Hopes, doubts greet film festival return

Hopes, doubts greet film festival return

Hera Diani, The Jakarta Post, Jakarta

It could be of the gigantic upswept hairdos, the Citra trophy or
autograph hunting, but those born before the 1980s are likely to
recollect the Indonesian Film Festival (FFI).

That recollection may include its significance in cultivating
and influencing public opinion on quality local films during its
heyday in the 1970s and '80s.

"It was such a big deal for everyone, including filmmakers,"
reminisced director Riri Riza of the festival, inaugurated in
1973.

"Filmmakers are, of course, delighted to have their works
appreciated. Films become very important."

Riri was a student at the film school of the Jakarta Arts
Institute (IKJ) when the last FFI was held in 1992.

Now a producer and the director of several films that could be
nominated in the festival, to be held on Dec. 11, he said he was
eager to relive the atmosphere of years past.

He is not alone; many others also yearned for the glittering
festival, which was halted as Hollywood blockbusters gained a
stranglehold at movie theaters and local film production petered
to a halt.

FFI's revival comes in tandem with the increased film
production of recent years. From one film released in 2000, there
were four in 2001, eight in 2002, 13 in 2003 and 18 in 2004.

It is still a paltry number compared to the robust film
production in Asian neighbors like India or the Philippines, but
enough for the nominations needed for a film festival.

It follows the first MTV Indonesia Movie Award in October,
with the public making their picks in 10 different categories.

Held in typically funky MTV style, with an irreverent but
crisp script, the categories included such offbeat choices as
Best Crying Scene.

FFI 2004's head of committee, director/producer Adisurya Abdy,
said there was the need for a standard measurement of film
quality to determine the progress or decline in the local film
scene, long the role of FFI.

"So FFI is like a venue to unify the perceptions of the film
community. FFI also confirms a filmmaker's identity."

Riri agreed that a national-scale film festival was needed to
set a standard, such as in picking the official representative
from this country in international film festivals.

"Our entries for the Asia Pacific Film Festival, for instance,
have been questionable. It's unclear why the entries are mostly
films from Multivision and Star Vision," Riri said, referring to
film companies owned by TV soaps moguls Ram Punjabi and Chand
Parwez, which churn out critically panned, lowbrow fare.

Adisurya said the idea to revive FFI had been around for
several years, but funding constraints prevented it from being
realized.

Organized by the State Ministry of Culture and Tourism and the
National Film Management Committee (BP2N), the FFI committee was
finally able to gather Rp 5 billion (US$556,000) from the
ministry and several sponsors.

Categories in FFI 2004, spanning the period 2000 to 2004,
include Best Picture, Best Television Film, Best Script, Best
Documentary, Best Short Film, Best Film Critic and Best Director.

Juries are not limited to people involved in the film
community, but also include noted figures from different fields,
such as writer Ayu Utami, former state minister of women's
empowerment Khofifah Indar Parawansa, presidential spokesman Andi
Mallarangeng and sociologist Imam Prasodjo (this writer is also a
member of the short-film panel).

But some contend jury members should only come from the film
community, whether filmmakers or critics.

"If the reason for not using people from the film scene is
because of the fear of conflict of interest, that doesn't make
sense. I've been a jury member at several international film
festivals, and about 80 percent of the jury come from the film
community," said director Garin Nugroho.

Riri argued that film organization in this country was still
more well-rounded than other arts organization, including BP2N,
the Film Censorship Institute (LSF), not to mention private and
independent film organizations.

"So it's a bit ironic that the FFI jury does not comprise
people involved in the local film scene. The committee should've
communicated it to the public, so we know what's going on and we
know that the jury involved knows what they're talking about."

The PR savvy necessary to put on an inviting, interesting film
event is clearly still lacking compared to other regional
festivals.

For the Pusan International Film Festival in South Korea, for
instance, banners promoting the event are numerous and regular
screenings ensure that the public is aware of what is going on.

For FFI 2004, the media exposure is small, and the only
promotional banners are at the film building housing the offices
of BP2N and LSF on Jl. MT Haryono, South Jakarta.

FFI's website, www.filmindonesia.net, is always under
construction. Many have tried to log onto
www.ffi.esmartdesign.com, mistakenly assuming the hoax site is an
official one.

The website lists "nominees", but they will only be finalized
on Dec. 4. And a short film listed as one of the nominees is not
even among the entries.

Director Jay Subijakto is baffled by the approach of the
organizing committee.

"Everything is so formal, bureaucratic ... It's like deja vu
New Order," he said, referring to the government of president
Soeharto from the late 1960s to 1998.

Granted, FFI was indeed nothing like the Academy Awards, let
alone the MTV Movie Award. It was more like a staid government
ceremony, with the information minister on hand to open the event
and deliver long-winded speeches.

Films contravening the government view of things were not up
for consideration.

Adisurya admitted that the work ethos of people remained stuck
in the old-fashioned ways. "We can't suddenly change that."

Even the fringe events supporting the festival are a strange
hodgepodge.

Instead of an intensive schedule of screenings, the public can
choose from a photo exhibition, charity night, traditional
leather puppet show, acting competition and billiard tournament
as part of the festival.

"The festival should not stop at giving awards. There should
be a lot of discussions and discourse about local films. In the
past, there were usually some film critics who discussed the
nominated films on television. That's like educating the audience
as well," Riri said.

Garin said the festival must be critical about the problems
affecting the local film industry, like the stifling tax policy
and the structure of the industry.

"Even thought it is government funded, it still has to be
independent," said Garin, who failed to submit his films for
consideration in time.

The only criticism on the contemporary situation from the
festival came from Ratna Sarumpaet, women's activist and a member
of the selection committee for television films, who stated that
most TV films were offensive to women.

Observers like Jay worry that the festival will fail to live
up to its objectives in defining quality film vehicles.

"I'm worried that young filmmakers would see the best picture
film and think 'Oh, so this is what we should make'. It was the
reason why the local film industry collapsed in the first place."

Riri has more confidence in the durability of the local
industry, pointing out that it survived despite no government
support during the dark decade of the 1990s.

"The most important thing is that the festival is not just a
mere awards-giving ceremony, because media competition is fierce
today."

With all its present shortcomings but its rich history behind
it, let's hope that the upcoming FFI is not the last for another
12 years.