Mira's films brim with idealism<\/p>\n
T. Sima Gunawan, tabita@cbn.net.id, Contributor, Jakarta<\/p>\n
Something unusual can be seen at cineplex movie theaters in
\nthe city these days: the screening of three different Indonesian
\nmovies at the same time. This is quite amazing, as the national
\nfilm industry started to grow again just a few years ago after a
\ndecade-long debacle.<\/p>\n
Eiffel... I'm in Love, a romantic teen comedy, was premiered
\nin mid-November, followed by Biarkan Bintang Menari (Let the
\nStars Dance), a musical teen drama, and Arisan!, an adult
\ndrama\/comedy, this month.<\/p>\n
\"It's now the most interesting time in the Indonesian film
\nindustry. The audience can take part by exploring and following
\nthe development, which passes through the trial and error
\nprocess, and give feedback,\" said film producer Mira Lesmana.<\/p>\n
Thanks to Mira. The 39-year-old Mira is an important figure in
\nthe revival of the Indonesian film industry, who brightened the
\ngloom with Petualangan Sherina (Sherina's Adventure) in 2000. It
\nwas followed by the release of some other movies including Ada
\nApa Dengan Cinta? (What's up with Cinta) and Eliana Eliana.<\/p>\n
Like Sherina, Cinta was big success and has been made into a
\ntelevision series while the low-budget Eliana was internationally
\nacclaimed but attracted only a small audience here.<\/p>\n
Her recent project is Gie, about student activist Soe Hok Gie,
\nwho died from inhaling poisonous gas when he climbed Mount
\nSemeru, East Java, on Dec. 16, 1969, a day before his 27th
\nbirthday.<\/p>\n
She said that the type of movie she made determined the type
\nof idealism that characterized it.<\/p>\n
\"We are like cooks. Although people may like our semur (stewed
\nbeef), this does not necessarily mean that we should make semur
\nall the time. If we can cook other food that is good, why not?\"
\nshe said.<\/p>\n
Mira, the mother of two boys, recalled that before she made
\nSherina, many were skeptical. They also said the same thing about
\nCinta. But Mira never underestimates the audience and continues
\nto do her best for film productions. She says she does not want
\nto judge the audience and believes that their taste develops as
\nthe mind evolves.<\/p>\n
Mira does not make movies for commercial purposes, saying that
\nshe only wants to make good movies.<\/p>\n
\"A good movie should be able to move the emotions of the
\naudience and make them think further; it should be able to
\npresent new ideas on life,\" said Mira.<\/p>\n
Gie, she said, was not about politics, but about a bright,
\nrebellious young man who struggled for injustice. It was inspired
\nby his book, Catatan Harian Seorang Demonstran (Journal of a
\nDemonstrator), which she read in 1984. The script is ready and
\nshooting is to start in February or March. It is expected to hit
\nthe market late in 2004 or even early in 2005.<\/p>\n
\"Making a good film takes time as preparations need to be
\nthorough,\" said Mira. \"And however professional the actors are,
\nthey should also prepare well by practicing with the others.\"<\/p>\n
Making a television film also gave her the same satisfaction
\nas working on a wide-screen film. However, she has not produced
\nmany TV films because she could not follow the speed of the TV
\nfilm industry, which always wants things to be done quickly,
\npossibly sacrificing quality.<\/p>\n
The wife of popular actor Mathias Muchus, Mira has enjoyed
\nwatching movies since she was a child.<\/p>\n
Her fond of movies grew when she lived in Australia for five
\nyears to join her brother Indra Lesmana, a young talented
\nmusician. Upon returning to the country, Mira studied film at the
\nJakarta Arts Institute (IKJ), as suggested by her late father,
\nrespected jazz musician Jack Lesmana.<\/p>\n
Unfortunately, when she finished her studies in 1988, the film
\nindustry was in the doldrums, while the TV industry had yet to
\nflourish. Therefore, she worked in an advertising company for
\nmore than four years. She later joined Katena production house
\nfor another few years before she decided to establish her own
\ncompany in 1995.<\/p>\n
\"I started with nothing but ideas,\" said Mira, who has a wish
\nthat one day she will write her ideas in a book on film
\ndevelopment in the country.<\/p>\n
One of her former employers at the production house helped by
\nrenting her a building and providing her with a second-hand
\ntelephone and fax machine. Her friend, actor Didi Petet, sent
\nsome old furniture. A secretary and an accountant were hired for
\nher new office.<\/p>\n
Mira tried to sell her ideas to make television films, but no
\none was interested. Somehow, she got an offer to make Anak Seribu
\nPulau (Children of the Thousand Islands), a TV documentary series
\ncoproduced by Garin Nugroho. It was screened in 1996 and received
\nan encouraging response from viewers.<\/p>\n
During the making of the documentary, Mira met many people who
\nshared the same dream to revitalize the film industry. Among them
\nwere young director Riri Reza, who later became her partner in
\nMiles Films and Production Company, and Nan T. Achnas. Along with
\nRizal Mantovani, they joined forces to direct four separate
\ncinematic vignettes in Kuldesak (Cul-de-sac) in 1997.<\/p>\n
Kuldesak, which was made on a low budget of Rp 600 million
\n(about US$71,400), attracted 140,000 people, which was far beyond
\nMira's expectations.<\/p>\n
\"We raised all the money to produce the film from donors,
\nwhile those involved in the film making were not paid. Therefore
\nwe spent all of the revenue on helping young people interested in
\nmaking films,\" she said.<\/p>\n
The flourishing industry and the consequent arrival of a new
\nbatch of young filmmakers do not worry Mira in the slightest.
\nShe's happy about that. Her concerns are for a brighter future
\nfor the Indonesian film industry.<\/p>",
"url": "https:\/\/jawawa.id\/newsitem\/miras-films-brim-with-idealism-1447893297",
"image": ""
},
"sponsor": "Okusi Associates",
"sponsor_url": "https:\/\/okusiassociates.com"
}