Berlinale: A gauge of climate for RI film<\/p>\n
Paul F. Agusta, Contributor\/pfa0109@yahoo.com<\/p>\n
A lively discussion on the Berlinale at the Goethe Haus cultural
\ncenter in Menteng recently turned the spotlight on efforts to put
\nIndonesia on the world cinema map through participation in
\ninternational festivals and workshops.<\/p>\n
The discussion, which opened with comments by local filmmaker
\nGarin Nugroho, featured documentary shorts on activities at the
\nBerlin Film Festival, or Berlinale, by Tintin Wulia, the Bali-
\nbased short filmmaker and distributor, as well as presentations
\nby film journalists Seno Joko Suyono of Tempo magazine and
\nLisabona Rahman.<\/p>\n
"The Berlinale opens each year and functions as the barometer
\nfor what is to come in the international film industry and serves
\nas a good way to preview the mood of the year's films," said
\nGarin Nugroho, who served as a member of the Jury of The Network
\nfor the Promotion of Asian Cinema (NETPAC) at this year's
\nBerlinale.<\/p>\n
This world-renowned festival has always served as a dependable
\ngauge of the climate for non-Hollywood films. Taking more of a
\nsubstance over style stance compared to the Cannes Film Festival
\nor the Oscars, the Berlinale has always focused more on films
\nwith sociopolitical themes rather than artistic content or
\ncommercial viability.<\/p>\n
For example, all of the films in competition for the coveted
\nGolden Bear this February had social elements, with topics
\nranging from the aftermath of apartheid in South Africa to the
\nplight of immigrants in Europe. The winner of the Golden Bear was
\na film titled Gegen Die Wand (Head-On), a German-produced film by
\nTurkish director Fatih Akin concerning two young lovers from
\namong the minority group of Turkish immigrants in Germany.<\/p>\n
Outside of the core competition, interesting films, ranging
\nfrom shorts to documentaries to features, from all over the world
\nare screened at the Berlinale, including offerings from Asia, in
\nparticular China, Japan, Korea and Thailand. Indonesia has had
\nfilms in the festival in the past, but was noticeably absent this
\nyear.<\/p>\n
"Nobody from Indonesia is able to enter the big festivals. The
\nfilmmakers are just playing around, they are not serious ...
\nthere are no clear movements here, just trend followers,"
\nlamented Garin Nugroho whose films have been shown at the
\nBerlinale in the past.<\/p>\n
"The quality is up and down, inconsistent, no pluralism here
\nin themes or in directors. Even the film critics capitalize on
\nsmall successes here ... talent resources and themes, milking
\nthem for all they are worth. It is all jargon. We have to quit
\nthis habit or we will never make it," Garin emphasized.<\/p>\n
In an article published in Tempo magazine earlier this year,
\nwhich commented on the presence of Asian movies, in particular
\nThai films, at the Berlinale, as well as touching on Indonesia's
\npotential to enter this and other international festivals, Garin
\nelaborated more fully on what he believes the Indonesian film
\ncommunity needs to do to gain wider recognition.<\/p>\n
"(T)he development of a country's cinematic generation in the
\ncontext of the world map has to be based on the flexible and
\nresilient mastery of global technology, in the adequate
\ncreativity to bring up local issues within a global dimension,
\nand the ability to present variety in thematic perspective,"
\nGarin wrote.<\/p>\n
"These notes should become a mirror for Indonesian cinema to
\nshow that it is certainly not easy to incorporate the cinematic
\nmap of a single country into the cinematic map of the world. Let
\nthe growth of Thai cinema be something to reflect on in the midst
\nof the current euphoric developments in Indonesian cinema. The
\nnew generation of local films, from Eliana-Eliana to Arisan, have
\nnot been able to break through into the Berlin Festival or
\nCannes, which are the measuring sticks for world cinema outside
\nof the Oscars," Garin commented.<\/p>\n
"Indonesia has potential among its younger directors -- it all
\ncomes down to professionalism, consistency, variety and the
\nability to astutely raise local issues through global cinematic
\ntechnology ...," Garin wrote.<\/p>\n
Tintin Wulia took a slightly different stance from the view
\ninherent in Garin's comments during the discussion at the Goethe
\nHaus at Jl. Sam Ratulangi No. 9-15 on April 24. She said: "It's
\nrealistic, but it's not bleak at all. There is always hope ...
\nit's up to us how we are going to respond."<\/p>\n
During the session, Tintin showed a series of short films
\nabout her experiences as a participant of the Berlinale Talent
\nCampus, a global exchange of cinematic ideas for young filmmakers
\nfrom all over the world held annually during the festival. Tintin
\nwas the only participant from Indonesia taking part this year.<\/p>\n
"The Berlinale Talent Campus is a great opportunity for young
\nIndonesian filmmakers to hone their skills, exchange ideas,
\nexpand their horizons and network with film people from all over
\nthe world," she said enthusiastically.<\/p>\n
The Berlinale Talent Campus is basically a brief educational
\nprogram comprised of lectures and workshops covering everything
\nfrom scriptwriting and cinematography, to composing music for
\nfilm. Lecturers at the Talent Campus are world-renowned film
\nprofessionals, such as legendary film editor Walter Murch.<\/p>\n
The Berlin Festival also offers the Berlinale Talent Press, a
\ndynamic workshop for young film journalists, who get important
\nhands-on experience by helping to produce a daily newsletter for
\nfestival participants throughout the event. Lisabona Rahman was
\nthe only Talent Press participant from Indonesia this year.<\/p>\n
For further information on the Berlinale Talent Campus and the
\nBerlinale Talent Press workshop, please check out the website at
\nwww.berlinale-talentcampus.de, or contact Goethe-Institut Jakarta
\nat PO Box 3640, Jakarta 10036, telephone (021) 235-50208 or
\nfacsimile (021) 235-50021.<\/p>",
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