Gina S. Noer surprisingly flaunts playful imagery and enchanting dialogues to complement the story that, by nature, is powerful—even when the narrative is sometimes overwhelming in Dua Garis Biru.
Raditya Dika finds a better rhythm and theme—for the follow-up of his ‘single’ tour de force—that works warmly even when the symptoms of theme’s fatigue become more apparent.
Fresh narrative idea and fabulous casts bring warmth to the upraising horror-comedy about a literal ghost writer, that will forever marks Bene Dion Rajagukguk’s directorial effort.
Si Doel the Movie 2 hits the nostalgia button even harder this time even when the narrative keeps slowly lollygagging with the titular character’s infamous indecisiveness.
Hit & Run is a tonal mess—partly embracing the heyday of Hong Kong cop movies, partly grasping post-Raid actioners and mostly channeling its oddball tendency.
Raihaanun delivers a stark and raw yet sterling performance to become the soul of this powerful story about sexual trauma.
Also titled as Memories of My Body, Garin’s Kucumbu Tubuh Indahku presents a melancholy tale of mysticism, philosophy and sensualism about human body through a gender variant dancer.
Beyond the beautifully staged and shot pictures, Ave Maryam is a black comedy with Catholic guilt as the punchline. Rich with subtexts; but modest, if not poor, with narrative impact.
Sunyi showcases most of the director’s style and jump-scares without ever worrying about the story. It’s pretty basic—in terms of story and scares, after all.
It’s flawed, but Mantan Manten manages to deliver an emotionally gripping look on letting go of love lost from an unusual take on Javanese matrimony tradition.