Directing
An exchange of filmed correspondence between three documentarists, respectively Indonesian, Serbian and South Korean. Attentive to cultures other than their own, each films zones with blurred or shifting borders.
Tan Malaka was born in Pandan Gading, West Sumatra, in 1897. In 1963, he was awarded the title of National Hero.
Story of 3 former political prisoners in the era of the anti-democratic Soeharto regime. They were a musician named MARKUS TALAM in a Buru Island concentration camp prison for 10 years, a radioman named SUKIMAN and an ordinary farmer named SUYATMAN both were detained in Blitar, East Java prison for 1 year, all without a judicial process. A military operation codenamed “TRISULA” was carried out in the South Blitar area, East Java, to purge the remnants of the members of Indonesian Communist Party (PKI). They weren’t communists, just ordinary farmers who had been caught in that military operation, some of their family members were killed and tortured. Trauma haunts them throughout their lives and justice never served them. Through whispered stories, they hope that in their twilight they will get justice to restore political and citizen rights that were seized by the regime. This film is a story of a long and winding road with a big question, will justice come to those who are oppressed?
Ahmad, a porn obsessed taxi driver from Jakarta, falls for the beautiful young prostitute Kinar and struggles with sexual frustration and misguided piety.
In Age of Blight, 12 Asian filmmakers capture and imagine life under the pandemic, from the hospital corridors of Marawi to protest rallies in the streets of Bangkok. The film mirrors light amidst the chaos and darkness, life in the face of death. Participating filmmakers are Mervine Aquino (Philippines), Bagane Fiola (Philippines), Daniel Rudi Haryanto (Indonesia), Hassanodden Hashim (Philippines), Gladys Ng (Singapore), Nontawat Numbenchapol (Thailand), Carla Pulido Ocampo (Philippines), Edmund Telmo (Philippines), Mark Lester Valle (Philippines), Ligaya Villablanca (Philippines), Takayuki Yoshida (Japan), and Abdul Zainidi (Brunei). Edited and assembled by John Torres (Philippines).
After the 2002 bombing in Bali, this documentary interviewed jihadists and victims. More broadly, it addresses the discourse on terrorism, jihad, Islam political movement, war on terror agenda, and how this discourse shapes the future of the children, both of perpetrators’ as well as victims.
Dewi, a Chef de Cuisine in a five star hotel in Bali, has been unlucky in love many times. Fredo, a Malaysian tourist, is moody and insulting to the hotel employees. For Dewi who believes that “there is no guest that one cannot deal with”, he becomes a challenge. But Dewi during the Nyepi (Day of Silence before the Balinese New Year) commemoration when they are supposed to remain indoors, Dewi and Fredo, are caught outside. For this, they receive a punishment of cleaning a temple for a few days. Their time together is a personal discovery that they have the same bad experiences in love. They become closer and more cheerful as they carry out their punishment. When they are finally ready to make a new beginning, Fredo’s ex-wife, Mae, comes to Bali and offers her love again. Fredo is faced with a dilemma, while Dewi wonders if her failure in love will happen again.
Sandi (25), a young man and neighborhood leader from a tribe of nomads in the interior of Kalimantan, decided to settle permanently and adapt to technology despite limited network access in the forest. As the forest shrinks and hunting becomes more difficult, Sandi is trying to make sure that the people who still live in the forest can access health and education services. This trend started when Sandi lost two of her children. However, not all Punan Batu communities in the forest welcomed her intentions. In the end, Sandi decided to resign from the position of RT head. Sandi, as a young Punan Batu tribesman who has made peace with the old and modern conditions, aspires for his children to go to school in the city, but his family refuses because of the distance. Sandi, who is worried about the future of Punan Batu, can only hope that the people who still live in the Sajau Benau forest can get proper attention and not disturb the forest.
