K a d o H a r i J a d i T h e A n n i v e r s a r y G i f t O f f i c i a l W e b s i t e : k a d o h a r i j a d i. b l o g s p o t

houseofwaves productions Apartemen Permata Senayan No. 308, Jl. Palmerah Selatan 20 – 21 A, Jakarta Selatan 10270 T: +6221 5364018, +62857 10313956 – F: +6221 5364018 – E: [email protected]

Ka d o

Har i

J a d i

T h e A n n i v e r s a r y G i f t O f f i c i a l W e b s i t e : k a d o h a r i j a d i . b l o g s p o t . c o m

Synopsis | Sinopsis A young man wakes up chained to metal chair in a room painted a sickening shade of pink and illuminated by a single blinding block of neon lights placed at his right. A razorblade hangs on a string before him, and sharp pink pencils are aimed at his left eye and stomach. He does not know where he is or why he is there. Periodically, a beautiful young woman dressed in floral summer dress enters the room and performs cruel and calculated acts of seemingly senseless torture. Who is she? Why is she doing this? What has he done to deserve this? And most importantly, will he survive? | Seorang pemuda terbangun di sebuah ruangan kecil berwarna merah muda. Dirantai pada sebuah kursi besi, di hadapannya menggantung sebilah silet, dan di sampingnya terdapat dua batang besi yang mengarahkan pensil tajam ke mata kiri dan perutnya. Dia tak tahu dirinya di mana atau kenapa dia disekap di situ. Sesekali, seorang perempuan cantik bergaun bunga-bunga masuk ke dalam ruangan untuk menyiksanya secara kejam namun pelan. Siapa wanita ini? Untuk apa semua siksaannya? Dan, apakah pemuda itu akan selamat?


Crew Profile Margaret Rose Glade Agusta (Executive Producer) Margaret was born in Creston, Iowa, the United States in 1949. She graduated with a Bachelors Degree in Fine Art from the University of Iowa in 1975. She married Indonesian poet Leon Agusta in 1979, and has resided in that Southeast Asian nation since that time. Margaret has consistently pursued her passions for art and women’s rights through exhibitions and writings in various publications. This is her first foray into film production. | Margaret lahir di Creston, Iowa, Amerika Serikat pada tahun 1949, dan merupakan lulusan diploma Fakultas Seni Rupa, Universitas Iowa, tahun 1975. Ia menikahi penyair Indonesia Leon Agusta pada 1979, dan telah tinggal di negara ini sejak itu. Margaret telah terus-menerus mewujudkan ketertarikannya pada seni dan hak-hak perempuan lewat pameran dan tulisan di berbagai media. Ini adalah keterlibatan besar pertamanya dalam produksi film.

Paul Agusta (Director/Executive Producer/Composer/Story) Paul Agusta was born in Jakarta in1980 and studied film in America before returning to Indonesia in 2003. This young moviemaker believes that video levels the playing field in filmmaking of any kind due to its affordability and availability, and that the only true resource a video-maker needs is a solid, well thought out idea; the rest is simply implementation. There is no excuse for video-makers not to fulfill their creative urge, you can always beg, borrow, or steal a camera. His short videos (mostly shot on borrowed or discarded cameras) have been included in various local and international film events and screenings. Prior to 2007, Paul had been a nationally known film critic, festival manager, and film curator. He has since resigned from those previous careers to focus on his work as a film and video-maker. Kado Hari Jadi (The Anniversary Gift) is his first feature film. | Paul Agusta lahir di Jakarta pada tahun 1980. Ia kembali ke Indonesia pada tahun 2003 setelah belajar film di Amerika. Sebagai pembuat film dan video, Paul berpegang teguh pada prinsip bahwa video telah menyamaratakan kesempatan semua orang untuk berkarya dalam bidang sinema, dan


bahwa satu-satunya hal yang dibutuhkan seorang pembuat film adalah ide cerita yang dikembangkan dan dipikirkan secara penuh, sisanya sekedar pelaksanaan. Tak ada alasan bagi seorang pembuat film untuk tidak memuaskan keinginannya untuk berkarya, kamera bisa selalu didapat dengan cara apapun; meminjam, membeli, menyewa, atau cara-cara lain. Karya-karya video Paul (yang hampir semua dibuat menggunakan kamera pinjaman, kamera bekas, ataupun buangan) telah diputar di berbagai pemutaran film di Indonesia dan dunia. Sebelum 2007, Paul lebih dikenal sebagai seorang kritikus film dan musik, kurator film, juga terlibat dalam berbagai festival. Awal tahun 2007, ia mengundurkan diri dari semua itu untuk berkonsentrasi pada karyanya sendiri. Kado Hari Jadi adalah film panjang pertamanya.

Dalih Sembiring (Story/Screenplay) Born in Binjai, North Sumatera on May 4th, 1983. A graduate of English Literature, Gadjah Mada University, Yogyakarta, he is currently working in Jakarta as a freelance writer, translator, and editor. He has been writing fiction since senior high school. His short stories have been published in newspapers, magazines, journals, as well as in anthologies with other writers. He co-wrote a teen novel called Cha untuk Chayang with Abmi Handayani (2007, Gramedia Pustaka Utama), now in its second printing. He has also been writing features for The Jakarta Post since September 2007 under the pseudonym Daniel Rose. Kado Hari Jadi (The Anniversary Gift) is his second attempt at writing a film script, the first one being an unfinished script called Bila Baik Budi. Dalih Sembiring has recently completed his first solo novel, titled Nel, which is awaiting publication. | Dalih Sembiring, seorang penulis lulusan Fakultas Sastra Inggris, Universitas Gajah Mada Yogyakarta, lahir di Binjai, Sumatera Utara pada tanggal 4 Mei1983. Saat ini ia tinggal di Jakarta dan bekerja sebagai seorang penulis, penerjemah, dan editor lepas. Ia mulai menulis fiksi sejak SMA. Karya-karyanya telah dimuat di berbagai koran, majalah, jurnal, dan antologi-antologi sastra bersama penulis lain. Novel remaja yang ia tulis bersama Abmi Handayani, berjudul Cha untuk Chayang (2007, Gramedia Pustaka Utama), telahu memasuki cetakan kedua. Sejak September 2007, Dalih telah menjadi kontributor tetap di harian berbahasa Inggris, The Jakarta Post, menggunakan Nama Pena Daniel Rose. Kado Hari Jadi adalah percobaan keduanya dalam menulis skenario


film setelah sebuah script yang tak selesai berjudul Bila Baik Budi. Dalih juga telah menyelesaikan novel solo pertamanya berjudul Nel yang kini menunggu tanggal terbit.

Wahyu Wiryawan (Director of Photography) Wahyu is a student of the Faculty of Design of Tarumanegara University. He has worked as a freelance photographer for various fashion magazines for the last 4 years, and has been involved in the production of various TV commercials, music videos, and TV movies. | Wahyu adalah mahasiswa Fakultas Desain, Universitas Tarumanegara. Ia telah bekerja sebagai fotografer lepas untuk berbagai majalah fashion selama 4 tahun, dan telah terlibat dalam produksi berbagai iklan televise, video klip, serta film televisi.

Lucky Kuswandi (Editor) A graduate of the Film Program at Art Center College Pasadena, Lucky is an accomplished screenwriter/director/editor whose works have been shown in various international film festivals, such as the Rotterdam International Film Festival, Berlinale

International

Film

Festival

(as

Berlinale

TalentCampus

Selected

Participant), OutFest! Film Festival in Los Angeles, and many more. He is currently in preparations to make his feature film debut In the Absence of the Sun. | Lulusan Program

Film,

Art

Center

College

Pasadena

ini

adalah

seorang

penulis

naskah/sutradara/editor mumpuni yang karya-karyanya telah diikutsertakan dalam berbagai festival film internasional, antara lain Festival Film Internasional Rotterdam, Festival Film Internasional Berlinale, Festival Film OutFest! di Los Angeles, dan banyak lagi. Saat ini ia tengah mempersiapkan pembuatan film panjang pertamanya, In the Absence of the Sun.

James Graciano (Editor/Assistant Soundman/Stunt Cameraman) Born on June 12th, 1987, James is an Indonesian-Chinese born in the Philippines. A graduate of Jakarta International School (JIS) in 2005, he became interested in filmmaking in 2004 and he hopes to someday have an established career in the film industry. After attending film schools in America and Singapore, he came back to


Indonesia in early 2008 to pursue his film career. Although he is a greenhorn, he is willing to watch, work, and learn the various fields involved in making a film. Ultimately, he enjoys the post-production editing process with a passion. His imagination and zeal are sure-fire attributes that will make him stand out in the future. Kado Hari Jadi (The Anniversary Gift) is his first feature film venture. | Lahir pada tanggal 12 Juni 1987, James adalah keturunan Indonesia-Cina yang lahir di Filipina. Lulusan Jakarta International School tahun 2005 ini mulai tertarik memasuki dunia pembuatan film pada tahun 2004 dan berharap untuk memiliki karir tetap di industri tersebut. Setelah bersekolah film di Amerika dan Singapura, ia kembali ke Indonesia awal tahun ini untuk menjajaki karir filmnya. Meski pemula, ia serius memperhatikan, bekerja, dan mempelajari berbagai bidang yang ada dalam pembuatan sebuah film. Ia pun sangat menikmati kegiatan editing film panjang ini. Imajinasi dan antusiasmenya merupakan kelebihan-kelebihannya yang akan membuatnya gemilang di masa depan. Kado Hari Jadi adalah petualangan pertamanya dalam pembuatan film panjang.

Edo_Gimbal (Soundman/Sound Editor/Gaffer/Art Department [Set Designer/Builder, Custom Prop Designer/Maker]) Edoardus, or Edo as he is called, who has been working in the world of film and video in various capacities for over eight years, is hands down the most resourceful (and most credited) person in the production of Kado Hari Jadi). He has been involved in the production of many television commercials, documentaries, public service announcements and TV programs. His most notable works include the production of two TVCs and a presentation video for Coca Cola, a presentation video for Phillip Morris, and the TV programs Bang Yos Show, Ideal Properties, and 3 Roda Show. | Edoardus, atau Edo, telah bekerja di berbagai bidang yang berkaitan dengan dunia film dan video selama lebih dari delapan tahun, dan dalam produksi film Kado Hari Jadi ini merupakan kru yang paling tanggap (dan paling banyak tugasnya). Ia telah terlibat dalam produksi banyak iklan televisi, film dokumenter, iklan layanan masyarakat serta acaraacar televisi. Kiprahnya yang paling membanggakan antara lain dalam pembuatan dua TVC dan sebuah video presentasi untuk Coca Cola, sebuah video presentasi untuk Phillip Morris, serta acara televisi Bang Yos Show, Ideal Properties, dan 3 Roda Show.


Didin Syamsudin (Make-up and Special Effects) With almost 40 years experience and over 75 films under his belt, Pak Didin, as he is fondly referred as, is hands down the most senior member of the Kado Hari Jadi crew. His impressive body of work includes some of the most memorable classics and blockbusters of Indonesian Cinema including Beranak dalam Kubur, Sundel Bolong, Bernafas dalam Lumpur, Pacar Ketinggalan Kereta, Jaka Sembung, Berbagi Suami, Gie, and Ayat-Ayat Cinta. | Sebagai orang yang telah berkiprah di dunia film selama 40 tahun dan terlibat dalam lebih dari 75 produksi, tak pelak lagi Pak Didin adalah anggota paling senior dalam kru Kado Hari Jadi. Pada riwayat pekerjaannya yang mengagumkan sebagai make-up & special effects artist tercatat film-film klasik dan laku keras seperti Beranak dalam Kubur, Sundel Bolong, Bernafas dalam Lumpur, Pacar Ketinggalan Kereta, Jaka Sembung, Berbagi Suami, Gie, dan Ayat-Ayat Cinta.

Jeffrey Sirie (Wardrobe Master) Jeffrey is a creative, absurd, and abstract individual. As a fashion designer and fashion stylist, he most certainly doesn’t look like one. His personal style is most appropriately described as “a straight dude went wrong”. Not exactly your typical fashionista. This flamboyant and fabulous man graduated from Sumbangsih High School Jakarta in 1999 and continued his education at the famed fashion school ESMOD Jakarta (2000-2002). After abandoning ESMOD, he went on to intern at Ghea Fashion Studio followed by a two year stint as 1st Asst. Designer at House of ELGA (2002-2004). Since 2000 until now, he has made a living as a Fashion Designer/Dress Maker and personal Fashion Stylist as well as Film Wardrobe Stylist. | Jeffrey adalah sosok yang kreatif, absurd, dan abstrak. Sebagai fashion designer dan fashion stylist, kepribadiannya tidak mencerminkan itu. Gayanya seolah menggambarkan “cowok straight yang salah kaprah”. Bukan tipe fashionista biasa. Lelaki flamboyant dan menakjubkan ini merupakan lulusan SMA Sumbangsih Jakarta tahun 1999, dan melanjutkan pendidikannya di sekolah mode terkenal ESMOD Jakarta (2000-2002). Selepas meninggalkan ESMOD, ia mencoba magang di Ghea Fashion Studio, diikuti dengan pekerjaan sebagai Asisten Perancang 1 di House of ELGA (2002-2004). Sejak tahun 2000 hingga sekarang,


penghidupannya berasal dari keasyikannya menjadi pembuat pakaian/gaun juga selaku fashion stylist, termasuk untuk film-film.


About houseofwaves productions We are houseofwaves productions, an independent film-and-video-making cooperative based in Jakarta, Indonesia. We believe in a groundbreaking approach to getting movies made at a minimal cost and with little fuss and bother. | Kami houseofwaves productions, sebuah kelompok pembuat film dan video independen dari Jakarta, yang percaya pada pendekatan inovatif dalam membuat film, yakni dengan biaya, kerepotan, maupun gangguan yang seminimal mungkin.

WHAT WE DO | YANG KAMI LAKUKAN We leverage our collective passion for quality filmmaking by pooling our extensive knowledge,

skills,

expertise,

experience,

equipment,

and

other

infrastructure/resources, as well as our cutting edge aesthetic and creative vision— in lieu of hard cash—to create quality, low-cost movies that serve not only to entertain the public, but to act as an anti-thesis to mainstream Indonesian cinema, with its bloated budgets and mediocre products. | Kami mewujudkan gairah membuat film berkualitas dengan jalan menyatukan pengetahuan, kemampuan, keahlian, pengalaman, peralatan, serta prasarana/sumber daya lain, berikut visi estetis dan kreatif—dan bukannya uang—untuk membuat film-film berkualitas dengan biaya rendah yang tak hanya menghibur, tapi juga hadir sebagai anti-tesis sinema Indonesia pada umumnya, dengan pendanaannya yang bengkak dan hasilnya yang sekedar cukupan. Our aim is to debunk the assumption that currently reigns among both mainstream and independent film circles that money is the prime ingredient needed for making any movie. In reality, the true backbone of any film undertaking is a quality script in creative hands. Bad scripts waste time, money, talent, and expertise. | Tujuan kami adalah menepis anggapan yang menguasai lingkungan sinema mainstream dan independen bahwa uang adalah bahan baku utama pembuatan film apapun. Pada kenyataannya, yang sesungguhnya menjadi tulang punggung pembuatan film adalah naskah berkualitas di tangan-tangan kreatif. Naskah yang buruk hanya akan menghamburhamburkan waktu, uang, bakat, dan keahlian. We begin with the best possible story ideas our collective thinking can muster, and turn the script creation over to well-trained, seasoned authors. Once the script is


ready and has been approved by the entire houseofwaves productions cooperative, we prepare a lean, bare-bones budget based only on what is absolutely necessary to create a quality film; no frills, no extras. Then we enlist all members of the cooperative—who require no payment beyond a share of the profits once the distribution and broadcasting rights to the film have been sold—in producing the film in the most efficient, streamlined manner possible. This makes for one, solid, compact, unified team that is at once highly motivated and firmly responsible and accountable for working as hard as possible to make all of our endeavors as successful as possible. | Yang pertama-tama kami lakukan adalah mengumpulkan ide-ide cerita terbaik, lalu menyerahkan pembuatan naskahnya pada penulis-penulis terlatih dan berpengalaman. Begitu naskah selesai dan disetujui oleh seluruh anggota kelompok houseofwaves productions, kami pun menyiapkan pendanaan yang mencukupi berdasarkan penghitungan apa saja yang paling kami butuhkan dalam membuat film berkualitas; tanpa tetek-bengek yang kami anggap berlebihan. Lantas kami mengumpulkan individual-individual yang bersedia bekerja tanpa pembayaran di muka, namun menandatangani kontrak yang menyebutkan bahwa masing-masing orang akan mendapatkan bagian dari hasil distribusi mapun penayangan film, sehingga film dapat dibuat seefisien dan sepadat mungkin. Yang kemudian terbentuk adalah tim yang solid, termotivasi, dan bertanggungjawab untuk bekerja sebaik mungkin sehingga usaha kami bisa terwujud dengan sukses. We do this because, from bitter experience, we have all come to understand the limitations and drawbacks of the existing studio/production house system in Indonesia, and that access to the film industry here is all but impossible without powerful acquaintances/the right connections in the industry, or huge amounts of cash resources, which we readily admit that we lack. | Ini kami lakukan karena, berdasarkan pengalaman pahit, kami telah memahami semua batasan dan halangan sistem kerja rumah-rumah produksi/studio di Indonesia, dan bahwa pintu-pintu masuk ke industri film di negara ini tak akan terbuka tanpa dasar perkenalan/koneksi yang kuat, atau sumber pendanaan besar-besaran, yang harus diakui tidak kami miliki sebegitu banyaknya. Our core capital is our intelligence, vision, education, knowledge, expertise, experience, determination and our passion for our craft—filmmaking. First and


foremost, no matter how difficult, no matter how impossible making a film in Indonesia can be without the backing of the moguls and money lenders, we are determined to work in our chosen field of endeavor no matter what we must sacrifice to be able to do so. Thus, we work for free, share our equipment, barter what we have for any services or equipment we cannot find among our cooperative members, and work hard to seek out supporters/investors who can share our vision and are able and willing to wait for the payday down the line, just as we are doing. | Modal inti kami adalah kekuatan berpikir, visi, pendidikan, pengetahuan, keahlian, pengalaman, tekad, serta gairah dalam membuat film. Yang pertama dan utama, tidak peduli sesulit apapun membuat film di Indonesia tanpa dukungan para mogul film, kami bertekad untuk bekerja di bidang yang telah kami pilih ini tidak peduli pengorbanan apapun yang harus kami lakukan untuk mewujudkannya. Maka, dalam proses pengerjaan film kami tidak dibayar, kami meminjam perlengkapan, membarter apa yang kami miliki dengan jasa atau perlengkapan apapun yang tidak kami miliki, dan bekerja keras mencari pendukung/investor yang memiliki visi yang sama serta bersedia menunggu bayaran yang datang belakangan, sama halnya dengan kami.

HOW WE ACCOMPLISH IT | BAGAIMANA KAMI MELAKUKANNYA In line with one of the most practical and noble of Indonesia’s grass-roots traditions, gotong royong or mutual assistance, the members of houseofwaves productions pool not only their talent and energy, but individually owned equipment and infrastructure of all kinds (from clothes, shoes and accessories for wardrobe; cellular phones; automobiles; and even our own homes/rental rooms/apartments for meeting space and shooting sites to video cameras and editing, sound, lighting, and other production equipment). | Sejalan dengan salah satu tradisi akar-rumput Indonesia yang paling praktis dan mengagumkan, yakni gotong royong, para anggota houseofwaves productions tidak hanya mengerahkan bakat serta energinya, tapi juga merelakan pemanfaatan perlengkapan dan prasarana apapun yang dimiliki (mulai dari pakaian, sepatu, aksesoris untuk wardrobe; telepon genggam; kendaraan; bahkan rumah/kos-kosan/apartemen sebagai tempat pertemuan atau lokasi syuting, hingga kamera video serta peralatan mengedit, audio, lampu, dan lainnya).


This means we do not need to rent or buy the majority of the equipment needed for making a film, or to pay for the use of expensive production house studio space. We have what we need in terms of basic production infrastructure and capacity among the cooperative’s membership and our collaborative partners. And perhaps most important of all, we have no staff payroll to cover because houseofwaves productions members and collaborators work on a profit sharing basis, meaning that nobody gets paid unless the film is successfully produced and marketed through their own cooperative efforts. This means low overhead going into the production process and a potentially strong profit waiting at the other end. | Ini artinya kami tidak perlu menyewa atau membeli kebanyakan perlengkapan yang dibutuhkan dalam membuat film, atau membayar penggunaan ruang studio rumah produksi yang mahal. Kami memiliki segala keperluan mendasar dalam hal prasarana dan kapasitas. Dan barangkali yang paling penting adalah kami tidak membayar para pribadi di muka maupun selama pengerjaan film, karena para anggota dan kolaborator bekerja berdasarkan pembagian pendapatan penjualan dan sesuai besaran kontribusi masing-masing anggota maupun kolaborator tersebut. Of course, even with all the built in expertise and infrastructure, there will be expenses that can only be covered by cash, so there is a need for support from investors to help us cover the minimal production budget that we have carefully worked out. | Meskipun kami memiliki keahlian dan prasarana, akan ada hal-hal yang hanya bisa didapat dengan uang, maka dibutuhkan dukungan dari para investor untuk membantu kami menutupi pendanaan rendah produksi yang telah kami susun dengan teliti. Once the investor funding is in place, we make the film for direct to DVD local sales and international theatrical and DVD release, bypassing the unpredictability of the local box office that is all but closed to films made outside of the circle of production house powers, and use the extensive regional and international networks of houseofwaves productions members to secure lucrative distribution and broadcast agreements. | Segera setelah pendanaan investor masuk, film kami akan segera dijual lokal dalam bentuk DVD, serta dikirimkan ke luar negeri dalam bentuk pemutaran maupun penjualan DVD, guna menghindari ketidakpastian penonton bioskop lokal yang umumnya tertutup untuk film-film di luar lingkaran produksi rumah-rumah produksi besar,


sekaligus memanfaatkan jaringan regional maupun internasional yang telah maupun dapat dirintis oleh para anggota houseofwaves productions guna memperoleh perjanjianperjanjian distribusi maupun penayangan yang menguntungkan.

HOW TO SUPPORT US | DUKUNG KAMI We are open to capital investment from individuals or organizations; cash or in-kind donations/contributions; and barter arrangements of all kinds in pertinent industrial sectors (product placement, promotional exchange, etc.), or any other kind of support, material or moral. | Kelompok houseofwaves productions terbuka bagi penanaman modal perorangan maupun organisasi; dalam bentuk donasi/kontribusi uang maupun jasa; serta perjanjian barter dalam segala bentuk yang relevan (penempatan produk, barter promosi, dll.), atau dalam bentuk dukungan lain, materi ataupun moral. Interested parties are invited to reach us at [email protected] for further information.

|

Pihak-pihak

yang

tertarik

dapat

[email protected] untuk keterangan lebih lengkap.

menghubungi

kami

di


EXECUTIVE PRODUCER’S NOTE

This dark little film needed to be made for several reasons. Granted, it might not have been missed at all -- what with the massive outpouring of all sorts of visual stories inundating viewers worldwide -- in the context of the global (or even local) movie industry, the big business of DVD rental shops, or the lower key commercial centers of art cafes and screening rooms.

It needed to be made because it is the culmination of a creative compulsion that could not be denied. It needed to be made because it is a “first feature film” and that means there are others (just ideas now) waiting in line for gained experience and enriched vision. It needed to be made because it is a cathartic vehicle for a quarter century plus of creative and other life experiences deemed capable of imploding a young director’s mind. It needed to be made so this previously short-film director could prove to himself that he had the capacity to make a feature-length movie. (And typically Paul Agusta set the bar as high as he could by selecting – in his own words -- “one of the most difficult to pull off genres; the horror/thriller film”; then complicating the process by setting an incredulously low budget {“money doesn’t make good movies, good stories do”} and breaking all the movie making rules {“I have to follow my creative intuition”}he could think of as creatively and as skillfully as he could in as short a span of time as possible.)

“Kado Hari Jadi” (The Anniversary Gift) needed to be made because it is part of a collective dream of a group of young filmmakers, movie lovers, and other creative souls who were trudging along singly in the ranks of the many hopefuls that find their lives tangled inextricably in the celluloid or video cables of the murky, muddy channels of mainstream movie making, before gravitating together and deciding to cut and run from the pack with a bag full of crazy ideas and mad dreams.

It needed to be made because “Kado Hari Jadi” started as a simple but powerful idea about how emotion can be at once a powerfully positive force or the most destructive of elements in the life of a human being. It then became a screenplay about love and hate; choices and constraints; obsessions and denial; compassion and vengeance. It was a screenplay that,


although the story was dark and the horror genre isn’t my favorite mode of storytelling, thoroughly piqued my interest and compelled me to want to see how it would come out in the more complex, layered format that is the telling of a story on a screen.

It had to be made because, personally, I have traveled a long arduous path of setting aside my personal aspirations for more practical considerations, and I simply couldn’t sit by and watch the vision and potential of others with more talent and courage lie dormant for lack of encouragement and cold, hard cash. So, even though filmmaking is not my field of material endeavor (I am an editor and translator by profession), nor my one true passion (visual art), I do love watching films – particularly the provocative kind, and I saw and acted on the potential I saw in this story and in the young people telling it.

I believe in this film and what it says about contemporary global society and its penchant for instant gratification and taking the easiest way out (in terms of the story itself and of the decidedly difficult methods and process used to make the movie). And, most of all, I believe in the houseofwaves film collective and their dream of opening up new paths for young artists in a highly complex and difficult to break into field of endeavor. To me, in my current function as an “executive producer”, it doesn’t matter whether I make any money from this investment or whether the film is “well accepted” in a commercial sense because I know that it is a story that needed telling and that I am helping people with significant talent to make the most of what they have creatively.

-MARGARET ROSE GLADE AGUSTA EXECUTIVE PRODUCER


CREW Executive Producers Margaret Rose Glade Agusta Paul Agusta Linda Hollands-Sjahlim Producer Yunita Candra Line Producer Kyo Hayato Agusta Unit Production Manager Kyo Hayato Agusta Director Paul Agusta Assistant Director Astrid Budi Screenwriter Dalih Sembiring Story by Paul Agusta Dalih Sembiring Director of Photography Wahyu Wiryawan Camera Operator/ Assistant Camera Riri Munaf


Stunt Cameraman James Graciano Editors Lucky Kuswandi James Graciano Sound Editor Edo Gimbal Soundman Edo_Gimbal Boomer/Assistant Soundman James Graciano Gaffer/Electrician Edo_Gimbal Propmaster Vivi Fransisca Art/Production Design Team Edo_Gimbal Kyo Hayato Agusta Astrid Budi Kartika Jahja Set Designer Edo_Gimbal Custom Prop Maker Edo_Gimbal


Continuity Supervisor Astrid Budi Make-up and Special Effects Didin Syamsudin Make-up Assistants Rika Yeni Wardrobe Master Jeffrey Sirie Wardrobe Assistant Ria TC Music by elias rose and the furious pink Tika Set Builders Pak Idam Edo_Gimbal Kyo Hayato Agusta Wahyu Wiryawan Still Photographers Keke Tumbuan Astrid Budi


Catering Ibu Puji Diana Saragih Ibu Etty Budhityaswati Transportation Tarmudji Maja Utama (Auto2000) Behind The Scenes Video Production Team Dalih Sembiring Edo_Gimbal James Graciano Post Production and Promotional Funding Provided by: Margaret Rose Glade Agusta Edo_Gimbal James Graciano


CAST Yoga

Rifnu Wikana

Tika

Kartika Jahja

Adam

Jeffrey Sirie

Irma

Hukla Turangan

Elly

Leha Patricia

Luky

Yoggie Richard

Perempuan 1

Zhen Mung Ping

Perempuan 2

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Anak Kost

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