{"id":41446,"date":"2024-10-12T04:33:44","date_gmt":"2024-10-11T21:33:44","guid":{"rendered":"https:\/\/ffd.or.id\/uncategorized\/to-face-my-father-in-jambi-2023-a-cup-of-loyalty-of-a-father\/"},"modified":"2025-11-08T23:59:47","modified_gmt":"2025-11-08T16:59:47","slug":"to-face-my-father-in-jambi","status":"publish","type":"post","link":"https:\/\/ffd.or.id\/en\/film-review-en\/to-face-my-father-in-jambi\/","title":{"rendered":"To Face My Father in Jambi (2023): A Cup of Loyalty of a Father"},"content":{"rendered":"<p>It took years for Anggun to sing \u201cAyah\u201d (Father, ed) by Rinto Harahap with her father, Ebak Nasril. Directing To Face My Father in Jambi (Balek ke Jambi) (2023), Anggun frames her father\u2019s acceptance sentimentally and candidly\u2014a reflection of the hopes shared by other transwomen.<\/p>\n<p>The story unfolds on the day Anggun and her friends step back into the house full of jokes and cigarette smoke, surrounded by her relatives. Rich in context, the Jambi language flows through the conversations. That night, Anggun was like a star\u2014her courage in leaving Jakarta to say hello to her father paid off, a job well done!<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-40228\" src=\"https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/To-Face-My-Father-in-Jambi-Still-3-500x281.jpeg\" alt=\"\" width=\"500\" height=\"281\" srcset=\"https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/To-Face-My-Father-in-Jambi-Still-3-500x281.jpeg 500w, https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/To-Face-My-Father-in-Jambi-Still-3-1280x720.jpeg 1280w, https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/To-Face-My-Father-in-Jambi-Still-3-768x432.jpeg 768w, https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2024\/09\/To-Face-My-Father-in-Jambi-Still-3.jpeg 1920w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><\/p>\n<p>Her father\u2019s acceptance is concrete. Not only does he move beyond silence and resignation, in 2016, he drove Anggun to and fro for the sake of his daughter\u2019s desire to change her name and reintroduce herself to the world. The 25-minute duration of this film intimately summarizes the meeting of a father-daughter pair after a long wait. As the title suggests, Jambi is the place where Anggun returns home, embracing what she had left behind during eight years of escapism.<\/p>\n<p>\u201cWe are loyal to our children,\u201d said Nasril, and perhaps it was this longing that drove him to love Anggun as his whole daughter. Competing in the Short Competition program FFD 2024, let\u2019s fall in love together with the compassion and warmth of Anggun Pradesha\u2019s family. (Athallah, Tuffahati) (Ed. Vanis) (Trans. Naufal Shabri)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Film Details<br \/>\n<\/strong>To Face My Father in Jambi (Balek ke Jambi)<br \/>\nAnggun Pradesha | 25 Min | 2023 | Jambi, Indonesia<br \/>\nIn Competition for <strong>Short Competition<br \/>\n<\/strong>Festival Film Dokumenter 2024<\/p>\n<p><strong>Screening Schedule<br \/>\n<\/strong>Nov. 3 | 13:00 WIB | IFI-LIP<br \/>\nNov. 5 | 13:00 WIB | Militaire Societeit, TBY<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It took years for Anggun to sing \u201cAyah\u201d (Father, ed) by Rinto Harahap with her father, Ebak Nasril. Directing To Face My Father in Jambi (Balek ke Jambi) (2023), Anggun frames her father\u2019s acceptance sentimentally and candidly\u2014a reflection of the hopes shared by other transwomen. The story unfolds on the day Anggun and her friends [&hellip;]<\/p>\n","protected":false},"author":788,"featured_media":40225,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[21],"tags":[],"edition":[742],"class_list":["post-41446","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-review-en","edition-ffd-2024-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/41446","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/users\/788"}],"replies":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/comments?post=41446"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/41446\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/40225"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=41446"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/categories?post=41446"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/tags?post=41446"},{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=41446"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}