Bert Haanstra never fails to arouse the audience’s imagination through his poetic documentary. He picks and weaves seemingly unrelated moments into a cohesive piece, surrendering the interpretation to the beholders. The film flows without an argument in sight.

That’s The Zoo for you (Bert Haanstra, 1962). Taking place at a zoo in Amsterdam, this film seeks to portray the various expressions of humans and animalswhich turns out have a lot in common. This flip in perspective results in a witty aftereffect. We’re not the only who does the observing. In fact, we look just as hilarious as the animals.

The images in this film are in no ways related to one and another.  But, through an epic exploration, this film is able to piece together a complete and compelling story. We’re plunged into the story, leaving our thoughts behind, while occasionally smiling at the resemblance of absurd moments between that of humans and animals. Various associations might flicker into the minds of the audience, accompanied by Pim Jacob’s rhythmic score, with each beat hitting nicely between the movement of both humans and animals.

The Zoo was filmed with hidden cameras covering multiple perspectives. Haanstra developed this type of microfilm during his time as a photographer in the second World War. His ability to capture detailed imagery is top-notch. Even though the footage was randomly chosen, it was the exact reason that immersed the audiences as if they were watching the animals with their own eyes. For instance, the camera hovers overhead (bird’s-eye view) when covering the giraffe. When studying the lady in a stripes, the camera cuts to a zebra’s rear with matching stripes. A humorous and witty feat.

We’re brimming with the childlike curiosity of an inquisitive boy, snooping around the bush for a glimpse of the bizarre activities in the zoo. Showing contrast wasn’t always the focus. The whole story was compiled into an eleven-minute piece, but watching the movie felt like spending the entire day at the zoo. As both humans and animals carry their young, chew their food, gasp in shock, frown in annoyance, and stare at an empty void in space. The film simultaneously portrays two different points of view: Humans and Animals with their eyes locked on to each other. Both looked equally silly.

The Zoo (Bert Haanstra, 1962) is but a few of Bert Hanstraa’s oeuvre available for viewing in Festival Film Dokumenter (FFD) 2020. As with most of his works, this film is  included in the Retrospektif category, and imprints a subjective impression into our minds. The film shows no intention to address a particular concern. Perhaps it is prodding us to ask  what would happen if humans and animals lived together as friends. But the reverie was then broken when the film ends with an image of a horrified monkey.

The Film The Zoo (1962) is a part of the Retrospektif program at FFD 2020. You can watch Mbah Kancil (2019) for free here.

 

 

Written by Dina Tri Wijayanti

Translated by Ilham Akbar Arianto

Let’s briefly ignore documentary as a “portrait of reality” while talking about Banyak Ayam Banyak Rejeki (2020) since the film doesn’t actually stick to the rule. 

Riboet Akbar and Önar Önarsson’s Banyak Ayam Banyak Rejeki (2020) captures a phenomenon that normally happens in Indonesia. Akbar and Önarsson raise several issues on occultism, religion, identity, household, and “Javanese-ism” of a man in a society, especially in Yogyakarta. They highlight how a group of people receives information to construct identity. Interestingly, Akbar and Önarsson use radio as a metaphor to represent the device that people use to manipulate the truth.

The manipulation can be seen through the way people use a radio channel. A radio channel, which should belong to the public, is instead controlled by one person, namely the informant. Meanwhile, the listeners are unable to respond directly.

However, the existence of smartphones has changed the situation. An information channel is no longer controlled by one party only. Now, the informant can also be the listener and vice versa. 

Akbar and Önarsson’s observations did not stop there. They both find out that the changes of function and form of the media did not alter the attitude of its users in receiving and processing information. The listeners are still reactive like yeast. They easily believe without verifying the information. Meanwhile, the informant is being manipulative. Akbar and Önarsson emphasize their statement that the value of truth is based on trust. This part is greatly influenced by the majority opinion.

Again; let’s briefly ignore the rule of documentary, especially its dichotomy with fiction. 

This film does not present the truth in the form of audiovisual. In other words, the truth in the film comes through the collective memory felt and experienced by most of the group of society. Those experiences were then manifested by Akbar and Önarsson in several staged situations.

Their concept and statement have shown since the opening scene of the film when a woman with niqab who heroically rides a vespa is being gossiped by people. This concept was then strengthened by the appearance of a portable radio and a painting of Nyi Roro Kidul side by side in one frame during the first scene.

For me who lives in Yogyakarta, I always find the relation between the legend of Nyi Roro Kidul and the story of the king’s power. These stories are manifested in various things, one of which is the interpretation of the imaginary line between Mount Merapi, Kraton Yogyakarta, and the Southern Sea. This story shows the interest of the ruler and the majority voices in developing the truth, precisely a plausible truth, instead of establishing the identity of the location.

The opening scene of Banyak Ayam Banyak Rejeki (2020) unconsciously leads us to be more thorough when it comes to a narration about the Javanese women. Riboet Akbar and Önar Önarsson deliver it through the point of view of the male character who is ambitious in expanding his fried chicken business through many ways. He is set as the central character who massively influences the narration of the women.

In the end, the entire film shows how the truth can only be established, with all the means, by the ruler. Hence, the narration could be accepted and reconstructed in a more valuable way. Lastly, this film is questioning the truth, especially in documentary, ‘To what extent can things be considered true and real if all of them were reconstructed out of majority voices?’ 

Riboet Akbar and Önar Önarsson’s Banyak Ayak Banyak Rejeki (2020) is a part of the Lanskap program. Watch the film for free here.

 

 

Written by Annisa Rachmatika

Translated by Fidel Demara

Have you ever wondered of what people in Latin America, where nations are torn down and rebuilt over every decade, dream of? It is where outside influences and internal corruption intervene the national affairs, shaping their history from time to time. It’s a place where freedom of speech ceases to be a universal value. Martin Weber reveals the answers to that question through Map of Latin American Dreams (2020). 

From 1992 to 2013, Martin Weber, an Argentinian photographer, journeyed throughout Latin America. He witnessed economical, political, social, and military turmoils happening. Weber asked the local people to write down their hopes and dreams with chalk and took the picture of them holding the blackboard. When the production of the film began, Weber came back to question whether any of those dreams has been fulfilled.

The poverty in Latin American countries robbed millions of people of their dreams. No, the things they dreamt weren’t to have millions of dollars or luxury cars and houses, no. Many of them simply wanted food and medicine, marrying a US citizen, learn music, baseball gloves, or even a chance to escape this world.

While being a well-known photographer, Weber also proved to be an impressive conversation partner. His shots are a testament to his patience and attention. Individuals or families had been welcome to hold the blackboard spelling out their dreams. They dreamt, in spite of the violence, poverty, and life struggles as Latin Americans. In 2007, Weber photographed Cristián, a Colombian who wrote Mi sueño es morirme, “My dream is to die” on his blackboard, staring at the camera while exposing his scars.

Those who had been shot by Weber, men and women, young and old, generally hoped for a better life, health, job, food, or education as well as longing for their loved and lost ones. These kinds of dreams evoke us to realize that in spite of cultural and national differences, the majority of Latin America simply desire a life of dignity.

After 20 years, Weber decided to trace those dreamers. He began a new journey in search of those souls from the past, asking for their testimony. Undoubtedly, they underwent numerous changes, and so did their hopes and dreams. By all means, after twenty years, their dreams should’ve changed, right? However, the reality isn’t as it was supposed to be.

Globalization has been the buzzword around the globe– over its duration of 51 minutes, the film questions that term. The shift from dictatorship to democracy left its marks on Latin America. The ongoing crises remind us of the fragility of the world we live in. Indeed, we live in a time where stability is a memory of a distant –or even imaginary– past. What is real are the dreams, hopes, and desires waiting to be come true.

Map of Latin American Dreams (2020) invites the audience to delve into the issues and commune with those betrayed by their homeland.

The Film Map of Latin American Dreams (2019) is a part of the Perspektif program at FFD 2020. You can watch Mbah Kancil (2019) for free here.

 

Written by Tirza Kanya Bestari

Translated by Muhammad Hafidh

In Letters to Buriram (2019), Minwook Oh invites us to reflect upon tales from the war. Through letters that never reached its end, into militarized statues of gods in uniform. The events depicted in this film encourage us to imagine the Asian Pacific War beyond known history.

 

Written texts aside, narratives from the war were cemented between the bricks forming the city. Case in point, a towering structure in the heart of the city, when viewed from an alternate angle, is contrasted with a nearby coast. However, as we peek closer and seep into its ground, a trench sprawls deep beneath the structure. 

 

Each cut and sequence from Letters to Buriram (2019) is a visual manifestation of Minwook’s perspective towards war, the casualties, and historical narratives surrounding the Asian Pacific War in general. Throughout the film, he carries out various cinematic experiments, from the ghastly camera movements hovering through the underground trenches, juxtaposed images and sound, to the symbolic depiction of a child’s longingness for her mother. 

 

One of the methods Minwook uses to embed emotion is through stark juxtapositions of images and sounds. Conflict is displayed in a contrasting manner. This is visible through his depiction of Japan. The city’s bustling crowd is linked to a demonstration towards the Japanese Emperor, as a tourist climbs atop the Hachiko’s statue. On another occasion, Minwook displays a peaceful imagery of Japan. The way Japan is usually portrayed, with its neat burial complex and aesthetical Zen gardens. Minwook deliberately positions himself in reinterpreting historical archives. Specifically, histories regarding the war in Korea, Taiwan, China, and Japan. 

 

Minwook questions the common historical account told mostly from a militaristic perspective. That being said, the treatment of this documentary is not meant for advocacy. In a film discussion themed Nggaer Film, Njogo Kampung (2016), Dyna Herlina explains that an advocacy film works as a tool to address issues from the creator’s analytical point of view for campaigning. By directing the audience to act upon an issue, he/she liberates them.

 

As an audience, I find that certain portrayals in this film reflect the creator’s highly subjective standpoint. As seen through the piled-up casualties in the sea, woven with the statement: “Humans are victims of the war” (Oh, 2019). 

 

Besides questioning the common history, I also see Minwook’s intention to critique the desire for control. Whether it’s shown through his religious, cultural, and state narratives.

 

Each event woven in Letters to Buriram (2019) all boil down to one question, “Are tales from the war always as tense as soldier’s marching and military combat drills?”

 

Letters to Buriram (2019) is a part of the Perspektif program. Watch the film for free here.

 

 

Written by Annisa Rachmatika

Translated by Lintang Jelita Anjani

Between the Devil and the Deep Blue Sea (2020) portrays Ona’s journey in pursuing her dream regardless of her haunting dark past.

Between the Devil and the Deep Blue Sea (Dwi Sujanti Nugraheni, 2020) takes audiences to see the life of a fisherman family in Kaledupa, Wakatobi and their struggles in order to survive and pursue their dreams. This film sums up the journey of a tough girl named Ona who aspires to be a marine biologist.

The filmmaker presents a well-compiled story of Ona’s journey in Between the Devil and the Deep Blue Sea (2020). For the sake of her dream, Ona needs to study through university. She travels hundreds of kilometers to get to her campus. She is also the first person in her family to experience university life. Growing up in a fisherman family, Ona has to take quite a lot of effort in order to achieve her dream.

Tuition fees are the main problem for Ona and her parents. She has almost given up and dropped out of the university several times. Although obstacles seem to prevent her ways in pursuing her dream, Ona remains strong and continues to work to make ends meet. With a great effort from her parents and herself, she is able to continue to study.

Behind her toughness, Ona hides an unforgettable dark past. It took her a long time to open up about it. She was raped by her boyfriend on their first date during high school. The status as a “non-virgin” girl forced Ona to get engaged with the offender for the sake of her family reputation.

Started with Ona’s narration on her traumatic experience, Between the Devil and the Deep Blue Sea (2020) successfully let audiences feel the suffering that she endures. Ona’s story proves that virginity is still used as a measurement of self-esteem and social status of a woman in Indonesia. It is imaginable how broken Ona’s heart is as she is engaged to the offender for the sake of her family reputation. It’s all due to the bad stigma of being “non-virgin”. Such pain could have been avoided if that kind of stigma were reconstructed.

That kind of stigma should have indeed been reconstructed to avoid its endless painful impact. Don’t let it harm other rape victims. It is necessary for the victims to be protected instead of obliging them to be responsible for the actions of the offenders.

This film makes us aware of and empathize with the rape victims. It makes us aware that they should open up and report the cases. Thus, the offenders will get the punishment accordingly. Moreover, the victims should get proper treatments. Hence, they will understand that they did not do any wrongs and their life remains valuable to be lived. 

Between the Devil and the Deep Blue Sea (2020) is a part of the Lankap program at FFD 2020. Watch the film for free here.

 

Written by Dinda Agit

Translated by Fidel Demara

Simple yet so touching. That is the best description to picture Mbah Kancil (Ismail Basbeth, 2020), who beautifully packs the piece of her life story as a former dancer. In eight minutes, this film focuses on Mbah Kancil telling about her youth during her time in the world of performing arts. Mbah Kancil, an 80-year-old woman, shared the story of her journey while they were on stage in Jakarta with the Dagelan Pete group in the 1960s.

Then, what makes it so touching?

As the title mentioned, starting from the beginning until the end of the film, Mbah Kancil (2020) only shows the figure of Mbah Kancil, who narrates the story of her life in Javanese. Mbah Kancil, a former art performer, retells about her youth as a dancer and a comedian in which she uses it as a reflection of life and as a fulfillment of her last desire. Besides, this tough woman proudly illustrates that her husband is also a comedian who is always greeted joyfully by the audience every time he comes on stage. 

Mbah Kancil says that she was often invited to perform in Senayan, Jakarta, together with Dagelan Pete. Some envelopes filled with money, various kinds of gifts, and some cheek kissing from the audiences are the rituals to appreciate this dancer from Malang, East Java when she has just finished her show. Mbah Kancil says that because of those cheek kissing; it makes her cheeks flat.

She also recalls the excitement when exploring the Blok M area in Jakarta with Dagelan Pete group. Sadly, every member of Dagelan Pete group has passed away which is the reason why the anxiety of Mbah Kancil. She feels that he is way too old to be living. Dagelan Pete, your name lives on!

The elderly should live their life happily and peacefully without thinking about bearing the burden. However, some of them believe that being elderly creates fear and anxiety that makes them more stressed. Those who got left by their spouse or their close friend and their family show less happiness and tend to no longer enjoy their life.  

This film emphasizes how Mbah Kancil is waiting for the King of Terrors because of her loneliness, she is on edge. She gets more anxious since her closest people have gone the way of all flesh. It is seen through the sindhenan at the end of the film sung by Mbah Kancil in which the last line of the song is “aku ngalamun sesok aku mati”, meaning that she was daydreaming that tomorrow she would bite the dust. What a sorrow. 

How honesty and purity are depicted by Mbah Kancil in telling the story, this film is able to relive her unforgettable story built with Dagelan Pete as well as her desire in her old age which leads the audience to sense Mbah Kancil’s true feeling. Apart from the story that comes from Mbah Kancil’s mind, the sincerity in this film is also shown by the shabby clothes worn by Mbah Kancil also from the properties that are used which are made of zinc and rattan.

Ismail Basbeth is truly all-out while doing her work; every detail is well planned, which perfectly conveys to touch the audience’s heart. A number of her works have been successfully nominated in various film festivals: Shelter (2011), Ritual (2012), 400 Words (2013), and many more. However, what makes Mbah Kancil (2020) different from the others is this film presents a touching story of an elderly dancer as the main character remarkably played by herself. 

Mbah Kancil has admirably wrapped a tough dancer’s life story in a simple, real, clear, yet so touching.

The film Mbah Kancil (2019) is a part of the Lanskap program at FFD 2020. You can watch Mbah Kancil (2019) for free here.

 

 

Written by Tirza Kanya Bestari

Translated by Shafira Rahmasri

If a lonely and empty Doel were called a Ghost Town, who exactly is haunted by whom? Who is the ghost? 

A street in Doel Town that recorded a crowd of the stall turns to be a desolate place full of critical murals. There is no more the smell of freshly-baked bread as well as the law that governs the residents. A nuclear power plant, some plans for the port of Antwerp expansion, and some people who occupy the building for night clubs as well as some twenty-four traumatic inhabitants who are still there, all remain.

Federik Sølberg captures the activities in Doel through the life of several people that still remain. Various threats to their mental and physical health are compiled by Sølberg in a film entitled Doel (Federik Sølberg, 2018); a film that pictures a city in Belgium known as a ‘ghost town.’

The city of Doel holds various internal and external conflicts. An incident that Sølberg discovered is a particular party is utilizing the conflict as a tourism attraction. An attraction as if it is a display case selling the trauma of its citizens that can be enjoyed from the window bus while listening to the tour guide’s explanation. 

The tourists relish the town, Doel, differently. Some of them get involved in street racing on a lonely road while the others try their physical strength out by destroying an abandoned building. All those activities are captured by Sølberg from a distance as if he wants to show his position that is different from the tourists.

  Federik Sølberg is not a Belgian living in Doel, but he is a Dutch who got interested in that ghost town while he is going on a tour. It is all explained by Liam Cristello in his interview for Northeastern University. He wrote that Sølberg had a desire to tell about this city began to emerge when he saw various kinds of factories, refiners, and nuclear power plants while he started entering the town. However, Sølberg finds an obstacle in which his position is just an ordinary tourist; a position that does not differentiate him from other tourists on that bus. 

Sølberg’s attempt to keep his distance away is seen through the visual characters of Doel (2018). The characters that Sølberg built speaks honesty as a filmmaker. He does not appear as a tourist nor a resident. He observes all the activities of his chosen subjects from a distance. There are no close-up shots to show the details. Contextually, this visualization explains that the city is not really dead even from the eyes of foreigners.

  Sølberg’s visualization tells a story that a ghost town, a label for Doel, might go wrong. This region is still a place for its residents to do their activities, not a dead town. As a tourist, he tells all the phenomena through a subject that is attached to their place. Humans and their space are connected and they interact one to another as if it is a cow that is in a lawn craving for green grass, an aunt with a television on, or a kitchen with a tea maker and their Xanax.  

 

Sølberg utilizes his freedom to observe the subject as if it were a ghost. It can come through those personal boundaries that have never been reached by a foreigner or a tourist. On the other hand, this visualization raises a big question; if it were true that Doel is a ghost town, then who exactly is haunted by whom? Who is the ghost then?

The film Doel (2018) is a part of the Perspektif program at FFD 2020. You can watch Doel (2018) for free here.  

 

 

Written by Annisa Rachmatika

Translated by Shafira Rahmasari

Aside from introducing a matchmaking forum in Yogyakarta, Golek Garwo (Wahyu Utami, 2020) tells the story of one of its participants: Basri. A 62-year-old worker who found his wife through the forum. With Golek Garwo, we follow Basri’s quest for romance at his sunset years. 

Do you agree with the saying, “Life without love is as bland as food without salt”? 

Some of you might find that unsalted food tastes just fine, while the others find it flat as if it’s missing something. The same goes for Basri in Wahyu Utami’s Golek Garwo (2020). The 62-year old bachelor lives by himself, and not seldom has his solitude urged him to find ‘the one’ to share his life with. 

Jalaluddin Rumi says that love is the source of all creation; its power surrounds us, penetrates us, and binds all living things. Love is the essence of all lifeforms. So it’s no wonder that Basri looks for love into the golek garwo – a matchmaking forum facilitating those who are still alone and want to find a partner for free.

Through golek garwo, Basri had successfully won over Musiyem, a 56-year-old widow whose husband died in an accident. The couple decided to join a mass wedding on the Malioboro Road, Yogyakarta. The wedding preparation depicted in the film is fairly straightforward. Participants need only to register themselves by the postmark, attach a letter of their widow/widower status (if someone has been married before), as well as their introduction and motivation. In addition, golek garwo also offers honeymoon packages free of charge.

As mentioned before, Golek Garwo (2020) starts with Basri’s longing for a wife to accompany him and live together with him. But, after marrying Musiyem, Basri’s desire to live together does not match with reality. Both of them have to make a living to survive in their own villages, which are located quite far from each other. Basri also can’t ride the motorcycle. With this and other unfortunate circumstances in mind, they had decided to live separately and communicate each day through the phone.

The 30-minute film points out some concerning issues. It is revealed that Basri and Musiyem have not completed their elementary school. This indicates the inequality in Indonesia’s education system, especially in the couple’s era. Basri also faced social backlash, and his wedding preparations were being made fun of. As we all know, life is never free from social restraints.

This film may spark polarizing opinions about the Golek Garwo. On the one hand, this forum shows the desperation of its lonely participants. But then again, who wants to admit that they’re lonely without wanting to look pathetic anyway? Golek Garwo tries to fill the void of those whose souls are rotten and try to give new hopes in their hearts.

The film Golek Garwo (2020) is a part of the Lanskap program at FFD 2020. You can watch Golek Garwo (2020) for free here.



Written by: Tirza Kanya Bestari
Translated by: Lintang Jelita Anjani

Into the Movement (2019) invites audiences to experience Art Lab’s battles in changing the world.

Into the Movement (Lorenzo Melegari, 2019) invites its audiences to recall the social activities that took place in 2011-2018 at Art Lab, an independent social centre established in Parma in 2011. Audiences will be presented with a story about a group of students who fight for social justice, through the perspective of the student political movement.

The student movement was started by a group of Parma University students who took over an old building that had been abandoned for 20 years. They renovated the ruined rooms into spaces at which they arranged their important projects in purpose to change the world. The poor mechanism and dynamics of the university are their reasons in taking over the building.

In seven years, Art Lab has done a lot of beneficial activities. The group has succeeded in establishing an italian language school for immigrants, bike repair shop, and anti-racist football team. These activities have enlivened the relationship and enhanced the solidarity between the individuals in the society.

Other than the small activities, Art Lab also has a primary and virtuous project for the society. They want to abolish the never-ending discrimination. Through the project, Art Lab intends to balance legality and justice. However, that kind of social or political project, in which society is prioritized, commonly will not run smoothly. A lot of risk may come their way. 

According to Art Lab, evildoers are leaders who sit comfortably in their power while taking advantage of society and ignoring the country’s problems. Art Lab often clashes with institutions, private companies, politicians, and police in defending society. It is indeed a difficult task yet Art Lab manages to stand for them. 

The energy radiated by the students in Into the Movement (2019) may affect audiences’ emotion. They will be aware of how painful discrimination could be or how enormous the sacrifices that one shall make to fight for the society. Art Lab’s battle against injustice has made us realize that we are in the same battle. 

The footages shown in the film successfully take the audiences to experience the tension of the students’ protest. They persistently fight even when the authorities try to stop them and continue to fight although they are not certain on how the result would be.  

Into the Movement (2019) is one of the examples of numerous social protests in the world. It is necessary for the society to unite in order to fight for the same purpose. A fight to get rid of discrimination by believing on the ability of the society in fighting against it. A fight that eventually will change the world.

The film Into The Movement (2019) is a part of the Perspektif program at FFD 2020. You can watch Into The Movement (2019) for free here.

 

Written by: Dinda Agita

Translated by: Fidel Demara

Gedoran Depok (2019) invites the audience to dive into the long-kept bloody tragedy, which had not been revealed until 2011. 

Gedoran Depok (Bobby Zarkasih, 2019) invites the audience to go back to the transition of power phase, from the colonizers to the Republic of Indonesia. The Proclamation of Independence did happen on August 17th 1945, when Soekarno and Hatta proclaimed the independence of Indonesia. But, the independence euphoria wasn’t dispersed all across Indonesia. 

One of such areas is Depok. The uproar of independence hasn’t made its way to Depok when the proclamation happened.  That time, Depok citizens had yet to hoist the Red-and-White (or Merah-Putih) flag to announce Indonesia’s independence. In less than two months after the Proclamation of Independence, Depok endured a bloody tragedy. A painful tragedy for the victims and their descendants.

On October 11th 1945, there was chaos and mass robbery targeted at the people who were considered “non-indigenous” or “foreigners”. The civil troops spreaded out, covering all areas of Depok to sweep out each and every one of the colonizers. This chaos is known as the “Gedoran Depok”.

The “Depok Dutch” became the main scapegoat in this riot. However, it turned out that the attacked “Depok Dutch” weren’t accomplices of the Dutch occupiers. They were, in fact, Indonesian natives, mixed-race descendants of the freed Dutch slaves. It was confirmed that a lot of “indigenous” people fell victim during this chaos.

The photo archive provided in Gedoran Depok (2019) gives the audience a chance to imagine the situation when the chaos took place. Bobby also presented a historian who amplifies the survivors stories, explaining how chaotic it was when the riot took place.

The presence of Gedoran Depok survivors successfully built the film’s atmosphere. The way the survivors tell their stories–loaded with pain–proves that the chaos left a deep trauma. Time sure did pass, but the sense of loss is still evident in the survivor’s soul.

Such pain and loss made the survivors and their descendants reluctant to recall the story of Gedoran Depok at first. They did not want to share the story because they refused to remember or talk about this painful incident. That was the fact until 2011, when the “Depok Dutch” unveiled this account through the book Gedoran Depok (2011) by Wenri Wanhar.

While watching the movie, one can imagine how painful and traumatic it was for the survivors. It took quite a long time for them to finally open up. At first, they chose to let go of the incident and held zero grudge against it.  Until they chose to speak up, because they realized that Gedoran Depok is history. A part of history that shall not be forgotten.

History is indeed to be immortalized. Through Gedoran Depok (2019), we realize that no matter how painful a history is, there shall be no more history to be hidden. Through history, we gain lessons.

The film Gedoran Depok (2019) is a part of the Lanskap program at FFD 2020. You can watch Gedoran Depok (2019) for free here.

 

 

Written by: Dinda Agita

Translated by: Windy Elprida