The reiteration of literature into film is a monumental task. These two media offer many similarities as well as striking contrasts. Literary reality processes visual narratives absorbed by the author into a series of precise textual descriptions, from which corresponding images are expected to emerge. Conversely, in film, visualization through a series of images, editing, framing, and photographic angles is designed to achieve consistency or \u201ccontrolled inconsistency\u201d of the textual narrative being reiterated.<\/p>\n
The matter becomes even more complicated when it comes to today\u2019s film media. The director\u2019s reluctance to comply with the adapted literary text becomes a way to assess whether a film is successful or not. It is a kind of tug-of-war strategy that requires considerable skill and craftsmanship in order to not fall into mediocrity.<\/p>\n
All that tension\u2014if we can call it that\u2014is evident in\u00a0Nobody Ever Dies Here<\/em>\u00a0(Fachri Ghazali, 2025),\u00a0Pen Sword<\/em>\u00a0(Zahra Zulya, 2025),\u00a0House<\/em>\u00a0(Kayla Miska, 2025),\u00a0In Melquiades Room: Causa-Prima<\/em>\u00a0(Rafael Marius, 2025),\u00a0Inline Align<\/em>\u00a0(Shelvira Alyya, 2025), and\u00a0The Cow\u00a0<\/em>(Misbahul Khoir, 2025), which were crafted for them to reiterate, and thus produce a new compound that may merely leave traces of its textual literary narrative. As charcoal drawings on Padalarang paper, the images and depictions are created in dense contrast so that the texture and its lightness and darkness are very pronounced. The images, which are occasionally blurry, resemble the dussel technique in drawing, giving them volume and depth.<\/p>\n In\u00a0In Melquiades Room: Causa-Prima<\/em>, the character who rises from the dead is seen through the trinkets in their \u201chouse\u201d. Things are collected and perhaps given names, simply to stave off the epidemic of dementia that will plague the city. However, this \u201cpicture film\u201d allows us to enjoy it without having to read the thick book. They have written their own book. It doesn\u2019t have to be, and perhaps shouldn\u2019t be, linked to Gabriel Garc\u00eda M\u00e1rquez. In this film, Gabo is merely words and names without a past or context.<\/p>\n The pleasure in watching these films is to witness a rebirth. Melqu\u00edades (indeed) died in Singapore, but he rises again in these films to become something.<\/p>\n Something else.<\/p>\n","protected":false},"excerpt":{"rendered":" The reiteration of literature into film is a monumental task. These two media offer many similarities as well as striking contrasts.<\/p>\n","protected":false},"author":1,"featured_media":56739,"parent":55487,"menu_order":33,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"edition":[781],"class_list":["post-55496","page","type-page","status-publish","has-post-thumbnail","hentry","edition-ffd-2025-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/pages\/55496","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/comments?post=55496"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/pages\/55496\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/pages\/55487"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/56739"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=55496"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=55496"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}