Independent filmmakers express themselves

Independent filmmakers express themselves

Bayu Dwi, Contributor, Jakarta

A middle-aged man sits among passengers aboard a Jabotabek
(Greater Jakarta) commuter train, holding a worn out sport shoe.
He has a dazed look of disbelief on his face from what has just
happened. The people around him, meanwhile, sit tightlipped.

He has just witnessed a violent student brawl. Some of the
students were taking revenge for a schoolmate's death and easily
beat to death a student from a rival school. The ill-fated youth
was then flung off the speeding train and the youths stood
shouting in satisfaction. The bloodshed happened in just seconds.

The passengers showed no response for unclear reasons. They
might have been scared, worried or otherwise felt they should
keep silent. Only one man was concerned and he alone tried to
help, but his efforts were in vain. He was threatened with a
knife and some students turned on him as he held onto one foot of
the victim moments before the teenager was thrown off the train.
He could only save the youth's shoe.

This is a scene from D.A.R.K./Di Atas Rel Kereta (On the Rail
Track), a short movie from young director Nanang Istiabudi. The
setting was along the Jakarta-Bogor-Tangerang-Bekasi train route.

Nanang wanted to convey the message of increasing violence to
the audience.

"Our nation is lacking morality. Just take a look around you.
They even stopped a middle-aged man from trying to help. Life no
longer has any value," said Nanang.

D.A.R.K. is his latest work. Through the independent film,
Nanang is free to express things that are sometimes seen as
vulgar. Viewers will notice how the blood of the unfortunate
student is portrayed.

"This film is more refined compared to my previous one,
Revolusi Harapan (Revolution of Hope). Veteran actress Niniek L.
Karim once criticized my work. She told me to cut down on the
violence and blood," he said, admitting that the amount of blood
could have been less but the body still had to be thrown off the
moving train.

As a recipient of the 1999 artist award, Nanang said the film
was needed to educate the audience as well as show what a real
movie short was about.

"I have noticed that short films have only been a shorter
version of long ones. I wanted to share the idea with fellow
filmmakers that shorts are those formulated as such," he said.

"The most important aspect is the short duration involved."

A big budget is inevitable for any film production in spite of
the fact that short flicks are labeled as independent movies.

"My film cost Rp 65 million (US$6,310) and another Rp 20
million was needed to release it in the 35-mm format," he said.

But the total portrayal of the killing in the picture has
satisfied him. "That's why I didn't include popular stars. The
whole cast came from the Jakarta Art Institute (IKJ) theater."

To reach the break-even point, his productions have joined
several international film festivals. In 1998, he earned various
awards from Croatia, the Czech Republic and Belgium. D.A.R.K. is
scheduled to join the Cannes Film Festival next year.

Another prominent young director in the independent film world
is Aria Kusumadewa, who is gaining prominence through his newest
production titled Beth. He has opted to cover the costs to show
his independence.

Making films is Aria's hobby. He makes one whenever he feels
inclined, no matter who the audience will be.

"Make it first, then check the outcome, including its
strengths and weaknesses -- it just flows like water," said the
1991 IKJ graduate.

He also chooses daily events for themes.

"I'm accustomed to facing the social realities around me,
which are quite hard and almost uncompromising, with their
presence, loss, discovery or death happening just naturally," he
said.

Describing every individual as unique, he said "if a person
was placed in a scene, while mutually attracting space, time and
events, unique ideas as well as productions would also arise
freely and straightforwardly."

His other work is Bingkisan untuk Presiden (A Gift for the
President), which was aired on RCTI on Oct. 28 to commemorate
Youth Pledge Day.

His close association with street life has been reflected in
some of his movies. Medi, Pencopet Kota Palembang (Medi,
Palembang's Pickpocket), for instance, is a 1999 film about
destitute children's tough existence on the streets of Palembang,
while portraying their eagerness to learn.

The street scenes, according to him, were an endless source of
creativity, because they were packed with different characters,
complicated problems, diverse occurrences and their bitter
experiences.

"The spirit of this world guarantees the freedom of unlimited
interpretations, so that independence has the sole meaning of the
courage to interpret things personally, through the corridor of
honesty and without any pressure," he said.

Consequently, he is not worried about criticism or a small
audience. "This is only a quest for interpretation. It makes my
productions very simple. People may assent or dissent, or even
scorn them," said Aria, who has produced six pictures.

Convinced of the artistic nature of his movies, he said that
each of his productions carried responsibility and "there was
always a segment of enthusiasts for this genre".

Film critic Panji Wibowo said any fear of poor attendance was
natural. "It's because moviegoers always expect general features,
such as expecting films to be narrative. But however outlandish
they may be, filmmakers must provide clues.

"By doing so, the audience can explore and figure out what the
pictures convey as a whole," added Panji, who stressed the
importance of the totality of expression in the creative process.