Tuti Indra Malaon

A Javanese mother has to struggle to lead their children against a complex confusion of their age. Unfortunately, the mother realized that actually, her children are trying to lead her too.

After her husband passes away, Dameria is forced to give up her daughter, Sari, to be adopted by her aunt, the spinster/lawyer, Purwanti. Dameria remarries to Zainal and lives a good life. Later, she yearns for Sari who is now a grown up. Sari knows about her intention. Dameria visits her at school, takes her for walks and lunches. Ten years later, when Purwanti is overseas for business, Sari leaves for Medan to meet her biological mother. When she returns, Purwanti goes straight to Medan. A confrontation ensues but Purwanti lets Sari decide. The girl eventually chooses to stay with her biological mother. But as time goes by, Sari feels uncomfortable with the new atmosphere and finally returns to her aunt’s home.

A caricature sketch of life in a modest flats.

Ineke and Jamal, have already discussed their marriage plan, but disaster strikes. Ineke is hit by a horse, and faces the possibility of paralysis. Jamal, who has already applied for a job in the oil industry, has to leave her in the hospital and goes to Natuna island. Jamal never fails to send her letters, but his letters are always kept by Ineke’s mother. Doctor Yaman, who has just returned from Timor Timur, is challenged to cure Ineke. His effort is successful and he even marries Ineke who has forgotten about Jamal. Then Jamal returns home and is heartbroken when his younger sibling informs him about the situation. Ineke’s mother feels guilty.

Shot in dark colours and with an atmospheric treatment, the narrative is sketchy but the plot revolves around Koswara, a driver for Kardiman. Koswara’s brothers and sisters-in-law trade his wife, Aisah, to Kardiman, until his wife goes insane and dies. Agus Herman, son of Kardiman, is as brutal as his father and Mrs. Kardiman, also has an impure background. Her daughter, Nana, who is born without knowledge of her biological father, is almost raped by her stepfather, Kardiman. It is also suggested that Mrs. Kardiman desires Koswara. An experiment from Indonesian directing legend, Teguh Karya, that was not entirely successful.

Set in 19th century Batavia, within the community of Portuguese descendents, Amallo has issues withhis father, Umbu Kapitan, because his irresponsible behaviour has led to his mother’s death.

The death of Mrs. Maengkom causes some change in her family. Willy Maengkom, the father of four children, has to learn to manage the household. He becomes extremely busy because his oldest daughter, Elsa, has to be hospitalized after the death of her mother, who slipped on a bathroom brush that Elsa left. After she recovers, Elsa feels the responsibility to replace her mother. Taking care of her father and her three siblings changes her. She is not the lively and active teen in church and school anymore, and starts behaving like a housewife.

Director Teguh Karya intended to make a “real” comedy amidst the many slapstick comedies at the time, and in fact calls this film a bitter comedy. In the film, Ms. Sumirah, a widow who used to be a favourite pretty girl in Padalarang, worries about her daughter Anna, who is shy and self-conscious. She keeps pushing Anna’s brother, Willy, to invite home a co-worker from the clothing factory he works in. Then a change occurs after Anna meets Jaka, an English teacher living near her house. When their relationship starts to bloom, it is found out that Jaka is the son of Saodah, a woman who once had an affair with Sumirah’s husband, Van Nijs. Sumirah changes her mind and opposes their relationship. Finally Anna and Jaka elope.