Review: In Indonesia, Ada Apa dengan Cinta? (2002) is not merely a coming-of-age romance with political and literary subtexts; it has been a pop culture with generations of cult following. Even, the screen couple Cinta and Rangga (respectively portrayed by eventual Indonesian darlings, Dian Sastrowardoyo and Nicholas Saputra) have been established as romance icons the way Jack and Rose do in Titanic.
Hundreds of full moons have passed since Cinta gets separated from Rangga in aftermath of the famous airport scene in the 2002 film. However, fate (in the name of Mira Lesmana and Prima Rusdi—also co-writing the first film) still has a story for the the couple as written in Ada Apa dengan Cinta? 2—the most anticipated sequels in Indonesian film history. Continue reading “Ada Ada dengan Cinta? 2 (2016) – Review: 14 Years a Lover and Before Moonlight”
Review: A Copy of My Mind is definitely a copy of Indonesian versatile filmmaker, Joko Anwar’s mind towards particular issues in Indonesia, more specifically, Jakarta, as – at least – projected in his social media.
After experimenting with romantic comedy in Janji Joni a.k.a Joni’s Promise (2005), spawning Indonesian first noir in Kala (2007), spilling blood in two consecutive psychological thrillers – Pintu Terlarang a.k.a The Forbidden Door (2009) and Modus Anomali (2012), Mr. Anwar brings his witty, groundbreaking mind home, in seemingly his most deviant/smallest/most hyper-realistic but most personal work. Continue reading “A Copy of My Mind (2016) – Review: A copy of Joko Anwar’s mind”
Review: Siti might flaunt an award-bait starter pack—black-and-white cinematography; pretentious 4:3 aspect ratio; beautifully choreographed long, tracking shots—on the surface, but all of those are no further than a meaningful cover to an intense character study which lies within.
Before the soaring waves of Parangtritis—one of the most famous beaches in Yogyakarta, Indonesia—Siti clamors a rambunctious protest. Not like a highfalutin satire to political issues or modern day slavery, it’s a more traditional and ingrained issue—so ingrained that it is considered a living norm. What Siti attempts to unravel is a tragedy as a result of that issue, wrapped in a modest but essential nod towards role of woman in a patriarch culture.
It’s a story of a woman, the titular character (Sekar Sari)—who breaks the ordinary, working a double job for her family. Continue reading “Siti (2015) – Review”
Review: Taiwanese arthouse director and Cannes darling, Hou Hsiao-hsien returns with a new, pretentious wuxia bravura in The Assassin, which granted him Best Director award in the festival which love him much.
Based on a story, even a myth, from the 9th century China, The Assassin is not just an exhibition of exquisite production design and beautifully orchestrated martial arts; it’s a critic-winner. But, not everyone is a critic. Continue reading “The Assassin (2015) – Review”
The fusion of visually mesmerizing pictures with beautiful details and emotion-driven plot to create a delighting cinema poetica to express grievous heartbreak.
“”I strongly felt that if I looked back now, she would look back as well…,” said Takaki. Why?
Kisah kasih sayang seorang ibu kepada anaknya digambarkan dengan sangat indah sekaligus brutal dalam Pieta, film keluaran tahun 2012 karya sutradara eksentrik Korea, Kim Ki-duk. Sebuah penggambaran seni dalam balutan kisah keluarga sekaligus suspense khas Korea dengan sentuhan pembalasan dendam. Continue reading “Pieta / 피에타 (2012)”