Film soe hok gie
“I made this film… to infect our youth with Gie’s spirit. Riza’s strategy is to target the largest possible audience, in hopes of instilling a desire to ask questions that go beyond the limited scope of the film itself: “ Gie is deserted by some because it’s too general, too generic in description… but what’s more crucial to me is to get those high school students - who are familiar with Nicholas Saputra - come to the cinemas and watch Gie” (). As Riza stated in a 2010 interview, this, along with the casting of a non-ethnically Chinese star (again, Nicolas Saputra) in the role of Soe Hok Gie, caused a backlash from intellectual and activist communities: While it raises many questions about what happened, and about the military and Suharto government, the film stops short of presenting the sequence of events with enough precision to seriously challenge official narratives. Gie takes place during the violence of 1965 and the years leading up to and following it. But according to Riza himself, this is the potential strength of his populist-based style. The film also shows his cautious restraint in the presentation of certain details that might be flagged by censors as politically sensitive, or by audiences as too long-winded or didactic. Of the six other feature films directed by Riri Riza (he also co-produced Ada Apa Dengan Cinta), Gie (2005), a biopic about Soe Hok Gie, a dissident Chinese-Indonesian journalist who was openly and harshly critical of corruption and injustice under both the Sukarno and Suharto regimes, probably best demonstrates Riza’s interest in contested aspects of local history. It is precisely in this context of uncertainty in terms the status of politically charged expression, as well as that of the ever-fickle market for popular films, that I would locate the coded, opaque and allegorical intervention of Tiga Hari Untuk Selamanya. Developments since the film’s release have not been encouraging: despite a great deal of lobbying from various filmmakers and political activists, in 2009, a new censorship bill was passed, based on the historically redundant 1992 regulations to which Sen refers ( Jakarta Post 2-19-09).
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Thus, although the film’s message is basically unchanged, its decisive ending - and potential point of departure for real action - has been rendered somewhat impotent by a censorship body that continues to rely on a set of regulations and justifications implemented by the Dutch for the “protection” of the “uneducated natives” (Sen 1994 13, 67-71 2006 103). While I was lucky enough to get access to an uncensored version of Tiga Hari Untuk Selamanya through the generosity of a film festival, in Indonesia it is only available with its final, pointed act, the (rather unexplicit) sex scene between Suf and Ambar, excised. Nicholas Saputra as Soe Hok Gie attempts to theorize a way to extricate Indonesia from its continuing immersion in longstanding cycles of violence and corruption. Riza (middle) with longtime collaborator/ producer/ writer Mira Lesmana (seated directly above Riza) on set. Polygamy, poverty, and childcare in Berbagai Suami. The Tayub Dancer’s practiced movements and looks establish her dominance within the rural, yet formally structured, gendered space of performance. Pasir Berbisik: Dian Sastrowardoyo as the curious, maternally repressed Daya, eager ear to the whispering sands.Ĭhristine Hakim, who plays Berlian, Daya’s mother in Pasir Berbisik, also plays a gaze-returning, tough-love single mother in Riza’s Eliana, Eliana. Return to Belitung and familiar themes: The three main characters from Laskar Pelangi return as teenagers in Sang Pemimpi, where, among other things, they contemplate the emergent possibilities of inter-island travel and higher education in far-off Java. Thematically somewhat similar to Tiga Hari, it focuses on the experiences of a young woman who runs away to Jakarta to escape an arranged marriage.
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Shot on video and filled with jump cuts and other continuity-averse techniques, Eliana, Eliana is Riza’s most overtly experimental film to date.
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The young stars of Laskar Pelangi, amateurs from the island of Belitung where the film takes place, were chosen from hundreds of local children who auditioned for the film. Riza’s film is based on Gie’s published diaries. The graphically 60s/ leftist-inspired poster for Gie. The only kiss not excised by censors is the one forced on Ambar by her nagging, middle-aged aunt who at the end of the film is revealed to be unmarried. History and Reformasi in Indonesian film," p.