![\"\"](\"https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2025\/12\/FFD2025-Foto-Liputan-Reality-Sandwich-2.jpg\")
<\/p>\nAt the screening room of Pascasarjana ISI Yogyakarta (21\/11), the question of what is meant by \u201creality sandwich\u201d echoed after the screening of the documentary Ep.10 Reality Sandwich: Jogja Chronicles (2025) directed by Ho Bin Kim. The film invites the audience to look at Jogja with greater observation; not merely as a city landscape, but also as a contested field of meaning, reality, and gaze. This 21-minute film is part of FFD 2025’s Perspektif Program: Post-cinema, a curatorial framework that examines contemporary media practices and how technology changes audience reception.<\/p>\n
During the Q&A session, director Ho Bin Kim explained the origins and approach he used in making his documentary. \u201cReality sandwich\u201d is his way of testing reality by leaving it as an open question posed to artists\/collectives in various cities around the world. Episode after episode was created without a script or specific artistic guidelines. There was only one limitation: time. One day. For Jogja, Kim handed over his four daily recording devices (iPhone, MacBook, action cam, and camcorder) to four artists who were also his colleagues, Wok the Rock, and asked them to record anything. Afterwards, Kim stitched the recordings together into a single unified piece.<\/p>\n
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Usually, in previous episodes of Reality Sandwich, Kim himself held the camera and encouraged the protagonists to do their thing. However, for this episode in Yogyakarta, he gave his four colleagues complete autonomy. He did not go to the location, did not give any direction, and did not know what kind of footage he would end up with. According to Kim, this choice was in line with the ethics of representation, which gives space to local voices rather than viewing Yogyakarta through colonial exoticism.<\/p>\n
So, whose film is this?<\/em> This ethical question then arose during the editing process. In the end, editing became the minimum authority he could take, as well as a form of recognition of his position as an outsider who builds a \u201cbridge\u201d rather than a \u201cwall\u201d with Yogyakarta and all its sandwich-like realities.<\/p>\n Behind this approach, Kim also mentions practical-political reasons: much of the production of knowledge actually only reproduces existing establishments. He wants to shift the focus to organic local experiences. For this reason, he avoids excessive research before filming so as not to be carried away by such preconceptions. Then, Kim worked on the post-production of this film in Korea, condensing the recordings from four devices into \u00b121 minutes; an editing decision that required massive cuts as well as cross-cultural and cross-linguistic work.<\/p>\n Ultimately, Ep.10 Reality Sandwich: Jogja Chronicles<\/em> marks an acrobatic reality; one constructed by the way we look at, record, and interpret life. In an increasingly connected world, the paradox of connectedness often gives rise to a sense of alienation. In this context, Ho Bin Kim’s documentary offers a fresh and flexible perspective and narrative. It invites us to play with our preconceptions about reality while providing a more open and spacious environment for the intertwined layers of life. (Hesty N. Tyas, 11\/21\/2025 [Ed\/Trans. Vanis])<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" At the screening room of Pascasarjana ISI Yogyakarta (21\/11), the question of what is meant by \u201creality sandwich\u201d echoed after the screening of the documentary Ep.10 Reality Sandwich: Jogja Chronicles (2025) directed by Ho Bin Kim. The film invites the audience to look at Jogja with greater observation; not merely as a city landscape, but […]<\/p>\n","protected":false},"author":788,"featured_media":57528,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[660],"tags":[],"edition":[781],"class_list":["post-57578","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","edition-ffd-2025-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/57578","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=57578"}],"version-history":[{"count":0,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/posts\/57578\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media\/57528"}],"wp:attachment":[{"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/media?parent=57578"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/categories?post=57578"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/tags?post=57578"},{"taxonomy":"edition","embeddable":true,"href":"https:\/\/ffd.or.id\/en\/wp-json\/wp\/v2\/edition?post=57578"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/ffd.or.id\/site\/wp-content\/uploads\/2025\/12\/FFD2025-Foto-Liputan-Reality-Sandwich-3.jpg\")
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