Regional film festival fails to attract viewers

Regional film festival fails to attract viewers

By L.N. Idayanie

YOGYAKARTA (JP): In keeping with the sluggish state of the
national film industry and gloomy predictions for production in
Southeast Asia, the recent ASEAN Film Week passed with little
fanfare.

The event, held here April 6-9, garnered scant attention from
the public and media even though it was touted as a forum for the
six member countries of the regional grouping to screen their
best works.

The lure of free tickets was not enough to fill the theater
and most of the viewers were festival delegates. The local press
devoted space to the opening and then shied away from the rest of
the festival.

Acclaimed as the best film of the festival was the Thai drama
Khu Gum (Sunset at Chaopraya), the work of director Euthana
Mukdasant.

"This film holds very strong cultural elements," said Budiati
Abiyoga, producer of Bulan Tertusuk Ilalang. "World War II forms
the background of the story of a Japanese soldier falling in love
with a Thai girl. The story does not, however, slide into a cheap
and sordid tale of love."

She praised the film's superb editing, technological values
and its exploration of the universal theme of a complex love
triangle.

Khu-Gum details the relationship between Kobori, the Japanese
officer, and Angsumalin in the lead-up to the occupation of the
country. The girl, played by Appasiri Nitiphon, is involved with
compatriot Vanus (Thiriphat Sajakul) at the outset of the film.

Vanus departs for England to join the Thai Free Forces,
promising to return and marry Angsulin one day. As the war
intensifies, the Japanese army occupies Thailand under the
leadership of Kobori. His headquarters lie close to the home of
Angsumalin, leading to an accidental meeting between the pair.
Their relationship develops and the two eventually decide to
marry in a union based on political considerations.

Angsumalin is haunted by her promise to Vanus, frustrating the
Japanese with her indifference to his feelings. The film ends
with Kobori's death at the hands of an Allied attack.

The 135-minute movie is packed with traditional elements,
including Japanese-Thai music, Shemiseng or Kim, performed by
Angsumalin. It comes as no surprise that Khu-Gum, screened in
Thai cinemas in 1995, was a box office success and ranked among
the big five money earners in the Thai film industry. It received
five Thai film awards for best picture, best director, best
leading actor, best title song and best costume design.

Although she criticized the poor quality of the copy screened
at the festival, Budiati said the overall content of the film was
worthy of praise as "this type of film can be enjoyed by the
whole world since it stands on a clear basis."

She also cited the sophisticated stereo sound system of the
film, which has yet to be used in Indonesian films. "This is what
makes it an expensive film," she added.

Mulanay, an engaging entry from the Philippines, also drew
praise for its vivid depiction of a young female physician's life
in a remote area. Although its theme was not unusual, the film
focused on strength of character in overcoming hardship and
presented a realistic portrait of conditions of the rural poor.

Unfortunately, the pace of the film was ponderous and
deliberate.

Indonesia presented Bulan Tertusuk Ilalang (And the Moon
Dances), Kereta Terakhir (The Last Train), Serangan Fajar (Dawn
Attack), and Cemeng 2005. Of these, only Cemeng 2000 has received
a general cinema distribution.

Bulan Tertusuk Ilalang is the work of young film director
Garin Nugroho. The film is short on dialogue but loaded with
symbolism, allowing viewers to form their individual
interpretations. The work was awarded the Golden Apsara Award at
the Asian Film Festival in Cambodia last month.

A pall hung over the film festival as delegates forecast grim
times ahead for the Southeast Asian film industry.

Thailand currently produces only 45 to 50 film titles per year
compared to the 200 to 300 titles annually a mere five years ago.
Euthana Mukdasanit, a producer from the Grammy film group which
made Khu-Gum, said the downward spiral was a result of the
expansion of American films in Thailand and the increase in
production of television movies.

"We have to strive just to maintain an annual production of 50
titles," Euthana said.

The movie industry in Indonesia is faring worse than Thailand.
Indonesia produces about 30 films, many of them cheap vehicles
laden with sex and violence, Budiati said.

The popularity of sinetron television series makes it unlikely
that the situation will change soon. Indonesians currently
prefer to watch television in the comfort of their own homes than
venture out to crowded movie theaters, Budiati added.