{"id":47045,"date":"2025-06-07T13:11:41","date_gmt":"2025-06-07T06:11:41","guid":{"rendered":"https:\/\/ffd.or.id\/?p=47045"},"modified":"2025-06-20T20:28:12","modified_gmt":"2025-06-20T13:28:12","slug":"tts-2025-selected-participants","status":"publish","type":"post","link":"https:\/\/ffd.or.id\/en\/news\/tts-2025-selected-participants\/","title":{"rendered":"Introducing the Selected Participants of Teka-teki Sinema Film Programming Workshop"},"content":{"rendered":"

After weeks of anticipation and incredible enthusiasm from across Southeast Asia, we are proud to announce the selected participants of the first edition of Teka-teki Sinema Film Programming Workshop. We received an incredible number of applications from across Southeast Asia, and we are deeply grateful for the passion, curiosity, and love for cinema that poured into every application. Coming from diverse backgrounds and experiences, the selected participants are a fresh wave of emerging film programmers and practitioners ready to explore and reshape the landscape of alternative cinema.<\/p>\n

The workshop series will officially begin on 20 June 2025, featuring a mix of online and in-person sessions, with mentorship from leading figures in film programming including Eric Sasono, Chalida Uabumrungjit, Gayatri Nadya, and Yuki Aditya.<\/p>\n

 <\/p>\n

Teka-teki Sinema 2025 Selected Participants<\/b><\/p>\n

\"\"<\/p>\n

Aditi Shivaramakrishnan, Singapore<\/strong>
\nAditi Shivaramakrishnan is a writer and editor from Singapore interested in immigrant narratives. She has been published in ArtsEquator, Jom, and elsewhere. She has worked with the Asian Film Archive, Objectifs Centre for Photography and Film, and the Singapore International Film Festival and was a Writing Fellow at Cinemovement Lab VII (2024).<\/p>\n

Gabriel Charlotte Wajong, Indonesia<\/strong>
\nGaby considers movie-watching as a mental tuning activity; a tool of reflection & empathy that sparks quiet conversations with herself and others. Thus, she explores films from every corner and draws lines between movies like constellations. She aspires to create meaningful recommendations for a wider audience through movie programming.<\/p>\n

Jetri Bolintiam, Philippines<\/strong>
\nJetri Bolintiam is a curator, writer, and artist for the collective Kinoise, where he curates moving image works and organizes grassroots film events. These include fundraising community screenings, like the \u2018Sinepasada Film Festival\u2019 for the #NoToJeepneyPhaseout campaign and \u2018Sine Pesante\u2019 for the Central Luzon farmers\u2019 caravan last March 2025.<\/p>\n

\"\"<\/p>\n

Jimmy, Malaysia<\/strong>
\nJimmy is a filmmaker based in Malaysia, primarily working in TV commercials with over a decade of experience crafting visual stories for brands. Since 2014, he shifted focus toward narrative filmmaking, exploring deeper, more personal stories through cinema. Through the films, Jimmy aims to share the beauty, culture, and unique spirit of Malaysia.<\/p>\n

Kanya K. Priyanti, Indonesia<\/strong>
\nKanya K. Priyanti is an Indonesian screenwriter and development executive based in Indonesia. She is the founder of Tukang Nonton, a homegrown screening initiative that brings underseen films to local audiences. Her work spans both curatorial and creative development, with screenwriting credits including Gadis Kretek<\/em> (Kamila Andini, Ifa Isfansyah; 2023).<\/p>\n

Naufal Shabri, Indonesia<\/strong>
\nBorn and raised in Surabaya, Naufal Shabri is currently pursuing a master\u2019s degree in Cultural and Media Studies at Universitas Gadjah Mada. His main interest is the politics of taste, and he sees film programming as a way to combat the legitimation of taste by opening space for alternative voices.<\/p>\n

\"\"<\/p>\n

Petrus Sitepu, Indonesia<\/strong>
\nPetrus Sitepu has 10+ years in film, TV, and media as a lecturer, freelancer, and creative professional passionate about storytelling through visuals and sound. Skilled in production, photography, Adobe software, and social media management, Petrus is dedicated to blend creativity with technical expertise and aim to deliver meaningful content.<\/p>\n

Rizki Nasution, Indonesia<\/strong>
\nRizki Nasution is a film practitioner involved in the production of short films. He is the initiator of an alternative screening collective called Nonton Barengan and an active member of FORFIS (Forum Film Solo).<\/p>\n

Rizky Rahad, Indonesia<\/strong>
\nRizky Rahad is a filmmaker and programmer whose work explores alternative queer aesthetics as a means to escape regimes of control and cultivate new forms of living otherwise. A recipient of the 2025 Flaherty Fellowship, 2024 British Council\u2019s CTC Grant and 2019 Berlinale Talents, Rizky currently co-runs queer cinema collective QAMERAD in Bali.<\/p>\n

Sasha Han, Singapore<\/strong>
\nSasha Han seeks to reify the fugitive effects of looking through language. She is interested in the circulation of images in Southeast Asia and its potential for resistance. Her writing has been published by the Asian Film Archive, Documentary Magazine, MARG1N Magazine, Mekong Review, MUBI Notebook, and the Singapore Film Society.<\/p>\n

\"\"<\/p>\n

Shelma Feraniza, Indonesia<\/strong>
\nShelma Feraniza is a film enthusiast with a tourism degree who loves exploring art, culture, and creativity. Through her participation in film-related projects during college and in her free time, she seeks to broaden her understanding of cinema while ensuring its importance can be conveyed to many people.<\/p>\n

Yosua Imantaka, Indonesia<\/strong>
\nYosu is based in Yogyakarta, where he has been involved in film programming that fosters spaces for queer film to engage with its audiences. Following his work for several film festivals in Indonesia, he now serves as a program officer at Docs by the Sea, supporting Asian documentary projects through film lab and forum.<\/p>\n

Yu Ern Chia, Malaysia<\/strong>
\nYu Ern Chia is a Malaysia-based film programmer and producer. She has curated film programmes across various platforms, with a particular focus on Asian cinema and emerging voices. Her work often centres on storytelling that challenges form and perspective, while creating space for underrepresented narratives to be seen, shared, and celebrated.<\/p>\n

\n

Teka-teki Sinema Film Programming Workshop is presented by Forum Film Dokumenter with the support of the Ministry of Culture Republik Indonesia through Dana Indonesiana and LPDP, in collaboration with Thai Film Archive, Institut Fran\u00e7ais Indon\u00e9sie, KDM Cinema, and Mini Film Festival Malaysia.<\/p>\n

Stay tuned for updates as we dive into a month-long journey of learning, sharing, and collective dreaming about the future of film exhibition and programming in the region by following @ffdjogja<\/a> on all social media platforms or sign up to our newsletter.<\/p>\n","protected":false},"excerpt":{"rendered":"

After weeks of anticipation and incredible enthusiasm from across Southeast Asia, we are proud to announce the selected participants of the first edition of Teka-teki Sinema Film Programming Workshop. We received an incredible number of applications from across Southeast Asia, and we are deeply grateful for the passion, curiosity, and love for cinema that poured […]<\/p>\n","protected":false},"author":788,"featured_media":47038,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[660],"tags":[],"edition":[],"class_list":["post-47045","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/47045","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=47045"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/47045\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/47038"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=47045"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/categories?post=47045"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/tags?post=47045"},{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=47045"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}