Kunang Helmi-Picard
\nContributor
\nParis<\/p>\n
Indonesian director Riri Riza confirmed his place in the local
\nand international scenes, joining the like of Garin Nugroho,
\nafter his film Eliana Eliana gave Jajang Noer and Rachel Maryam
\nSayidana a Lotus for Best Actress award each for their roles in
\nthe much appreciated film at this year's Deauville Asian Film
\nFestival in France.<\/p>\n
Riri's success is a repeat of Indonesia's achievement last
\nyear, when Dian Sastrowardoyo won the Best Actress Award at the
\nfestival for her role in Whispering Sands.<\/p>\n
Riri, who was present at the Deauville prize presentation
\nceremony joked, \"The Chinese film Blind Shaft did not have any
\nnotable female actresses, otherwise we would not have won
\nanything at all!\"<\/p>\n
Riri was referring to the fact that the Chinese director of
\nBlind Shaft, Li Yang, had carried off most of the other six
\nprizes known as Lotus awards distributed at this festival. Riri
\nand his Eliana were lucky compared to the other Asian films that
\ndid not win anything at all. The exception being the Japanese
\nvideo film Moon Overflowing by Ryota Sakamaki in that section.<\/p>\n
The fifth edition of the Deauville Asian Film Festival was
\nhampered by a last minute take-over of the festival by new
\nmanagement.<\/p>\n
Alan Patel who founded the festival is now co-president
\ntogether with Lionel Chouchan of Publique Systemes, who is now
\ngoing to run the festival together with Bruno Barde. Slight
\nconfusion resulted as the organization has changed considerably,
\nbut otherwise the festival ran smoothly despite less films shown
\nthis year - and a somewhat lower attendance by film
\nprofessionals.<\/p>\n
However, the public remained enthusiastic and the festival
\ncontinues to be one of the smaller, but very important venues,
\nfor Asian films in Europe.<\/p>\n
Indonesian Riri Riza was one of the most sought-after film
\ndirectors of the festival. He came alone and was only seconded by
\na young Indonesian student from Caen, Normandy, who translated
\ninto French for him. It was his second visit to the festival; he
\nwas here previously with co-producer Mira Lesmana in 2000 to
\npresent their film Kuldesak.<\/p>\n
The main problem faced by the company he co-runs, Miles Films,
\nin Indonesia and Europe, as well as other parts of the world, is
\nfilm distribution. Indonesia does not have an official support
\nsystem for films made in Indonesia by Indonesians.<\/p>\n
\"These could be distributed abroad as well as being helped
\nwith the problem of commercial film distribution in Indonesia
\nitself. This difficulty hampers creativity -- and we are not even
\ntalking about financing the films themselves, or training the
\nactors and technical staff! Iran is an example where the state
\npromotes both the making and the distribution of Iranian films in
\nand outside of the country.\"<\/p>\n
The young director was full of admiration for the Chinese-
\nGerman co-production Blind Shaft (Mang Jing) directed by Li Yang.
\nThis 92-minute feature film, which garnered five of the seven
\nLotus awards here, is a tightly directed film realistically
\nportraying the lives of coal miners at the bottom stratum of
\nChinese society.<\/p>\n
Filmed in a documentary-like cinematic style, it portrays a
\nstory which could be real in its simplicity and tragic outcome.
\nThere is almost no modern equipment and no protection for those
\nworking in these mines for a minimal wage: no social security and
\nno medical insurance.<\/p>\n
The workers are subjected to corruption by state officials and
\ntheir lives are disregarded while working under extremely
\ndangerous conditions.<\/p>\n
Li Yang declared that in order to make Blind Shaft \"my crew
\nand I experienced a lot of difficulties, including having to risk
\nour lives at times. Now the film is finally finished, but to me
\nthe dangers are still here. This film will be banned from being
\nreleased in China, and I will face the unfortunate destiny of
\nbeing banned from making a film in China. Many friends asked me,
\nwhy I must risk my life to make a film like this.\"<\/p>\n
The resulting film is proof enough that this director, who was
\ntrained in Cologne, Germany, should be allowed to go on to make
\nmore films in the future. The jury and audience in Deauville were
\nunanimous in their approval.<\/p>\n
Besides the winning Chinese film, a hilarious Korean comedy --
\nnot in the competition -- Saving my Hubby, directed by Hyun Nam-
\nsub with the extraordinary actress Bae Doo-na, came in for much
\npraise for its story-line and superb acting. The Vietnamese film
\nMe Thao (Once upon a time) directed by Viet Linh was another
\nsuperb example of the best in Asian films: although slow in
\ntempo, it features a strong story-line, excellent acting and
\nsuperb photography. Famous Chinese director Zhang Yimou's
\nblockbuster Hero with a long list of famous stars like Meggy
\nCheung, Jet Li and Tony Leung was a magnificent spectacle of kung
\nfu glory and splendid photography depicting ancient China, but
\nfailed to capture the rapt attention like Blind Shaft won from
\nthe French audience.<\/p>\n
The attention that Riri Riza's Eliana, Eliana won from
\naudiences here in Deauville proved that despite the short-comings
\nof video technique on large screens, a well-written script,
\nexcellent actors and superb directing can overcome such
\nobstacles.<\/p>\n
As veteran Indian actor Amitabh Bachchan remarked: \"We are
\nincreasingly proud to be Asian actors or filmmakers here in
\nEurope!\"<\/p>\n
Bachchan was the subject of a special homage at Deauville for
\nhis long and fruitful career in Indian films.<\/p>\n
Riri Riza told the Indian star: \"My parents in Indonesia
\nwatched so many Amitabh Bachchan movies that you are also
\nmentioned in my film Eliana, Eliana!\"<\/p>",
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