaimana cara menghidupi komunitas? Bagaimana komunitas pemutaran menyiasati modal untuk peralatan dan melakukan promosi? Bagaimana menangani keadaan saat sepi penonton? Kegiatan pemutaran tidak berhenti karena keterbatasan. Pengelolaan komunitas pemutaran bisa dipelajari, direncanakan dan disiasati. Kolektif merupakan distributor yang fokus pada kegiatan distribusi film dan juga pemutaran berbasis komunitas. Lewat lokakarya pengelolaan komunitas, diharapkan jaringan pemutaran semakin meluas, membuka potensi ruangruang diskusi, dan menjaga keberlangsungan kegiatan pemutaran film di komunitas.


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Distribution is the channel to bridge a film to audiences. It also opens a room for cineastes to present their films, as well as to provide audiences with access to film choices. Through this channel, it is also necessary to create a room for discussion which generates discourses, especially on social context. Film community, as a part of exhibitor network, is needed to do all those things. Film community plays central role in the activity of screening which involves discussion and participation from local elements. The wide area and the minimum activities of distribution require film communities to apply guerrilla strategy to survive in the long term. How to arrange programs and to hold routine discussion? How to reach cineastes and convince them to screen their films? How to financially preserve a film community? What strategies are needed to provide equipment and to do promotion? How to tackle a situation where a community has few audiences in its screening? Screening activities must not stop despite of limitations. The management of screening community could be learned, planned, and faced strategically. Kolektif is a distributor which focuses on the activity of film distribution and community-based screening. Through the workshop on community management, hopefully the screening network expands, potential discussion rooms open, and the continuity of screening activities in the community can be preserved. Pemateri / Speakers Gayatri Nadya Berawal dari menjadi relawan di beberapa festival film di Jakarta dan kemudian menimba ilmu di rumah produksi film. Aktif di media online film selama hampir empat tahun dan ikut dalam penyelenggaraan Jakarta International Film Festival. Kini bertanggung jawab di Kolektif sebagai manajer program. Used to be volunteers in film festivals in Jakarta and learned about films in production houses. Active in film online media for almost four years and participated in the organizing of Jakarta International Film Festival. Now, a program manager in Kolektif.

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Perjalanan dari Kamera ke Layar A Journey from Camera to Screen

Teman-teman di Yogyakarta telah memiliki pengalaman dan pengetahuan yang luar biasa mengenai pembuatan film. Pun demikian, wawasan mengenai tahap pasca-produksi tetap penting dan berguna agar kita bisa mendapatkan standar yang maksimal. Lokakarya ini merupakan kelanjutan dari lokakarya kami sebelumnya di Yogyakarta (Maret 2016) mengenai Digital Filmmaking. Namun, dalam lokakarya kali ini, materi yang disampaikan bersifat umum sehingga siapa pun yang berminat untuk ikut serta tidak akan mendapatkan kendala. Description: Our friends in Yogyakarta have extraordinary experience and knowledge on filmmaking. However, the insight on the post-production stages is important and useful to reach maximum standard result. This workshop is the continuation of the previous workshop in Yogyakarta (March 2016) on Digital Filmmaking. However, in this workshop, the materials are general so that everyone can participate without being afraid of daunting technical terms. Robin Moran adalah seorang sutradara Indonesia, yang juga memiliki pengalaman sebagai editor dan produser. Perusahaannya, FOCUSED equipment, bergerak dalam jasa penyewaan kamera dengan fokus pada penyediaan solusi alur kerja yang dapat disesuaikan dengan kebutuhan klien/ produksi. Kontak: twitter @iRobinMoran, robinmoran.com (portofolio), atau focusedequipment.com untuk keterangan lebih jauh mengenai penyewaan kamera. Robin Moran is a feature film director from Indonesia who occasionally produces and edits. He owns a camera rental company FOCUSED equipment centered in providing custom workflow solutions. You can contact him via twitter @iRobinMoran, see his works at robinmoran.com or check out his rental site at focusedequipment.com.


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FORUM KOMUNITAS Public Presentation

Yoodeo adalah sebuah online platform yang bekerja sebagai kurator yang menghubungkan pembuat film, penulis kreatif, dan kreator dengan brand untuk memproduksi branded video content yang ditayangkan di media digital. Yoodeo memiliki misi untuk memberikan kesempatan seluas-luasnya bagi pekerja kreatif di Indonesia untuk masuk dan berkarya di pasar media digital. Yoodeo is an online platform working as a curator that bridges filmmakers, creative writers, and creators with brands to produce branded video content which will be presented in digital media. Yoodeo’s vision is to give a vast opportunity for creative workers in Indonesia to enter and work in the market of digital media. Setelah berkarier sebagai Post Producer selama 15 tahun, Elvin telah mendapatkan pengalaman yang mendalam di industri film layar lebar di Indonesia. Dengan Lebih dari 100 film layar lebar yang sudah ditanganinya, Elvin Telah mendapatkan kepercayaan dari kalangan produser, studio film terkemuka, dan sutradara film ternama. Sebagai seseorang yang percaya akan pentingnya konten yang berkualitas, dan kualitas bercerita, Elvin bergabung dengan Yoodeo untuk membantu komunitas film Indonesia memasuki era digital yang lebih maju. VP Business Devolopment

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Having built a career as a Post Producer for 15 years, Elvin has a vast experience in the feature film industry in Indonesia. He has handled more than 100 feature films and gained trust from producer, leading film studios, and well-known directors. As someone who believes in the significance of quality content and quality story, Elvin joined Yoodeo to help Indonesian film communities enter a more advanced, digital era.

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Kaninga Cinema: A Rural Cinema Experience

Kaninga Cinema adalah bagian dari PT. Kaninga Sinema Indonesia, jaringan bioskop yang mengusung konsep mikrosinema, yaitu bioskop mini dengan kapasitas minimal 100 kursi, memanfaatkan ruangruang kosong di balai desa, gedung serbaguna, gedung olahraga dan bangunan-bangunan tak terpakai di kecamatan. Mikrosinema ini dikelola bersama dengan masyarakat lokal, baik pemerintah daerah ataupun swasta. Kehadiran Kaninga Sinema diharapkan memberi angin segar bagi perfilman Indonesia. Dengan jaringan yang menyebar di seluruh wilayah Indonesia, Kaningan Sinema merupakan pintu masuk untuk menggali potensi-potensi lokal yang akan menjadi sumber inovasi dan inspirasi untuk mengembangkan karya film yang berpijak pada nilai-nilai sosial dan budaya bangsa Indonesia. Kaninga Cinema is a part of PT. Kaninga Sinema Indonesia, a cinema network that brings the concept of microcinema, which is a mini cinema with the maximum capacity of 100 seats, utilizing some vacant spaces in the vilage hall, multipurpose building, and unused buildings around the subdistrict. The microcinema is managed under the collaboration of local communities, both regional government and private parties. The presence of Kaninga Sinema is expected to bring a promising chance for Indonesian cinema. With a network widely spread throughout Indonesia, Kaningan Sinema is an entrance gate to dig in local potentials that will be the source of innovation and inspiration to develop cinematic works standing on Indonesian social and cultural values.

Ahmad Mauladi (Microcinema Operational Development) Memiliki lebih dari sepuluh tahun pengalaman dalam desain grafis dan seni visual. Telah bekerja pada berbagai proyek, mulai dari konseptualisasi dan merancang bahan dan barang-barang promosi untuk berbagai media. Aktif dalam gerakan seni grafis untuk perubahan sosial di Indonesia. Ahli dalam desain logo, buku, majalah, poster, kaos, website dll. Dan sekarang lebih aktif di Kaninga Cinema sebagai Microcinema Operational Development. Having more than 10 years of experience in graphic design and visual art. Used to work in numerous projects, starting from conceptualizing and designing promotion materials and goods for various media. Being active in graphic art movement for social change in Indonesia. Being expert in designs for logo, book, magazine, poster, t-shirt, website, etc. Currently active in Kaninga Cinema as Microcinema Operational Development.


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Layaria merupakan official partner Youtube yang mendorong kreator untuk membangun karier melalui video online. Kami menyediakan studio, program konsultasi, dan mentoring untuk pembentukan karakter para kreator. Layaria juga membantu para kreator membentuk tim produksi yang solid, mulai dari produser, cameramen, penulis naskah , dan sebagainya. Tidak hanya itu, Layaria juga mendukung para kreator untuk mendapatkan kesepakatan sponsor dari berbagai brand atau off air events agar para kreator tetap eksis berkarya. Layaria is a Youtube official partner, which encourages creators to build a career through online video. We provide studio, consultancy program, and mentoring to help create characters for creators. Layaria also helps creators create a solid production team containing producer, script writer, etc. In addition, Layaria also supports creators to make sponsorship deals with various brands and off air events, so that they will be able to have continuous works.

Dennis Adishwara Wirausahawan, aktor, produser, dan sutradara muda. Pernah membintangi beberapa film populer, seperti AADC, Jomblo, dan Kwaliteit 2. Tahun 2012, ia mendirikan dan menjadi CEO Layaria Network. Aktif sebagai pembicara, juri festival film, dan dosen. Young Indonesian entrepreneur, actor, producer, and director. Starred several popular films such as AADC, Jomblo, and Kwaliteit 2. In 2012, he founded and became the CEO of Layaria Network. Active as public speaker, film festival jury, and Lecturer.

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Badan Ekonomi Kreatif adalah lembaga pemerintah nonkementerian yang berada di bawah dan bertanggung jawab langsung kepada Presiden melalui menteri yang membidangi urusan pemerintahan di bidang pariwisata. Bekraf merupakan badan yang pertama kali dibentuk oleh Presiden Joko Widodo melalui Peraturan Presiden no. 6 tahun 2015. Semula urusan ekonomi kreatif ditangani oleh Kementerian Pariwasata dan Ekonomi Kreatif yang dibentuk pada Kabinet Indonesia Bersatu II tahun 2011 sampai 2014. Saat ini Kepala Badan Ekonomi Kreatif dijabat oleh Triawan Munaf.. Creative Economy Agency is a non-ministerial government department positioned under and directly responsible to the President through the minister of government affair in the field of tourism. Badan Ekonomi Kreatif is established by President Joko Widodo through the Presidential Regulation no. 6 of 2015. Initially, all affairs related to creative economy are handled by the Ministry of Tourism and Creative Economy established during the term of the Second United Indonesia Cabinet (2011-2014). Presently, the Head of Creative Economy Agency is Triawan Munaf.


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FRINGE PROGRAM DANCE FILM PERFORMANCE & INSTALLATION

Dance Film Performance & Installation by Faozan Rizal, Yashuhiro Morinaga, & Tony Broer

Film tari adalah sebuah istilah yang sering dipakai untuk film yang menggunakan gerak tari sebagai tema atau benang merah dari narasi film. Di beberapa film tari, koreografi tercipta dari teknik sinematik seperti penyuntingan, sudut pengambilan kamera, dan pergerakan kamera. Teknik sinematik juga digunakan untuk membentuk plot cerita dan menciptakan emosi serta kedalaman konten film. Tentu saja perdebatan tentang film tari masih terus bergulir hingga sekarang karena adanya anggapan bahwa dokumentasi tari juga bisa disebut sebagai film tari. Istilah lainnya seperti dance for camera pun muncul. Jika sebuah karya tari panggung direkam menggunakan teknik sinematik seperti penyuntingan dan sebagainya sedemikian rupa sehingga menambahkan koreografi pada karya tersebut, maka film itu disebut dance for camera. Seperti film pada umumnya, film tari selalu dipresentasikan di ruang gelap atau bioskop dengan posisi penonton menghadap layar. Dalam karya saya kali ini, saya menggabungkan tiga hal: film tari, pertunjukan musik, dan seni instalasi. Seni instalasi adalah seni menata, menggabungkan, dan atau mengonstruksi sejumlah benda yang diharapkan bisa memberi konteks kesadaran makna tertentu. Biasanya makna sosial politik atau hal lain yang bersifat kontemporer menjadi

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Dance film is a term often used for films where dance is used as a theme or a read thread for the narration. In some dance films, choreography is created through cinematic techniques like editing as well as the plotting of camera angle and movement. Cinematic techniques are also used to shape the plot and create both emotion and depth of the content. The debate about dance film still continues until now because of an assumption that a documentary of dance can also be called a dance film. Thus, another term appears: dance for camera. If a staged dance work is recorded using cinematic techniques such as editing and so on, in a way that they add some choreography to the work, then it is called a dance for camera film. Like other films in general, dance film is always presented in a dark room or in movie theatre with the screen facing the audience. This time, I combine dance film, musical performance, and art installation. Art installation is an art of arranging, combining, and or constructing some objects that are expected to provide a specific context of meaning awareness. Usually, sociopolitical and other contemporary issues are alluded in the concept of installation artwork. It could be said that this is an experiment in the form of film screening. jaff-filmfest.org

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hal yang disinggung dalam konsep karya seni instalasi. Dapat dikatakan bahwa ini merupakan eksperimen dalam bentuk pemutaran film. Pada awal tahun 2000 saya pernah membuat trilogi film bisu. Saat itu, bagi saya gerak adalah perwujudan dari ekspresi. Dari Yasujiro Journey, Aries, a Poem for Katia hingga Fugu, a Sushi Tale, gerak merupakan elemen pembentuk narasi. Saya lebih tertarik memanfaatkan gerak daripada kata-kata verbal untuk menggambarkan suatu peristiwa. Gerak adalah bahasa tubuh. Gerak tubuh bagi saya sifatnya universal. Bahkan mungkin gerak merupakan bahasa pertama manusia, namun tentunya hal ini perlu ditelaah lebih jauh. Anastasis dan Cerita-Cerita Sebelumnya, Burung Kayu di Pohon Berbentuk Rumah dan On Genealogy of Silence adalah tiga film tari yang saya buat tanpa suara, mulai dari pengambilan gambar hingga proses penyuntingan. Bagi saya, tubuh manusia sudah memiliki irama saat bergerak. Gerak tubuh manusia merupakan orkestrasi harmoni dari otot , tulang, dan sistem saraf. Pada ketiga film tari tersebut saya juga mengombinasikan gerak kamera yang senada. Kamera menelusuri ruang dan berdialog dengan tubuh penari. Gerak yang berkesinambungan akan membentuk harmoni tersendiri bagi ketiga film tersebut. Pada ketiga film tari ini saya mencoba membebaskan penonton untuk tidak hanya diam dan fokus pada satu layar. Saya ingin membawa sinema ke bentuk lain dengan memadukan seni pertunjukan, instalasi, dan sinema. Saya berkolaborasi dengan seniman suara/musik yang akan “mengiringi” ketiga film yang diputar secara serentak pada tiga layar. Saya ingin menggabungkan keselarasan gerak penari, kamera, dan respons musisi. Saya membebaskan penonton untuk melihat ke layar manapun atau bahkan hanya duduk menikmati suara/musik yang dimainkan. Ketiga layar tersebut akan mengelilingi pemusik dan secara serentak menampilkan film dengan penari dan narasi yang berbeda. Kesinambungan penyuntingan, gerak kamera, dan juga iringan musik seakan mencoba melawan harmoni. Ini seperti perayaan kebebasan, sebuah kebebasan untuk tak melulu memutar film di ruang bioskop dengan penonton yang terpaku pada satu layar.


In early 2000, I made a silent film trilogy. For me, motion is the embodiment of expression. From Yasujiro Journey; Aries, a Poem for Katia to Fugu, a Sushi Tale, motion is a narrativeforming element. I am more interested in to use motion rather than verbal words to describe an event. Motion is body language. Motion, for me, is something universal. Motion is probably the first language of human, but of course this needs to be studied further. Anastasis dan Cerita-Cerita Sebelumnya, Burung Kayu di Pohon Berbentuk Rumah and On Genealogy of Silence, are three dance films that I make without producing any sound. Silent right from the shooting to editing process. For me, human body produces its own rhythm when moving. Human’s body movement is an orchestration of harmony formed by muscles, bones and nervous system. In those dance films, I also combine similar camera movements. The camera explores the space, making a dialogue with the body of the dancer. Continuous movement will form distinct harmony for those three films. In those dance films, I try to free the audience, giving them the choice to do the opposite of sitting still and focusing on a single screen. I collaborate with musicians who will “accompany” the films that are being shown simultaneously on three different screens. I want to combine the harmony of the dancers’ motion, the cameras, and the respond of the musician, as well as letting the audience to watch certain screen or even just to sit and enjoy the music. The screens will surround the musicians and simultaneously show films with different dancer and narration. It is as if the continuity of editing, camera movement, and music is trying to fight the harmony. This is a celebration of freedom, a freedom to not always present a film in a movie theatre with audiences fixated on one screen.

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FRINGE PROGRAM Workshop Collaboration JAFF - Papermoon Puppet Theatre

Workshop Collaboration JAFF - Papermoon Puppet Theatre Video Bumper Artists: Kana Ote, Bayu Prihantoro, Loeloe Hendra, Doni Maulistya, Papermoon Puppet Theatre team Tahun ini, JAFF berkolaborasi dengan Papermoon Puppet Theatre sebagai konsistensi JAFF untuk selalu berinteraksi dengan bentuk-bentuk seni lain. Kolaborasi antara JAFF dan Papermoon Puppet Theatre akan menghasilkan video bumper dan pertunjukan tari dan boneka. Video dan pertunjukan tersebut akan disajikan pada penyelenggaraan Jogja-NETPAC Asian Film Festival dan Pesta Boneka tahun ini. Proyek kolaborasi ini melibatkan beberapa seniman, seperti: Kana Ote, Bayu Prihantoro, Loeloe Hendra, dan Doni Maulistya. This year, JAFF is collaborating with Papermoon Puppet Theatre to show its consistency in interacting with other forms of art. The collaboration between these two will give birth to video bumper as well as dance and puppet performance. The video and performance will be presented during the course of this year’s Jogja-NETPAC Asian Film Festival and Pesta Boneka. This project involves several artists such as: Kana Ote, Bayu Prihantoro, Loeloe Hendra, and Doni Maulistya.

Papermoon Puppet Theatre Papermoon Puppet Theatre adalah sebuah kelompok teater boneka yang didirikan oleh Maria Tri Sulistyani (ilustrator, penulis, dan pemain teater) dan Iwan Effendi (perupa). Sejak tahun 2006, pasangan ini telah bereksperimen dengan pertunjukan boneka. Berbasis di Yogyakarta, Papermoon menggunakan teknik mixed-media untuk menciptakan karya-karya yang imajinatif mengeksplorasi identitas dalam masyarakat. Papermoon Puppet Theatre telah mempersembahkan karya-karya mereka di Indonesia, New York, Rhode Island, Philadelphia, Washington DC, Iowa, Easton, Baltimore- Amerika Serikat, Amsterdam-Belanda, Yokohama-Jepang, India, Korea Selatan, Malaysia, Singapura, Melbourne dan Darwin-Australia. Papermoon Puppet Theatre is a puppet theatre group established by Maria Tri Sulistyani (illustrator, writer, and theatre actress) and Iwan Effendi (visual artist). Since 2006, the couple have been experimenting with puppet performances. Based in Yogyakarta, Papermoon employs a mixed-media technique to create imaginative works exlploring identities of the society. It has presented its works in Indonesia, New York, Rhode Island, Philadelphia, Washington DC, Iowa, Easton, BaltimoreUnited States of America, Amsterdam-Netherland, Yokohama-Japan, India, South Korea, Malaysia, Singapore, Melbourne, and Darwin-Australia.

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Kana Ote (Dancer) Kana Ote adalah seorang penari kelahiran Hamamatsu, Jepang dan merupakan lulusan dari Conservatoire National Suṕrieur de Musique et de Dance de Lyon pada tahun 1999. Saat ini ia mengajar Gaga dan praktek Ilan Lev di Tokyo dan seluruh Jepang. Pada tahun 2010, ia menerima hibah dari Pola Art Foundation (Jepang) untuk belajar Gaga dengan Batsheva Dance Company di Tel Aviv, Israel. Pada tahun 2005, ia mulai bekerja sebagai penari freelance di Eropa, berpartisipasi dalam proyek-proyek dari Compagnia Zappala Danza, Compagnie Lingga, Marcel Leemann Fisik Dance Theater, dan Ventura Dance Company, sementara juga menari dengan Ballet Bern dan Carte Blanche. Kana Ote is a dancer who was born in Hamamatsu, Japan. She graduated from Conservatoire National Suṕrieur de Musique et de Dance de Lyon in 1999. She is currently teaching Gaga and Ilan Lev practice in Tokyo and other cities in Japan. In 2010 she received a grant from Pola Art Foundation (Japan) to learn Gaga with Batsheva Dance Company in Tel Aviv, Israel. In 2005 she started working as a freelance dancer in Europe, participating in numerous projects from Compagnia Zappala Danza, Compagnie Lingga, Marcel Leemann Fisik Dance Theater, and Ventura Dance Company, all the while dancing under Ballet Bern, and Carte Blanche.

Loeloe Hendra (Filmmaker) Seorang sutradara yang memulai debutnya saat ia masih belajar di Fakultas Televisi, Institut Seni Indonesia, Yogyakarta dan kini telah membuat beberapa film pendek, seperti Aku Bukan Ismail (2009)—masuk dalam Jogja-Asian Netpac Film Festival [2009]—dan Toilet (2011)—masuk dalam nominasi Ladrang Award di Solo Film Festival 2012. Loeloe juga pernah menjadi asisten sutradara Garin Nugroho dalam film Mata Tertutup (2011) dan Soegija (2012). Film terbaru yang ia sutradarai, Onomastika, telah telah memeroleh berbagai capaian seperti ditampilkan dalam Bali International Film Festival, masuk menjadi salah satu Best Film Nomination dalam Ladrang Festival Film Solo 2012, menjadi Film Pendek Terbaik dalam Festival Film Indonesia 2014, masuk dalam Official Selection Generation Kplus Berlinale German 2015, masuk dalam Short Film Festival, Tokyo 2015, dan masuk dalam Official Selection Singapore International Film Festival 2015. A director who started his debut when he was studying at the Faculty of Television, ISI (Indonesian Institute of the Arts) Yogyakarta and now has made a number of short films such as Aku Bukan Ismail (2009)—included in Jogja-Asian Netpac Film Festival [2009]—and a short film entitled Toilet (2011) nominated in Ladrang Award in Solo Film Festival 2012. Loeloe has ever become the assistant for director Garin Nugroho in the film Mata Tertutup (2011) and Soegija (2012). The most recent film he directed, Onomastika, has achieved many accomplishments such as screened in the Bali International Film Festival, becoming Best Film Nomination in Ladrang Festival Film Solo 2012, and becoming the Best Short Film in Indonesia Film Festival 2014, included in Official Selection Generation Kplus Berlinale German 2015, Short Film Festival, Tokyo 2015, and Official Selection Singapore International Film Festival 2015.


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Bayu Prihantoro (Filmmaker) Bayu Prihantoro Filemon adalah seorang alumnus dari Asian Film Academy, sebuah program belajar yang digelar oleh Busan International Film Festival. Ia pernah terlibat sebagai seorang sinematografer di banyak film seperti: Vakansi yang Janggal dan Penyakit Lainnya, Istirahatlah Kata-Kata, dan Kisah Cinta yang Asu. On the Origin of Fear adalah debutnya sebagai sutradara. Bayu Prihantoro Filemon is an alumnus of Asian Film Academy, a learning program held by Busan International Film Festival. He has been involved as a cinematographer in many films such as: Vakansi yang Janggal dan Penyakit Lainnya, Istirahatlah Kata-Kata, and Kisah Cinta yang Asu. On the Origin of Fear is his directorial feature debut.

Doni Maulistya (Visual Artist) Doni Maulistya lahir di Yogyakarta pada tahun 1987. Ia adalah seorang perupa muda yang mengawali perjalanan artistiknya sebagai seniman berbasis fotografi dan memiliki ketertarikan pada ‘visual storytelling’. Ia pernah mengenyam pendidikan di jurusan fotografi ISI Yogyakarta, mengikuti pendidikan non formal fotografi di Siem Reap, Kamboja (2008), dan Foundry Photo Workshop di Istanbul, Turki (2010). Tahun 2015 lalu, ia mengkuti program residensi seniman ‘Kerjasama: Residensi Resiprokal’ yang diselenggarakan oleh tiga institusi seni: Asialink (Australia), Rumah Seni Cemeti (Indonesia) dan Artback NT (Australia). Dalam program ini ia tinggal selama 1,5 bulan di Alice Springs, Australia, dan 1,5 bulan di Yogyakarta, Indonesia. Sejalan dengan proses kekaryaannya sebagai seniman seni rupa kontemporer, ia mulai mempertanyakan posisinya sebagai seniman di dalam konstelasi sistem sosial dan terus menerus berada di dalam negosiasi dinamis dan tegangan-tegangan antara “lama dan baru”. Bagi Doni proses negosiasi merupakan proses pembentukan formasi indentitas yang akan terus menerus berlangsung di rentang sejarah manusia. Ia juga menyadari bahwa sebuah medium bukanlah bahasa artistik yang tunggal. Ia memperluas eksplorasi di dalam fotografi, demikian juga dengan medium-medium lain di balik (beyond) fotografi. Oleh karena itulah, di dalam proses kekaryaan, ia selalu tergerak untuk membicarakan narasi-narasi mengenai sejarah, tradisi, dan dimensi dialektika di antara sistem sistem sosial. Doni Maulistya was born in Yogyakarta in 1987. He is a young visual artist starting his artistic journey as a photography-based artist that has a deep interest in ‘visual storytelling’. He studied in the photography department of the Indonesian Art Institute of the Arts Yogyakarta, a non-formal photography education in Siem Reap, Cambodia (2008), and Foundry Photo Workshop in Istanbul, Turkey (2010). In 2015, he participated in an artist residency program entitled ‘Kerjasama: Residensi Resiprokal’ held by three art institutions: Asialink (Australia), Cemeti Art House (Indonesia), and Artback NT (Australia). In this residency, he stayed in Alice Springs, Australia, for 1.5 months and for another 1.5 months in Yogyakarta, Indonesia. While having a creative process as a contemporary visual artist, he begins to question his place as an artist within the constellation of social system and constantly finds himself within a dynamic negotiation and tensions between “the old and the new”. For Doni, negotiation is the process of creating identity formation that will keep happening throughout the course of the history of mankind. He also realizes that a medium is not a singular artistic language. He expands his exploration in photography, as well as other media existing beyond photography. Thus, in his creative process, he is always moved to speak about the narration of history, tradition, and the dialectic dimension among social systems.

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FRINGE PROGRAM Gertjan Zuilhof's Drawings Exhibition

Pasar Hewan Otokartun Yogyakarta The Yogyakarta Autocartoon Animal Market Gertjan Zuilhof

Menjelma tembok. Tembok yang cukup besar. Ketika saya datang ke Yogyakarta, saya tidak tahu apa dan bagaimana saya akan berkontribusi pada festival ini dengan gambar saya. Itu adalah bagian dari proyek ini. Saya akan tinggal lebih lama, sampai kemari bulan Oktober, dan saya meluangkan waktu untuk mencari ide. Saya berpikir untuk menyelenggarakan sebuah pameran dan membuat gambar-gambar secara langsung di tempat. Saya rasa satu atau dua gambar akan cukup untuk dipamerkan. Saya punya pokok gagasan, sebuah tema, berdasarkan kunjungan sebelumnya. Beberapa tahun lalu, saya datang ke Yogyakarta dengan putri bungsu saya dan kami mengunjungi pasar hewan. Putri saya adalah seorang vegetarian dan pecinta binatang; dia berpikir pasar hewan adalah tempat yang cukup kejam. Saya punya sedikit ketertarikan aneh terhadap kebun binatang dan saya terpesona oleh pasar hewan itu. Jadi saya pergi ke pasar hewan lagi dan


It became a wall. A pretty big wall. When I came to Yogyakarta I had no idea what and how I would contribute with my drawings to the festival. That was part of the idea of the project. I would come for a longer time, when I arrived it was still October, and would take the time to figure it out. I was thinking of making an exhibition and making the drawings on the spot. I thought one or two drawings would be enough for an exhibition in the end. I had an idea for a subject, a theme, based on an earlier visit. Years ago, I came with my youngest daughter to Yogyakarta and we paid a visit to the animal market. My daughter is vegetarian and likes animals and she thought it was a quite cruel place. I have a bit strange interest in zoo and I thought the market was fascinating. So, I went to the market again and concluded: this is it. This is the most special place of this city. Not that I claim to know the city that well, but it is hard to imagine there is something else as amazing and shocking at the same time.

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menyimpulkan: ini dia! Tempat ini adalah tempat yang paling istimewa dari kota ini. Bukan berarti saya mengenal kota ini dengan sangat baik, tetapi sulit untuk membayangkan ada tempat lain yang begitu menakjubkan sekaligus mengejutkan. Dari awal, saya tidak hanya ingin menggambar binatang lucu atau menggemaskan. Sisi buruk dari pasar juga harus ditampilkan. Saya mencari fotografer yang baik dan saya beruntung karena bertemu dengan Swesthi Charika, seorang fotografer yang berbakat. Dia membuat kolase dengan sangkar hewan yang bertolak belakang dengan hewan kartun konyol dan lucu yang saya buat.

From the start, I did not just want to draw funny or cute animals. The terrible sides of the market should also be there. I asked around for a good photographer and was lucky to find the talented Swesthi Charika. She made collages with the caged animals that counter balance the silly and playful cartoon animals made by me. Well, yes, it became a wall when I walked into the nice and classic Societet Foyer and saw this alien, rough, too white, too big wall that asked me: please take me. Hide my nakedness.

Dan begitulah, ia menjadi tembok saat saya berjalan ke dalam Serambi Societet yang apik nan klasik. Tembok yang asing, kasar, terlalu putih, terlalu besar, yang memohon-mohon: bawa aku, sembunyikan ketelanjanganku.

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FRINGE PROGRAM Focused Eqipment Exhibition

FOCUSED Equipment Exhibition

FOCUSED equipment akan memamerkan berbagai kamera yang digunakan dalam produksi saat ini sekaligus berinteraksi dengan anggota tim kami.

FOCUSED equipment will be showcasing a variety of cameras used in film production today for festival goers. It will be an opportunity to look at the gear required for the various camera systems, as well as a chance to casual interact with our team.


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PRODUCTION COMPANY, SALES, & DISTRIBUTORS

20th Century Fox Korea Co. A Beijing Ocean & Time Culture Communication Aichi Arts Center & Pigdom Akanga Film Asia & Acrobates Film Productions Alpha Violet Apollo Media, Film Art Media & Screen Australia Aporia Films Asian Shadows Astro CGV Arthouse CGV Blitz Cinema Buddhi & Elephant and the Mouse Cinemaxx CJ Entertaiment & Radikal Films CJ E&M Entertainment Comme Des Cinemas & Nagoya Broadcasting Network Conbrio Media Da Huang Pictures Epic Media Productions European Consortium for Pasific Studies Extra Virgin Production Falcon Pictures Fanhall Films Film Council Production & Les Films De L’etranger George Andrews Productions Grafent Pictures & Demi Istri Productions HydeOut Entertaiment & Kayan Production Indies Story Intimasi Production & Plaza Senayan Iranian Independents Ivanhoe Pictures & 20th Century Fox Izyum Film Production Jive Entertainment Kamala Films & Remonity Foundation Kino Lorber Kota Sinema Kuzoku Inc. Li Xianting Film Fund Light Year Entertainment Limaenam Films, Kawankawan Films


Load Show & Fictive M-Appeal Maktub Films MD Pictures MDEC, Apparat, Cinesurya Miles Films MK2 Films Monday Morning Production Mosquito Films Distribution Next Entertaiment World & Red Peter Films Partisipasi Indonesia, Muara Foundation Perfini Films Pulang Langgam Purbanegara Films Qabe A Seman Film Reckless natarajan & Monoxide Work Rumah Karya Sjuman & Chapter Free Screen Australia & Contact Films Seashore Image Seashore Image Production Seven Network Australia Shochiku Co. Sinag Maynila & Solar Entertaiment Sinema Jiwa Small Moon Projections Solar Nomad Production Sonneratia Capital, Seeing Eye Films Storybox Films & Noka Films Taiwan Public Television Service Foundation Tassvir Film Center The University of The South Pasific Third Windows Films Toho Co. Touba Film Universal Pictures Visual K Production Warner Bros. Pictures, Ratpac Entertainment Weekend Blockbuster & Sophia Production Well Go USA Entertaiment Whenua Films XYZ & Reel Suspects

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VENUE Jogja-NETPAC Asian Film Festival's Office

Jl. Retno Dumilah 21 B, Kotagede, Yogyakarta

TAMAN BUDAYA Yogyakarta

Jl. Sriwedani No.1, Kota Yogyakarta, Daerah Istimewa Yogyakarta Phone: (0274) 561914

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VENUE GRHATAMA PUSTAKA

Jl. Janti Banguntapan Bantu No. 344, Banguntapan, Bantul, Daerah Istimewa Yogyakarta 55198 Phone: (0274) 4536236

DEKANAT FAKULTAS ILMU SOSIAL UNY

Jl. Colombo, Caturtunggal, Kec. Depok, Kabupaten Sleman, Daerah Istimewa Yogyakarta 55281


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VENUE FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UGM

Jalan Sosio Yustitia, Catur Tunggal, Depok, Sleman, Daerah Istimewa Yogyakarta 55281

KAMPUS II UNIVERSITAS ATMA JAYA YOGYAKARTA

Caturtunggal, Kecamatan Depok, Kabupaten Sleman, Daerah Istimewa Yogyakarta 55281

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VENUE UNIVERSITAS MUHAMMADIYAH Yogyakarta

Jl. Lingkar Selatan, Kasihan, Bantul, Daerah Istimewa Yogyakarta 55183

TAMAN TEBING BREKSI

Sambirejo, Prambanan, Kabupaten Sleman, Daerah Istimewa Yogyakarta


242

VENUE PLASA PASAR NGASEM

Jl. Polowijan No.11, Patehan, Kraton, Kota Yogyakarta, Daerah Istimewa Yogyakarta 55133

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ACKNOWLEDGEMENTS JOGJA-NETPAC ASIAN FILM FESTIVAL

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