Hopes, doubts greet film festival return<\/p>\n
Hera Diani, The Jakarta Post, Jakarta<\/p>\n
It could be of the gigantic upswept hairdos, the Citra trophy or
\nautograph hunting, but those born before the 1980s are likely to
\nrecollect the Indonesian Film Festival (FFI).<\/p>\n
That recollection may include its significance in cultivating
\nand influencing public opinion on quality local films during its
\nheyday in the 1970s and '80s.<\/p>\n
"It was such a big deal for everyone, including filmmakers,"
\nreminisced director Riri Riza of the festival, inaugurated in
\n1973.<\/p>\n
"Filmmakers are, of course, delighted to have their works
\nappreciated. Films become very important."<\/p>\n
Riri was a student at the film school of the Jakarta Arts
\nInstitute (IKJ) when the last FFI was held in 1992.<\/p>\n
Now a producer and the director of several films that could be
\nnominated in the festival, to be held on Dec. 11, he said he was
\neager to relive the atmosphere of years past.<\/p>\n
He is not alone; many others also yearned for the glittering
\nfestival, which was halted as Hollywood blockbusters gained a
\nstranglehold at movie theaters and local film production petered
\nto a halt.<\/p>\n
FFI's revival comes in tandem with the increased film
\nproduction of recent years. From one film released in 2000, there
\nwere four in 2001, eight in 2002, 13 in 2003 and 18 in 2004.<\/p>\n
It is still a paltry number compared to the robust film
\nproduction in Asian neighbors like India or the Philippines, but
\nenough for the nominations needed for a film festival.<\/p>\n
It follows the first MTV Indonesia Movie Award in October,
\nwith the public making their picks in 10 different categories.<\/p>\n
Held in typically funky MTV style, with an irreverent but
\ncrisp script, the categories included such offbeat choices as
\nBest Crying Scene.<\/p>\n
FFI 2004's head of committee, director\/producer Adisurya Abdy,
\nsaid there was the need for a standard measurement of film
\nquality to determine the progress or decline in the local film
\nscene, long the role of FFI.<\/p>\n
"So FFI is like a venue to unify the perceptions of the film
\ncommunity. FFI also confirms a filmmaker's identity."<\/p>\n
Riri agreed that a national-scale film festival was needed to
\nset a standard, such as in picking the official representative
\nfrom this country in international film festivals.<\/p>\n
"Our entries for the Asia Pacific Film Festival, for instance,
\nhave been questionable. It's unclear why the entries are mostly
\nfilms from Multivision and Star Vision," Riri said, referring to
\nfilm companies owned by TV soaps moguls Ram Punjabi and Chand
\nParwez, which churn out critically panned, lowbrow fare.<\/p>\n
Adisurya said the idea to revive FFI had been around for
\nseveral years, but funding constraints prevented it from being
\nrealized.<\/p>\n
Organized by the State Ministry of Culture and Tourism and the
\nNational Film Management Committee (BP2N), the FFI committee was
\nfinally able to gather Rp 5 billion (US$556,000) from the
\nministry and several sponsors.<\/p>\n
Categories in FFI 2004, spanning the period 2000 to 2004,
\ninclude Best Picture, Best Television Film, Best Script, Best
\nDocumentary, Best Short Film, Best Film Critic and Best Director.<\/p>\n
Juries are not limited to people involved in the film
\ncommunity, but also include noted figures from different fields,
\nsuch as writer Ayu Utami, former state minister of women's
\nempowerment Khofifah Indar Parawansa, presidential spokesman Andi
\nMallarangeng and sociologist Imam Prasodjo (this writer is also a
\nmember of the short-film panel).<\/p>\n
But some contend jury members should only come from the film
\ncommunity, whether filmmakers or critics.<\/p>\n
"If the reason for not using people from the film scene is
\nbecause of the fear of conflict of interest, that doesn't make
\nsense. I've been a jury member at several international film
\nfestivals, and about 80 percent of the jury come from the film
\ncommunity," said director Garin Nugroho.<\/p>\n
Riri argued that film organization in this country was still
\nmore well-rounded than other arts organization, including BP2N,
\nthe Film Censorship Institute (LSF), not to mention private and
\nindependent film organizations.<\/p>\n
"So it's a bit ironic that the FFI jury does not comprise
\npeople involved in the local film scene. The committee should've
\ncommunicated it to the public, so we know what's going on and we
\nknow that the jury involved knows what they're talking about."<\/p>\n
The PR savvy necessary to put on an inviting, interesting film
\nevent is clearly still lacking compared to other regional
\nfestivals.<\/p>\n
For the Pusan International Film Festival in South Korea, for
\ninstance, banners promoting the event are numerous and regular
\nscreenings ensure that the public is aware of what is going on.<\/p>\n
For FFI 2004, the media exposure is small, and the only
\npromotional banners are at the film building housing the offices
\nof BP2N and LSF on Jl. MT Haryono, South Jakarta.<\/p>\n
FFI's website, www.filmindonesia.net, is always under
\nconstruction. Many have tried to log onto
\nwww.ffi.esmartdesign.com, mistakenly assuming the hoax site is an
\nofficial one.<\/p>\n
The website lists "nominees", but they will only be finalized
\non Dec. 4. And a short film listed as one of the nominees is not
\neven among the entries.<\/p>\n
Director Jay Subijakto is baffled by the approach of the
\norganizing committee.<\/p>\n
"Everything is so formal, bureaucratic ... It's like deja vu
\nNew Order," he said, referring to the government of president
\nSoeharto from the late 1960s to 1998.<\/p>\n
Granted, FFI was indeed nothing like the Academy Awards, let
\nalone the MTV Movie Award. It was more like a staid government
\nceremony, with the information minister on hand to open the event
\nand deliver long-winded speeches.<\/p>\n
Films contravening the government view of things were not up
\nfor consideration.<\/p>\n
Adisurya admitted that the work ethos of people remained stuck
\nin the old-fashioned ways. "We can't suddenly change that."<\/p>\n
Even the fringe events supporting the festival are a strange
\nhodgepodge.<\/p>\n
Instead of an intensive schedule of screenings, the public can
\nchoose from a photo exhibition, charity night, traditional
\nleather puppet show, acting competition and billiard tournament
\nas part of the festival.<\/p>\n
"The festival should not stop at giving awards. There should
\nbe a lot of discussions and discourse about local films. In the
\npast, there were usually some film critics who discussed the
\nnominated films on television. That's like educating the audience
\nas well," Riri said.<\/p>\n
Garin said the festival must be critical about the problems
\naffecting the local film industry, like the stifling tax policy
\nand the structure of the industry.<\/p>\n
"Even thought it is government funded, it still has to be
\nindependent," said Garin, who failed to submit his films for
\nconsideration in time.<\/p>\n
The only criticism on the contemporary situation from the
\nfestival came from Ratna Sarumpaet, women's activist and a member
\nof the selection committee for television films, who stated that
\nmost TV films were offensive to women.<\/p>\n
Observers like Jay worry that the festival will fail to live
\nup to its objectives in defining quality film vehicles.<\/p>\n
"I'm worried that young filmmakers would see the best picture
\nfilm and think 'Oh, so this is what we should make'. It was the
\nreason why the local film industry collapsed in the first place."<\/p>\n
Riri has more confidence in the durability of the local
\nindustry, pointing out that it survived despite no government
\nsupport during the dark decade of the 1990s.<\/p>\n
"The most important thing is that the festival is not just a
\nmere awards-giving ceremony, because media competition is fierce
\ntoday."<\/p>\n
With all its present shortcomings but its rich history behind
\nit, let's hope that the upcoming FFI is not the last for another
\n12 years.<\/p>",
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