The archives of Indonesian cinema and the history behind it seem to have been distorted by the state that shut its doors, locking away every manifestation of ideas deemed to be the progeny of leftist doctrine behind an iron curtain. We can only catch glimpses of its fragments, like fleeting shadows reflected upon that sheet of iron.
“If we still believe that film is the radiance of light that brings forth images, then a room in darkness, in essence, is the reality we must accept within the world of cinema. The darkness of cinema gives rise to all kinds of stories: love, tragedy, struggle, comedy, and the record of our reality within the imagination of film. We often fall silent and entranced by this dark and mysterious space. The mystery of cinema, too, shrouds upon the people behind it.”
The forewords from director Hafiz Rancajale introduces us to one of the pioneering figures of Indonesian cinema, Bachtiar Siagian. His name is seldom heard, although he was a catalyst who helped define Indonesian film through his neorealist spirit intertwined with a romanticism for his roots. The fading of Bachtiar’s renown was the result of ideological erasure and distortion carried out by the state, which targeted Lembaga Kebudayaan Rakyat (LEKRA, lit. “Institute for the People’s Culture”) and other cultural institutions deemed to have strong affiliations with the Indonesian Communist Party (PKI). This was an operation of massive ideological cleansing—turning Bachtiar into a political prisoner who was transferred from Salemba to Nusa Kambangan, and finally to Buru Island, where he remained for twelve years. Along with his imprisonment, nearly all of Bachtiar’s films, plays, songs, and other works were swept away, scattered, and long forgotten.
This documentary emerges as a contestation towards the historical narrative of Indonesian cinema long dominated by the group of nationalist film pioneers under the early industrial engine of Indonesia’s film revival, Perusahaan Film Nasional Indonesia (PERFINI, lit. “National Film Company of Indonesia”). At the time, PERFINI was led by such prominent figures as Usmar Ismail, one that is hailed as the Father of Indonesian Cinema. Together with Bunga and Indra Siagian—Bachtiar’s youngest children—the Forum Lenteng team seeks to fill the lacuna in Bachtiar’s cinematic legacy. Their search eventually leads them to a collection of Bachtiar’s memories found in letters, unfinished scripts in the homes of his kin, and in the recollections of those who once crossed paths with him or carried along distant memories of Bachtiar and his works.
The archival investigation began with a search through Sinematek, recordings of interviews with Nepalese journalist Krishna Sen, meetings with former members of LEKRA and Bachtiar’s acquaintances, and eventually led to Bachtiar’s hometown in Deli. This inquiry culminated in a dialogue with local residents that live by the plantation area beneath Mount Sinabung, deep in the highlands of Berastagi, Sebaraya, Tanah Karo—the setting of Bachtiar’s monumental film Turang (1957).
Bachtiar (2025) is crucial in expanding the narrative and discourse of Indonesian cinema. Beyond presenting a wealth and density of data through its archival exploration, the film evokes a new sense of romanticism toward the world of cinema which embraces the spirit of internationalism—both outwardly and inwardly—and a kindred spirit born from the process of rediscovering Bachtiar himself. It seems that once we are able to glimpse through that iron curtain, we find countless layers of history submerged within the vast ocean of archival literature scattered across the world; and they are waiting for us to uncover them once more. (Gantar Sinaga) (Ed. Vanis)
Film Details
Bachtiar
Hafiz Rancajale | 128 min | 2025 | DKI Jakarta
In Competition for Indonesia Feature-Length Documentary
Festival Film Dokumenter 2025
