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JOGJA FUTURE PROJECT Entering the 13th year of JAFF, this year we are back with the program which provides a place to collect freshly new ideas for the film industry, namely Jogja Future Project. This program aimed to select 10 film project titles which have developed their storylines, scripts, production designs until their post-production stage or the editing stage. The selected 10 are having the chance to meet face to face with film professionals from Indonesia as well as abroad. JFP is a collaborative program whose main goal is giving a chance for young talents to develop their skills in film making. Through this program, JAFF as a festival which focuses on the development of Asian cinemas and independent filmmakers, hopes to help their carrier in the future by providing them the access to meet the professionals. In its second year, JFP is happening in November 30th until December 3rd and is one of JAFF 2018’s seeded programs.
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CONTENTS 2 PROJECT OVERVIEW 4 NOTE ON JOGJA FUTURE PROJECT 5 AWARDS 6 JURY MEMBERS 8 TECHNICAL JURY MEMBERS 10 THE PROJECTS 30 SCHEDULE
Jogja-NETPAC Asian Film Festival Jl. Kebun Raya No. 41A, Rejowinangun, Kotagede, Yogyakarta, 55171
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New Colors in Asian Film Industry By. Said Nurhidyat
Difficulties regarding the funding of film productions have been experienced at least annually by the filmmakers. Though it seems to be a never ending problem, Jogja-NETPAC Asian Film Festival (JAFF) always tries to seek for solutions to the problem for JAFF aims to be a festival gathering all lines involved in the cinematic world. Jogja-NETPAC Asian Film Festival offers some newlybrewed solutions to escape the funding problem through a pitching competition called Jogja Future Project, in which young filmmakers and the investors meet face to face. The solutions provided in this competition will cover the problems faced from the production to the distribution processes. Upon its second year, Jogja Future Project has been attracting more people to participate. Hopefully the agenda could be held annually. This year, particularly, Jogja Future Project will widen the spaces for the young filmmakers and investors to meet.
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Jogja Future Project as a competition does not limit the participations from the professionals only, but from the upcoming talents as well. This program could be their very first experience, which hopefully, could drive them into the real world of film industry. In other words, Jogja Future Project also takes the role as one of their study spaces. It is impossible to deny that JAFF itself is considered as the most popular display platform in Indonesia, in which the participants could easily get the spotlight which will then lead them to prestigious positions, especially when they become one of the nominations. Believe it or not, Jogja Future Project could be a tool to jack up the popularity of the filmmakers or their production houses. Considering these points, the positive outcomes of Jogja Future Project are hoped to fill out the plain and blank spaces in Asian film industry with new characterized colors. Greetings from Hanoman!
AWARDS BEST FUTURE PROJECTS
Award and funding support worth IDR 30,000,000 from APROFI, IDR 20,000,000 and IDR 10,000,000 from BEKRAF for three best projects respectively selected by jury members.
SUPER8MM STUDIO Post Production Fund
Workflow Color Lab and Film Mastering (DCP) facilities by Super8mm.
AKATARA
Indonesia Film Financing Collaborating Project With AKATARA on 2019
RED Digital Cinema
20 days loan of the RED Digital Cinema camera  equipment worth USD 25,000
VIRTUE MEDIA
Production Equipment Support till Post Production (Audio+Video Editing)
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JURY MEMBERS
Eddie Cahyono
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Angga
Sasongko
Born in Yogyakarta, April 2nd 1977, Eddie Cahyono is a Media Recording graduate of Institut Seni Indonesia Yogyakarta. He established Fourcolors Film in 2001 and started to produce a short film which won Best Short Fiction Film in Festival Film-Video Independen 2001. In 2003, his film Bedjo Van Derlaak was awarded Berst Short Film in Bali International Film Festival. In 2007, he made a short film titled Sepanjang Jalan Kenangan and got the Best Film awards in Festival Film Konfiden. In 2014, he finished his second film, Siti, and awarded as Best Script both in Shanghai International Film Festival and Indonesia Film Festival. The film Siti was screened in Rotterdam International Film Festival and Telluride Film Festival. Angga Sasongko is an Indonesian film director and the founder of Visinema Group, a studio and content development company. In 2014, Visinema’s debut production Cahaya Dari Timur: Beta Maluku, won The Citra Award for Best Picture in Festival Film Indonesia, the country’s most prestigious film award. His other films also gained recognition and appreciation both from Indonesian and international film industry, including Surat Dari Praha (2016), Indonesia’s official entry for the Academy Awards’ Best Foreign Language Film.
Meiske Taurisia entered film business in 2004, and co-founded babibutafilm in 2007 which produced highly provoking independent films in Indonesia that challenged local censorship; therefore these films were never screened at the commercial theaters. The titles are Blind Pig who Wants to Fly (2008, Fipresci Award), Postcards from the Zoo (2012, Berlinale), Rocket Rain (2013, Karlovy Vary). In 2015, she produced three short films entitled The Fox Exploits the Tiger’s Might (Cannes), Following Diana (Toronto l), Love Story Not (Busan). In 2016, she produced a documentary film titled Cuts, premiered at IDFA. In 2013, she initiated Kolektif, a film distribution platform that promotes independent film. In 2015, together with Edwin, she established Kinosaurus, an art house cinema that focuses on promoting film and its diversity for public in general. In 2016 she established Palari Films together with Muhammad Zaidy, and produced Possessive (2017, in postproduction) and Vengeance is Mine, All Others Pay Cash at APM 2016 that won the Busan Award for the most promising project; both were directed by Edwin. Palari Films strives to produce quality films and at the same time releases them in the commercial theaters.
Meiske Taurisia
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TECHNICAL JURY MEMBERS The Red Digital Cinema Camera Company is an American company that manufactures digital cinematography and photography cameras and accessories. Red Digital Cinema was founded in 2005 by Jim Jannard, The company started with the intent to deliver an affordable 4k digital cinema camera.
AKATARA is a national event initiated by Badan Perfilman Indonesia (Film Departement of Indonesia) with BERKAF to support the funding in the ecosystem of Indonesia’s film industry: film infrastructures, film schools, festivals, applications, libraries, et cetera. It also fund the production of Indonesia’s film at every stage including short films, features, fictions, documentaries, and animations. AKATARA is the place where the meeting between selected proposals and funding parties happened. Be it local or international, AKATARA welcomes anyone who seriously committed in the film business.
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Super 8mm studio works on the film industry and audiovisual media which focuses on the post-production process. It has been established since 2010; initially it was a mere home studio called “framepoint” and later developed into a creative studio named Super 8mm Studio. Super 8mm Studio performs several post-production works ranging from offline editing, online editing, color grading, and visual effect (CGI). We have cooperated with numerous production houses including MNC Pictures, Mizan Production, Dapur Film, KG Film, LimaEnam Film, Fourcolours Film, Sinema Imagi, Bosan Berisik Lab, and many others. Diverse directors have also collaborated with us, among others Beni Setiawan, Ismail Basbeth, Garin Nugroho, Hanung Bramantyo, John De Rantau, Ifa Isfansyah, Yosep Anggi Noen, Kuntz Agus, Kamila Andini, Angga Dwi Sasongko, Andi Bachtiar Yusuf, BW Purba Negara, Bayu Prihantoro, and some other directors actively contributing to television and film industries. Its TV series includes Bima Satria Garuda (Bandai Japan), Dosa (Astro TV), Antologi Kriminal (Kompas TV), etc. Super 8mm also works on web series industry and takes part in Puang-Pulang Ganteng, Ben & Jodi (Filosofi Kopi), Aqua series “Temukan Indonesiamu”, and so forth. Super 8mm Studio will maintain its role as a creative space particularly in post-production processes and post-production technology workflow. Virtue Media started as post-production company in 2008 which is located in Jakarta before its expansion as a media company. We are creative individuals that combine audio visual arts and technology to produce Masterpiece. Virtue Media offers editing services for TVCs and Film, also colouring technics, 3D Animation, Motion Graphic, and Audio-post. Virtue Media always uses technology and sophisticated application to produce our creative arts.
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THE PROJECTS
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Terjebak Director :
Candra Aditya, Jakarta Producer :
Angga Buana Contact :
erma_azam@yahoo.com / 085717566850
SYNOPSIS Amy (23) is a beautiful young girl who works as a barista. Her nature, unfortunately, is a complete contradictory to her beautiful face. Amy is pretty heinous in front of somebody new. One day she receives a call from an ex-friend, with whom she used to hang out a long time ago, named Ali. Since Amy needs some distractions from work, she agrees to meet him. The next day, Amy meets Ali. However, Ali is not alone. He brings his other buddies, Mike and Enrico. Amy almost decides to leave because she feels trapped by the three young men, especially because her past relationship with Enrico did not go so well. Ali is eager to make Amy stay because he needs her. “Please, we need you. First, because we need more people, and second is because we need a girl.” Said Ali. Amy is confused at Ali’s request. Ali then tells her that he has impregnated his girlfriend, and now he needs all of them to play roles as Ali’s family to propose to his girlfriend. Amy thinks that Ali is exhibiting some kind of jokes on her, but Ali is dead serious. “You know how my real family would react, My. Please help me this time. I promise I will not bother you with any nonsense unless they are true urgencies.” Amy finally agrees though not entirely sincere. The four of them, with very different ethnical backgrounds, come to Ali’s girlfriend’s house, each with disguise as Ali’s family members. On the way to the house, they organize a script regarding their family tree.
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They are confident that their script is pretty credible to make Ali’s girlfriend’s parents believe in them.
When they all arrive at the house, it turns out Ali’s girlfriend’s family has prepared a very grand proposal party. Amy, Enrico, Mike, and Ali are attacked with panic. This is only the peak of the chaotic iceberg they are going to face for the next seven days. DIRECTOR’S STATEMENT Being able to laugh your heart out amidst the darkness of the cinema room is one of my favourite things in the world. Watching comedy films is, in fact, my personal effective way to release the stress I attain from too much working or from any personal problems. There is this feeling of good surprise within myself when I laugh with the other strangers attending the same comedy film at the cinema. I will never forget that one time I went to the cinema to watch Janji Joni. I did laugh so much, but other than that, I found the true calling of my identity. Making people laugh, I thought, would be a very great job to do. Making people forget about their problems once they are seated comfortably inside the cinema would be this particular blessing for me. Since then, I have always said to myself that, “I want to make people feel what I feel at this current moment.” It is true that in today’s civilization, finding good reasons to laugh at is almost impossible. There is too much fraction which would potentially cause conflicts between the people. This is probably caused by the nation’s political situation, which gets too stressful over time or, it is just us starting to lose patient over everything. It is so sad to think that being happy nowadays is a very hard thing to do. Now every issue is a tool of hatred to break us apart. In the middle of this situation, the idea behind Terjebak appeared. I incorporate different ethnic groups in Terjebak not only because they would make great comedy elements, but also that their presence would remind us that no matter what colour your skin is and from which ethnic group you come from, we all stand in the same position. We are all equal. It may sound too cliché. It may sound too abominating. But you will never know such concept, in the mind of most people, is still something so strange even peculiar. They think that the concept of “we are all same beings” is something too horrifying to be accepted. Even worse, these people prefer the concept of “we are all different beings” to address the fact that their group is more dominant than the others. Through Terjebak, I would like to laugh at such thing, such idea or concept. I would like to invite the audience to see and realize that we are all fundamentally the same beings. We are humans, strengthen by our powers and weakened by our weaknesses. Nobody is perfect. Nobody is more dominant than the others. I hope very modestly. I just want to make people laugh. I want to entertain the people. I want the people to watch and enjoy Terjebak with all its humours and funny moments through friendship between the characters. Probably the people could also laugh at themselves.
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I hope that Terjebak could open the people’s mind so that their judgments towards particular ethnic groups could be wisely filtered. I also hope that Terjebak could bring all of us into one state of laughing so honestly in the middle of the cinema room for such situation has been longed to happen. DIRECTOR’S PROFILE Candra Aditya is a writer and filmmaker. He writes for media platforms, such as DetikHot and Provoke! Magazine. His short films including Ngabuburit and Dewi Pulang have been screened at local and international film festivals. This Binus International graduate is also the creator of a webseris entitled Anjas for Provoke! Magazine’s YouTube channel. Terjebak is planned to be his very first feature.
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Mayflies in the Mayhem Director :
Diego Batara Mahameru Producer :
Supatcha Thipsena Contact :
deodiegobatara@gmail.com / +6285695958201 SYNOPSIS At one of the main streets in Jakarta shows a devastating scene of a bombing aftermath... Back to the beginning that triggers to this violent case, the story will be unfolded through the middle-class conservative Muslim family in Jakarta. They live happily with 4 family members, who are -- ADAM, a 16-yearold high-school student; IMAM, the father who works as an importer of olive oil; ALIYAH, a 6-year-old girl who is the youngest, and SULASTRI, the mother who connects the whole family together. Until Sulastri passes away from illness, the feeling of deep sorrow becomes the only thing that intertwines them. As a representative of the students, Adam introduces the lifestyle at his school to INDAH, a new female transferred student. Indah introduces Adam to a colorful perspective of life, especially the aesthetic of instrumental jazz music. Adam falls in love for the first time. It is the opposite of his father, Imam, starts to attend the weekly sermon led by ANTO. Anto introduces Imam to the new cult led by a man who calls himself JAFAR ABDURAHMAN, depicted like a prophet of the extremist group named Darul Fajar (House of the Dawn). Anto gradually introduces Imam to the ideology of Darul Fajar and welcomes him not as the newbie, but as an important member of the group. Imam once again starts to find acceptance that he has longed for and slowly devotes himself to Darul Fajar. Meanwhile, Aliyah has been experiencing emptiness as if she has lost the compass of life. Aliyah starts to join Imam to the weekly sermon and follows Imam’s new practical belief. Because the false promises from Darul Fajar regarding the family reunion in heaven, Imam finally determines to plunge his two children into suicide bombings. Imam lies to take them to a family trip to the sea. Instead, their destination is heading to a church. The car explodes, left only the dead bodies of Adam, Aliyah, and a handful of victim people near the blasted area. Only Imam is destined to survive to face the consequences of his brutal act.
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DIRECTOR’S STATEMENT In May 2018, a bomb exploded in several churches in the Indonesian city of Surabaya. A police investigation shows that the action was carried out by one family, and it was the first case committed by the entire member of the family, including the children in Indonesian history. The story proves that even though Indonesia has always been considered as a moderate Muslim-majority country in the eyes of the world, we are gradually stepping into the circle of radicalization by certain parties. I was astonished by this certain case as now the dangerous radical ideology can infiltrate the smallest social unit of society. It is so contrasted with what we have learnt about the role of family as our first social environment, providing comfort and sense of security for all members. Although this film is not a biopic from the perpetrator of real events, it is my effort to form the essence of inner conflict between family affection and radical ideology that strongly affect the survival of each member within the family. DIRECTOR’S PROFILE Diego Batara Mahameru (aka Deo) is an independent filmmaker based in Jakarta, Indonesia. After graduated in political science major, Diego worked as a video journalist and has already covered several major historical events inthe local area. His career as a filmmaker starts with a short film Calon (2015), which is about the first meeting between a guy and his girlfriend’s Muslim conservative father. It got selected in several domestic film festivals including Jogja-Netpac Asian Film Festival, Aceh Film Festival, and Yogyakarta Art Festival. He continued his works with a short film The Nameless Boy (2017), which portrays the real situation of mass demonstration against blasphemy case of Jakarta former governor from the eye of a young boy during the 2017 Jakarta Gubernatorial Election. The film was selected in several international circuits, such as Singapore International Film Festival, Jogja-NETPAC Asian Film Festival, and Bali International Film Festival. Diego is also actively participating in international workshops or fellowship programs, such as ASEAN-ROK FLY Film Leader Incubator and is currently studying in Busan Asian Film School (AFIS).
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Mayday Director
Eden Junjung Producer :
Elora Production Contact :
forelora@gmail.com / +6281802617055 SYNOPSIS The high growth of the working age population causing employment becomes a matter of contention. When the land is no longer capable to be planted, a group of young men migrate to the city to get jobs, most of them apply themselves as labors. Hamli (29) has just married to Maya (26). They live in a small village in Gunung Kidul, Yogyakarta. Hamli asks Maya to move to Jakarta after getting information from Joko that there is a job vacancy in a bra factory. When they arrive at the factory, turns out the vacancy is only opened for one female worker. In order to fulfil their economic needs, Hamli allows Maya to work in that factory while letting himself wait for another job. Day after day, Hamli feels pressured because he doesn’t get a job. He doesn’t have the heart to let Maya works hard at the factory to fulfil their needs. One day, an incident happens at the factory, a female worker named Sari (29) is fired because she is caught stealing a bra. The factory produces bra for a well-known brand from America of which the price isn’t cheap. Because of that incident, Maya is then moved to replace Sari’s position in the packing division. The majority of workers in the packing division are men. Maya is the one and only woman in the division. Unfortunately, she is treated inappropriately by her supervisor and fellow workers in the same division every day. Her boss, Hartono (29) knows about this, but he ignores it. In the middle of his despair for not getting any job, Hamli gets information from a newspaper to apply for security training in a place that becomes a side project of military personnel to educate security applicants. One day, Sari visits Hamli to tell him that she deliberately steals and asks to be fired due to sexual harassment she experienced for years. Due to her guilt, Sari tells Hamli that she is actually Joko’s wife. Joko deliberately helps her looking for a new female worker to replace her position, according to the agreement between Sari and Hartono. Hamli is furious because he feels deluded by Joko. He knows that Maya doesn’t tell him about this to save their economic life. His profound guilt for Maya causing him to solve the problem without her knowledge. Hamli takes risk to steal a military uniform in the security training place and disguises himself as a fake army to retaliate the sexual harassment happened to his wife. However, on the other hand, Maya chooses her own way to solve the problem without Hamli’s knowledge. She makes a secret deal with her boss while forced to stake her marriage.
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DIRECTOR’S STATEMENT In the third world country like Indonesia, gender discrimination and sexual harassment towards female labors are still happening, even it happens in a structured and systematic way. It is not only done by the boss to the workers, but also by the fellow workers. In Indonesia itself, there are a lot of factories especially in the big cities. One of them is a factory that produces bra of international brand from the US. From the hands of these female workers, thousand numbers of bras are produced every single day. However, their monthly salaries are insufficient to purchase a bra from their own hard work. Another case happened in a furniture factory in Semarang, a city near Yogyakarta. A female worker has been sexually harassed for two years and it was done by six males consisted of her fellow workers and her boss. Looking from the hard work and the risk faced by the worker, for me, it’s a disgrace for common sense and humanity. This issue should also be noticed by the audiences from developed countries, due to the amount of factories in Indonesia that are owned by the companies from the US and Europe. MAYDAY summarizes this issue simply in a family relation. From the smallest circle such as family, micro and complex issues happen. Female workers aren’t only bearing fatigue, but also social burden in their circles. I’ve personally experienced this, my mother became the breadwinner of my family, and such negative stigma from the society has afflicted my family. The quarrels happened in my family were also the part of my childhood memory. I’ve been interested in social and human rights’ issues for a long time. My first short film, Flowers in The Wall, tells about enforced disappearance as well. My second short titled Happy Family also tells about a female worker who is trapped in prostitute life. One thing that is interesting for me, Indonesian history can’t be separated from the ruling military domination and its impact is still perceived until present days. This is proven by the fact that if we wear military symbol or attribute, we could get specific consideration from the society and the government institution as well. As a fiction film inspired by a true event, MAYDAY is my reflective attempt to deliver the facts and metaphors that are still contextual with the present condition. DIRECTOR’S PROFILE Eden Junjung graduated from Film and Television department in Indonesian Institute of the Arts in Yogyakarta. He started his debut in the film as editor for several short films. Bunga Dan Tembok (Flowers in the Wall) is the first fiction short film that he wrote and directed and become official selection in Jogja NETPAC Asian Film Festival 2016 for Lights of Asia category, International Competition in Bogota Short Film Festival 2016 and International Competition in Busan International Short Film Festival 2017. Happy Family is his second short film that selected in international competition in Valletta Internasional Film Festival, Malta 2017 and Bridge Of Arts International Film Festival, Russia 2017.
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Daughter Director :
Ricky Aditya Producer :
Kalvin Gowasa - MyCinemascope Production Contact :
rie.riezakaria@gmail.com / +6281906718123 SYNOPSIS Nina (35) is a housewife who lives in a village. Nina lives with Santika (16), her daughter, and Ratih (1), her grandchild. The source of Nina’s daily income only comes from the small business of food stall in her house. Meanwhile, Nina’s husband, Sigit (37), is imprisoned because he accidentally kills his daughter’s fiancé. It causes Santika to develop hatred feeling for Sigit. She vents it with a slightly indifferent attitude towards her responsibility as a mother. This situation also causes Santika to have a desire to quickly marrying another man and leave the house before Sigit is released from the prison and returns home. However, Santika doesn’t have the heart to leave her mother alone. Nina knows the situation and disapproves Santika’s desire to marry again. That decision is secretly made by Nina so that Santika won’t feel disappointed again and causes her to act more indifferently towards her daughter, Ratih. The financial condition of Nina’s family is getting worse. Nina tries to apply for a loan to the bank with a guarantee of her home certificate but fails. She frequently visits Sigit at the prison and she always vents her despair and sadness to Sigit. Santika, who feels sorry for Nina, finally tells her intention that she should marry and live with her husband so she won’t burden Nina in earning a living. Nina doesn’t comment much and refuses her intention in a subtle way. She decides to return to her parent’s house, Soemartini (70). However, Nina’s intention to make peace with her tough past with Soemartini is hampered by Soemartini’s cold demeanor. In addition, Nina feels jealous when she sees her siblings’ families that seemed perfect and happy. Nina keeps concealing her family’s condition and discourages herself from borrowing money, but she also doesn’t want to see Santika’s relationship with her boyfriend becomes closer and they force to marry again. Nina’s confusion is mixed with Soemartini’s, who finally confides to Nina about her regret because she has been too hard to Nina. Nina’s visit mends her bad relationship with Soemartini in the past. Nina fails to express her intention to borrow money, but Soemartini secretly puts money inside Nina’s bag. Nina asks Santika to visit Sigit at the prison. Santika, who feels forced to visit him in the prison at first, feels very sorry for his neglected condition. Sigit never talks about his anger in front of Santika again. Santika now sees Sigit as a father whom she loves when she was still a kid. She cries in front of Sigit while expressing her wish for Sigit to be home soon. Santika finally cancels her plan to marry her boyfriend.
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DIRECTOR’S STATEMENT “Daughter” is a story that conveys a profound disappointment of a mother towards her daughter. Daughter is a story about the realization of responsibility in a family. If the subject is a woman, her life is indirectly formed by the paradigm of the surrounding where she lives and the culture of a particular area. When a woman chooses a decision in her life, she will think further to ensure herself that it is the right decision. That’s why, “family” is important for a woman. They will be the figures that are capable to comfort and support her even in a bad condition. As a man, I see women and their lives as a mystery, especially when a woman has role as a mother. Quoting a dialogue from a Japanese drama series titled Mother, it is said that “There are 3 types of human living in the world. Man, woman, and mother. We will never understand the last type.” Meaning that the process of forming the character of a woman who is educated in a family and mixed with the paradigm of life in a particular custom or culture will determine which type of mother she will take. For me, mother is a woman who is taking a role in a family. Moreover, if a mother should face the dual role of being the head of the family, she can take the role as a figure that is better than an angel or even the contrary, worse than a devil. Family is the smallest part of the society, meaning that human should live and develop in groups. I precisely see in this millennial era that human who has a family actually lives like an individual. In my opinion, family is where human begins their long journey of living and then returns home. All of family members have the equal roles and portion to be responsible for maintaining the relation and integrity in their family so it will function well. Therefore, the presence of “family” is very important for me. No matter how far I’ll go, I’ll return to the people behind my back called family. Through Nina, this film will take us to explore a mother’s disappointment in her little family. The dishonesty of all family members’ feelings, between father, mother, and daughter becomes the outline and background where responsibility in a family formed. Nina will be charged to take double roles in preserving her family, becoming a grandmother in young age and becoming the head of the family. In the end, it slowly gives a feeling of warmth amidst the profound disappointment for her little family. DIRECTOR’S PROFILE Born in Kediri in 1990. He is currently finishing cinema studies in Jogja Film Academy, Yogyakarta and takes directing major. He starts his career in art field as a poet and short-story writer. In 2012-2016 he worked as a scriptwriter in several private television stations in Indonesia. He was involved in some short film projects as well, such as 25+, Rubiyah and A Story of Manami Secret as the director and scriptwriter.
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Hitam Setelah Merah Director :
Heiro Say Producer :
Sol Amrida Contact :
solamrida@gmail.com / +6281330139674 SYNOPSIS KANI, a teenage girl on the north coast of Cirebon Regency had to face her father’s desire to immediately sent her to Saudi Arabia as a migrant worker. She refused and rebelled. Not only because the silhouette of living in a foreign country, but Kani has an ambition to continue her study. Her parents rejected Kani’s ideals, and kept forcing her to become a migrant worker right when Kani got the first menstruation which was considered by the parents to be a sign of women’s mental preparedness to go to work. Kani wanted to hide her menstrual markings, but, as a child who made sticky rice, Kani could not refuse the myth of the sticky rice that change color to red when someone is getting menstruation among her family. Among Kani’s proof to convince her parents, Kani’s father, had obviously been indebted to the Lurah for the cost of preparing Kani abroad. The debt was finally deposited with a person claiming to be an employment agent who promised to facilitate Kani’s departure. Nahas, an agent disappeared after getting Kani’s father’s money. Among Kani’s proofs to convince her parents, Kani’s father, had obviously been indebted to the Headman for the cost of preparing Kani abroad. The debt was finally deposited with a person claiming to be an employment agent who promised to facilitate Kani’s departure. Sadly, the agent disappeared after getting his money. Kani was considered unlucky by her parents, and the residents were convinced that Kani’s dishonesty about her first menstruation, was the culprit. Kani did not remain silent. Together with Tohir, the head of the village head’s son, they tried to find the agent to Surabaya. DIRECTOR’S STATEMENT Cirebon Regency is one of the largest contributors of TKW (female workers) who then being sent to several countries such as Saudi Arabia, Malaysia, Hong Kong, and several other countries. Economic and social disadvantages in the people of Cirebon Regency are one of the reasons why this happened. Socially, people on the north coast still think that by their teenage girls being a migrant worker is one of the main solutions for gaining money. Parents send their children so that they can get savings to change their live.
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Their main income which relies on rice yields and sea products means that their economy is very dependent on nature. If the dry or rainy season
is long, people around Cirebon will experience a vacuum in their income. Thus, among the male citizens, with their very low level of education, must use their energy to become pedicab drivers in the city of Cirebon. Meanwhile, for women, it seems that nothing can be done except waiting for their men coming back from the city. So, it is very normal for men to ask their wives and daughters to work and send them abroad. The way people on the North Coast sending their daughters or wives gives a certain impression. How they have to volunteer themselves to be caught in debt to moneylenders, cheated by TKI agents, and have to wait for work calls even years. Many parties take advantage of their desire to change their destiny. Starting from high-interest debt winding, providing the lowest prices for their inheritance sold for a fee, in fact, many are willing to cheat to make their money, and this is often done by employment agencies. The film will tell how the struggle of a young woman who had to face her father’s desire to become a migrant worker abroad. With a variety of businesses, these women refuse to go to work abroad. Not only because they do not want to make a fortune abroad, but how they want to prove to his father and mother, also to the community, that there are many ways to change their destiny besides working abroad. They have a reason, that by continuing to a higher level of education, their fate can change. However, their struggle is only a dream and a delayed pain, because after all, they have to face many things. Starting from the myths about women, to the minds of their parents who only want their daughters to immediately change the fate of their families in the fastest way possible. This is a story about how people on the North Coast live their fate. Between poverty and dreams that come from across the country with the intermediaries of TKI agents, they must rage in their thoughts and actions. What is believed about religion, myths and poverty, are so real that it brings them to wrong decisions. Especially on women, who are always seen as the lowest class amongst human beings who only lived as servants. The main character, a kid who was just graduated from elementary school, had to fight to get the opportunity to continue her study. Unlike other friends: graduating from elementary school then either immediately getting married or becoming a migrant worker. The main character wants to break that assumptions down. However, her fate turned out to be different. As the daughter of a sticky rice maker, she tried to hide her signs of maturity, menstrual blood, which made her parents regard her as an adult. But, the myth of sticky rice that turns red when one family member is getting menstruation, became something she cannot hide. And at that time, she was so scared and worried. When the sign of maturity approached her, the dark shadow of her parents would be present and haunt his dreams. DIRECTOR’S PROFILE Heiro say has been involved in several productions, both short films, feature films, and commercial projects. as a D.o.P, Heiro Say will create unique and personalized pictures. His experience as a photographer, also allows him to take beautiful and memorable video.
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Rumah Pohon Director :
Bani Nasution Producer :
LiarLiar Films Contact :
Liarliarsolo@gmail.com / +628995280462 SYNOPSIS After many years hanging along the road, Pari, a ghost who appeared as a 17-year-old girl met Rahmat, 34-year-old soto sellers in a village. Feeling confident that it would bring fortune, Pari was asked by Rahmat to settle in a tree near his shop. Interested in Delima, a 17-year-old girl, Rahmat’s son who also works in a soto shop, Pari agrees with Rahmat’s offer. When he settled there, Pari wanted to communicate by giving signs that made Delima feeling afraid. Meanwhile, Rahmat was stressed because his stall had not been able to improve his economy. Until finally, Rahmat and Delima cut down and leveled the trees beside the stalls and many bones were scattered around the bottom. DIRECTOR’S STATEMENT Sharing magical experiences has become the daily food amongst Indonesians. For me, magical stories played by supernatural beings / ghosts cannot be separated from historical problems in Indonesia. History records that in 1965 was a time when people died miserably until the term “usum belehan” arose (the season of people being slaughtered). Identity violence becomes a complicated problem afterwards. Violence is discrediting humans even for those who have died. Victims of violence, for me, are “ghosts” who terrorize our subconscious. By making this film, I want to remember that we live among those ghosts who are still searching for the truth. DIRECTOR’S PROFILE Bani Nasution was born on 31st of March 1989 in Surakarta. Graduating from ISI Surakarta Film & TV faculty, he made a documentary titled Sepanjang Jalan Satu Arah which received special mention at the Kuala Lumpur 2017 Sea Short Film Festival, the 2017 Surabaya Little Festival and 2017 Minikino Film Week.
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Sruni Director :
Muhammad Ridwan Producer :
Ghina Rahmina Contact :
ghinarahimah@gmail.com / +6285250349317 SYNOPSIS Sruni is a beautiful woman who lives in a village named Kemulyan. Kemulyan means ‘honor’ which ironically is not what happened there. She lives with her foster uncle named Ronggo, and her everyday life is spent by dancing for a ngamen group (street work) in a market every morning. The village itself is known for being barren for more than twenty years. The land there cannot be planted and nothing but weeds will grow, even Sruni and people her ages never see rain or what is it like going outside the village. In addition to that, there is a plague that surge around the village which makes women cannot bear a child. Even women having ‘period’ is a mere myth. The thing happens due to the people who are dominated by old men believed in their ancestors who said that only a selected woman can bear a child and some men are appointed to have child with her through some annual rituals. DIRECTOR’S STATEMENT Sruni is the one who will tell a story about a woman who has been destined to have a special life, meaning being restrained by the upheld local custom in a barren village. Sruni is a picture of a woman who has no liberty. She is the reflection of many other women who can only pray because the way the custom is upheld makes it seems like it is a God-made hence it cannot be denied. Women are special, for she carries and bears a child. But in this particular village, Sruni will be the most special woman among others because she is the only one who can bear a child while the others cannot. The situation makes it impossible for her to love the man she choose. The burden of being a breeding tool as if she is an animal; foregoing humanity for the so called custom; are the things that will be captured in this film. I hope Seruni can be an example to show the struggle women must go through to earn liberty in the world where the majority of women still have no free-will on their own lifes. DIRECTOR’S PROFILE
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Muhammad Ridwan is one of the men who dreams of being an Indonesian director. The man is known as Muhammad Ridwan BE in his films. He was born in Klaten, January 18th 1996 and in order to achieve his
dream, he started his study in Education in Institut Seni Indonesia Yogyakarta in 2013 and graduated in 2018. During his study period of five years, he made short films some of which won in national and international festivals. Like his short film titled Mimi lan Mintuna which got numerous awards such as, Best Film, Best Director, Best Best Camera Work, Best Editor, Best Music Arranger, Best Actor and Best Actress in Festival Film Indie Lampung 2016, Best Director in Salatiga Film Festival 2017 and Best Film in Toraja Film Festival 2017. He also made a short documentary titled Ledhek that won Best Film in Solo Documentary Film Festival 2016. In his last year of study, he made a short film titled Sepanjang 2006 which hopefully can go around meeting its viewers like his other shorts.
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Pulang Director :
Bambang Ipoenk Producer :
Damar Adi - Lavar Tantjap Contact :
damar.ardi@yahoo.com / +6285643191292
SYNOPSIS Satriya (26 years old), a student activist, was hunted by the military. He was picked up from school by Adam (29 years old), his older brother. Adam said their father was ill so he replaced him. On the way, Satriya found out that Adam was a military member who was in charge of capturing activists. Satriya ran away from Adam. And at the same time, the other military are also chasing down activists. Because of their childhood memories and the strong bond between the two, Adam decided to save his brother even though he had to face the other military members and made bet on his life. DIRECTOR’S STATEMENT The film is set around the time right before Indonesia Reformation, 1997-1998. The gripping times when demonstration happened almost everyday, led by college students and scholars who demanded for a reformation. I remember there were a lot of clashes, between people and apparatus, among the people themselves, between the ones who agreed with reformation and the ones who were not. And the most nasty one is the kidnapping done by apparatus towards the pro-reformation activists. It made me affraid, traumatic even to say my own opinion. Affraid of being kidnapped and be gone just like that. I think it was the price of a changing nation. But reformation happened, a win for the people, hope began to spread for the new leader was selected by democracy, hope for the better wellfare for the people, the abolishment of corruption, collution and nepotism, and of course the hope for freedom of scpeech, the equality in front of the law for all of Indonesians. What happens now is that reformation is used for personal benefits only, under the name of freedom; free hate speech, free for not being a tolerant, free to justify corruption, collusion and nepotism; in the end, the people are the ones who are affected the most. To be honest, when I was planning this film, I put a lot of considerations. I want to convey things I feel as a way to free myself from the trauma, without having to open the old wounds or offending people who do not support reformation, and also I want to remind people that we still have a lot of homeworks to earn the true reformation. I want to depict the history of this nation’s reformation from the perspective of a family, a siblings, a personal decision that can change a person’s way of thinking and their perspective.
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I think Indonesia’s reformation can be start from each individual. From the smallest thing like starts to be more honest, discipline, and accepting differences. I think Indonesia is a big family formed by a lot of individual, and if each of us willing to change our mentality I believe the real agenda of reformation will be achieved. We are always faced with two big decisions, start to do it or stay silent and back to be losers. DIRECTOR’S PROFILE Bambang “ipoenk” K. M started playing with videos in the middle of 2001, he has a personal video project named videorobber, which has released two compilations (videorobber #1/2007, videorobber #2/2011). He participated in several exhibitions in different countries. His latest films are Love Paper (2013), Memulai Kembali (2013), Amarta (Gadis dan Air) (2015), and Ayo Main! (2017), all under the production house Lajar Tantjap Film.
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The Silence on the Waves Director :
Rachmat Hidayat Mustaimin Producer : Zhaddam Contact :
adamlines727@gmail.com/ +6285399983138
SYNOPSIS A man named Harung (24 years old) who was accidentally found by Topan (27 years old), a filmmaker, and he asked him to become a character in his film. Topan followed Harun’s daily life with his camera. Harung stayed with his mother (59 years old), after his father had never returned from Malaysia since his departure in 2005. Every day, Harung worked as a seller of tombstones owned by Mare (64 years old). Mare owns a land that he did not want to give to the government for the Trans Sulawesi Railway Project at any price because it is a land in which his wife and daughter are buried. Harung helped Topan to complete the film with two conditions: 1. Harung would be accompanied when he went to the town, meeting his girlfriend who worked at the cellphone counter; 2. Harung asked to be buried wearing army uniform, like his dream when he was a child. One day, Harung found the news that his father had died in Malaysia and left a new wife and two children. His father’s new wife asked Harung and his mother to go there, but Harung refused. Harung wanted to live as a fictional character forever. DIRECTOR’S STATEMENT South Sulawesi government since 2015 has held the Trans Sulawesi railroad project from Makassar to Parepare to facilitate transportation for the society. Some railroads had been made and installed in many regions like in Barru. However, problems arose when some people in Pangkep and in Maros, were not willing to give their land for railroad lines contruction. South Sulawesi government has tried to conduct negotiations several times, appealing and socializing to the society but they still could not get a good agreement. A mysterious group attacked and threatened the locals. Their motive was allegedly because the residents did not want to do land acquisition. People thought that the attack came from the government. There were also locals who have not been paid psychologically for their land, but have been used for the railway construction. Therefore, the impact was finally apathetic to neither the programs of city government nor South Sulawesi government in terms of construction and manufacture of Trans Sulawesi railway.
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Imagination is the power of thought in imagining (in wishful thinking) or creating images (paintings, essays, etc.) of events based on reality or one’s experience in general. The imagination of Indonesian children, especially in South Sulawesi is always faced with a dream of train. In the 1960s, Saridjah Niung Bintang Soedibio, or known as Ibu Soed, with AT. Mahmud created the song “Kereta Apiku”, which was then often played through the Radio Republik Indonesia (RRI) station (Railfans, 2015). Children in South Sulawesi grew up with the song “Kereta Api”, even though they had never seen a train at all. Trains could only be watched through television, or other media; like pictures from newspapers or magazines. But now, with technology development, cellphones are able to access and order train tickets through their minimalist screens. But it did not make the people in South Sulawesi feel their body entering the train journey. This imagination caused many speculations about feelings and memories about train and a journey. The imagination construction of trains for the people in South Sulawesi or eastern Indonesia, is aware or not, has shaped how they think and behave. People who have never touched or took the train, could travel in their imagination only. They travel only by remembering, thinking, or just dreaming. This imagination can be released outside and inside the train.
DIRECTOR’S PROFILE RACHMAT HIDAYAT MUSTAMIN is a film director and poet-writer. He graduated at Universiti Kebangsaan Malaysia. Currently continuing his postgraduate education at the Indonesia Institute of Arts (ISI) Surakarta in the field of film. He is a contributor to Imitation Film Project and Kinotika, a community organizing workshop, exhibition, literacy and film appreciation based in Makassar. His poetry is incorporated in the anthology of poetry of Benang Ingatan (2016), Origins: The Bilingual Anthology of Indonesian Writing (2017) and Hujan Bakawali Di Rumah Tuhan (Rainbows at the House of God) (2018). His up-to-date books are Merelakan Diri Terbakar (2017) and Kesibukan Mencatat Bayangan Di Dalam Rumah (2017). Several recent activities, he was invited to the Ubud Writers and Readers Festival 2017 and Borobudur Writers and Cultural Festival 2017. At the end of January 2018, he participated in 2nd Arkipel Academy in Puncak, Bogor. In 2018, he was invited to the Makassar International Writers Festival 2018 and Festival Forum at ARKIPEL - Jakarta International Documentary & Experimental Film Festival 2018.
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Nyanyian Sahara Director :
Zhaddam Aldhy Nurdin Producer :
Muh Yusuf AG - Flood Films Contact :
filmsflood@gmail.com / +6282196980202 SYNOPSIS A boy named Rian (11 years old) was friends with a cow, Sahara, which was given by his father. They were often playing together with his four friends: Bahar, Ayos, Marni, and Jodi. But, problems started to come in his family. Harto (30 years old), the right hand of a loan shark named Mr. Nas, came and asked his mother (45 years old) to pay his father’s debt. Rian was so sad seeing his family condition and there is only one hope, Rian had to sell Sahara in order to save his household. Rian was forced to sell Sahara to Mr. Sulaiman (49 years old), a new rich man in the village. They did transaction and Mr. Sulaiman gave his money in advance then asked Rian to take care of Sahara days before the party start. Rian then gave the money to Harto. The next day, Sahara was gone. Rian’s exciting and thrilling adventure with his four friends began until the Sahara was found and then lost forever. DIRECTOR’S STATEMENT This film tries to describe the emotional connection between humans and other living things (animals) by using simple story lines and economic factors (loan sharks) in a village. I want to describe the feelings between humans, other living things (animals), and economic problems that go through certain experiences such as feelings of anxiety, fear, sadness, moved, depressed, struggle to sacrifice the sense of belonging, self-esteem, pleasure when getting a little attention or love from others, feeling when experiencing rejection, jealousy, prejudice, guilt, shame and hatred. Basically this is a story of life struggle from a small family, living in a village, who has big hopes of staying in their homeland. DIRECTOR’S PROFILE Zhaddam Aldhy Nurdi is a Makassar Sea Screen Academy 2012 and Institut Kesenian Makassar graduate, founder of Imitation Film Project, and Universitas Fajar Makassar postgraduate student. He is a producer and director whose films has been screened in several National and International Festivals. Those films are Full Moon, screened at 2015 International Scientific Film Festival in Szolnok, Hungaria 2015; Sebatang Untuk 2 Nafas Binatang nominated in Festival Film Pohon, Gogor 2016 and African Smartphone International Film.
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Rundown
Jogja Future Project 2018
NOV 30th, 2018 ARTOTEL 20.00-21.00 WIB Dinner & Opening Jogja Future Project DEC 1st, 2018 Jogja National Museum 10.00-12.00 WIB TALKSHOW "Film Financing Forum" Locarno ; Paolo & Sarah. Akatara ; Vivian Idris Kitabisa.com ; Saffitri Permata sari 13.00-17.00 WIB One on One Meeting DEC 2nd, 2018 Jogja National Museum 10.00-17.00 WIB One on One Meeting DEC 3rd, 2018 Jogja National Museum 10.00-12.00 WIB One on One Meeting Grand Mercure 13.00-17.00 WIB Meeting Jury DEC 4th, 2018 Jogja National Museum 19.00-21.00 WIB Awarding Night & Closing Ceremony
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