Independent filmmakers express themselves<\/p>\n
Bayu Dwi, Contributor, Jakarta<\/p>\n
A middle-aged man sits among passengers aboard a Jabotabek
\n(Greater Jakarta) commuter train, holding a worn out sport shoe.
\nHe has a dazed look of disbelief on his face from what has just
\nhappened. The people around him, meanwhile, sit tightlipped.<\/p>\n
He has just witnessed a violent student brawl. Some of the
\nstudents were taking revenge for a schoolmate's death and easily
\nbeat to death a student from a rival school. The ill-fated youth
\nwas then flung off the speeding train and the youths stood
\nshouting in satisfaction. The bloodshed happened in just seconds.<\/p>\n
The passengers showed no response for unclear reasons. They
\nmight have been scared, worried or otherwise felt they should
\nkeep silent. Only one man was concerned and he alone tried to
\nhelp, but his efforts were in vain. He was threatened with a
\nknife and some students turned on him as he held onto one foot of
\nthe victim moments before the teenager was thrown off the train.
\nHe could only save the youth's shoe.<\/p>\n
This is a scene from D.A.R.K.\/Di Atas Rel Kereta (On the Rail
\nTrack), a short movie from young director Nanang Istiabudi. The
\nsetting was along the Jakarta-Bogor-Tangerang-Bekasi train route.<\/p>\n
Nanang wanted to convey the message of increasing violence to
\nthe audience.<\/p>\n
\"Our nation is lacking morality. Just take a look around you.
\nThey even stopped a middle-aged man from trying to help. Life no
\nlonger has any value,\" said Nanang.<\/p>\n
D.A.R.K. is his latest work. Through the independent film,
\nNanang is free to express things that are sometimes seen as
\nvulgar. Viewers will notice how the blood of the unfortunate
\nstudent is portrayed.<\/p>\n
\"This film is more refined compared to my previous one,
\nRevolusi Harapan (Revolution of Hope). Veteran actress Niniek L.
\nKarim once criticized my work. She told me to cut down on the
\nviolence and blood,\" he said, admitting that the amount of blood
\ncould have been less but the body still had to be thrown off the
\nmoving train.<\/p>\n
As a recipient of the 1999 artist award, Nanang said the film
\nwas needed to educate the audience as well as show what a real
\nmovie short was about.<\/p>\n
\"I have noticed that short films have only been a shorter
\nversion of long ones. I wanted to share the idea with fellow
\nfilmmakers that shorts are those formulated as such,\" he said.<\/p>\n
\"The most important aspect is the short duration involved.\"<\/p>\n
A big budget is inevitable for any film production in spite of
\nthe fact that short flicks are labeled as independent movies.<\/p>\n
\"My film cost Rp 65 million (US$6,310) and another Rp 20
\nmillion was needed to release it in the 35-mm format,\" he said.<\/p>\n
But the total portrayal of the killing in the picture has
\nsatisfied him. \"That's why I didn't include popular stars. The
\nwhole cast came from the Jakarta Art Institute (IKJ) theater.\"<\/p>\n
To reach the break-even point, his productions have joined
\nseveral international film festivals. In 1998, he earned various
\nawards from Croatia, the Czech Republic and Belgium. D.A.R.K. is
\nscheduled to join the Cannes Film Festival next year.<\/p>\n
Another prominent young director in the independent film world
\nis Aria Kusumadewa, who is gaining prominence through his newest
\nproduction titled Beth. He has opted to cover the costs to show
\nhis independence.<\/p>\n
Making films is Aria's hobby. He makes one whenever he feels
\ninclined, no matter who the audience will be.<\/p>\n
\"Make it first, then check the outcome, including its
\nstrengths and weaknesses -- it just flows like water,\" said the
\n1991 IKJ graduate.<\/p>\n
He also chooses daily events for themes.<\/p>\n
\"I'm accustomed to facing the social realities around me,
\nwhich are quite hard and almost uncompromising, with their
\npresence, loss, discovery or death happening just naturally,\" he
\nsaid.<\/p>\n
Describing every individual as unique, he said \"if a person
\nwas placed in a scene, while mutually attracting space, time and
\nevents, unique ideas as well as productions would also arise
\nfreely and straightforwardly.\"<\/p>\n
His other work is Bingkisan untuk Presiden (A Gift for the
\nPresident), which was aired on RCTI on Oct. 28 to commemorate
\nYouth Pledge Day.<\/p>\n
His close association with street life has been reflected in
\nsome of his movies. Medi, Pencopet Kota Palembang (Medi,
\nPalembang's Pickpocket), for instance, is a 1999 film about
\ndestitute children's tough existence on the streets of Palembang,
\nwhile portraying their eagerness to learn.<\/p>\n
The street scenes, according to him, were an endless source of
\ncreativity, because they were packed with different characters,
\ncomplicated problems, diverse occurrences and their bitter
\nexperiences.<\/p>\n
\"The spirit of this world guarantees the freedom of unlimited
\ninterpretations, so that independence has the sole meaning of the
\ncourage to interpret things personally, through the corridor of
\nhonesty and without any pressure,\" he said.<\/p>\n
Consequently, he is not worried about criticism or a small
\naudience. \"This is only a quest for interpretation. It makes my
\nproductions very simple. People may assent or dissent, or even
\nscorn them,\" said Aria, who has produced six pictures.<\/p>\n
Convinced of the artistic nature of his movies, he said that
\neach of his productions carried responsibility and \"there was
\nalways a segment of enthusiasts for this genre\".<\/p>\n
Film critic Panji Wibowo said any fear of poor attendance was
\nnatural. \"It's because moviegoers always expect general features,
\nsuch as expecting films to be narrative. But however outlandish
\nthey may be, filmmakers must provide clues.<\/p>\n
\"By doing so, the audience can explore and figure out what the
\npictures convey as a whole,\" added Panji, who stressed the
\nimportance of the totality of expression in the creative process.<\/p>",
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