'Eliana-Eliana': The film we have been waiting for
Hera Diani, The Jakarta Post, Jakarta
Eliana Eliana *** (out of ****); Drama, 83 minutes; Starring Rachel Sayidina, Jajang C. Noer, Henidar Amroe, Arswendi Nasution, Marcella Zalianty; Directed by Riri Riza; A Miles Films production (Indonesian language)
Will we be able to say "finally" at long last?
That was the big question before seeing this much-anticipated movie, a winner at the recent Singapore Film Festival.
Will we be freed from the curse of pretentious art-house films mistaken for good cinema? Or will we still have to put up with the fact that the best that local filmmakers have to offer is children's movies or teen flicks?
Breathe a sigh of relief, because the answers are both in the affirmative for the first two questions, and "not anymore" for the third.
And while that "finally" is yet to be the kind written in capital letters and followed by exclamation marks, it is safe to say that this third film directed by Riri has again succeeded in bringing local moviemaking to another level, which is an exhilarating fact in itself.
Finally, someone has come to his senses and is making movies that people can relate to. This film, which opened in theaters on Friday, is the one for adults that we have been waiting for, the kind of movie that filmmakers should have been able to make a long time ago.
It is also more proof of Riri's talent as a filmmaker, after the huge success of 2000's Petualangan Sherina (Sherina's Adventure) and this year's Ada Apa Dengan Cinta? (What's With Love?), the aforementioned kiddie and teen flicks.
He directed the former, and acted as producer for the latter. But while both films are light, entertaining and slick, Eliana is raw, grim and a deeper exploration of its subject.
It tells of a love-hate relationship between mother and daughter, which is similar in theme to last year's Pasir Berbisik (Whispering Sand) without the dull vistas of sand, the big budget and the snoring of the audience -- and with the addition of some logic.
Its quality belies the fact that it qualifies as a low budget film, with production costs or only Rp 800 million (about US$80,000), small even by local standards (Petualangan cost some Rp 2.5 billion, while Ada Apa was Rp 4 billion).
Even on its tight budget, one-camera production, 14-day shoot and in digital format, Eliana succeeds in depicting a difficult relationship played out against the backdrop of the big bad city.
And, unlike most films these days, the relationship does not include raging hormones.
Eliana (Rachel) ran away to Jakarta from her hometown of Padang, West Sumatra, to escape an arranged marriage. Five years later, she is struggling with her job and dodging her landlord in her slum neighborhood when her widowed mother (Jajang) arrives with plane tickets to take Eliana home.
The meeting leads to an all-night taxi ride as Eliana looks for her housemate, Heni, who suddenly disappeared.
The ride is also a journey of disclosure, revealing many things between Eliana and her mother that have been buried throughout their lives.
Some filmmakers here believe that the less dialog, the better, and Riri is in this group with Eliana Eliana. But while his colleagues fail to fill those gaps where the words are supposed to be, the images speak for themselves here.
The gloomy, ugly face of Jakarta also is not only mere background: It is the story itself and adds its own poetic moments. Sometimes, it is stronger than the main plot, as we get to see the corners, the people, the dreams turning into nightmares in the urban sprawl.
Of the cast, Rachel cannot fulfill the demands of playing a rebellion with no direction in her life, acting as if she is back on the set of a soap.
Fortunately, Jajang is brilliant, testament to her long experience in theater and film.
She breathes life into the character of the defiant widow, making it natural, believable and real, whether she is scolding a taxi driver and trying to bring almost everyone into line, or finally letting go of the facade when she breaks down at seeing her reflection in the mirror of a dirty public toilet.
There are some other shortcomings, including lapses into pat dialog. Sometimes the plot drags, including in a confusing scene where Eliana meets Ratna (Marcella) as she searches for her friend.
It also turns out that the taxi driver's son is a photographer and filmmaker, which is simply unbelievable (especially as dad is working for one of the most notorious taxicab companies around).
Still, despite the faults, Riri shows that he is on his way: The three-star rating is not given merely for this film, but also for the proof of promise that even better things lie ahead.