Bayu Prihantoro Filemon

Ninavau, a Kadazan based in West Malaysia, returns home to East Malaysia, Sabah for her sister’s wedding. Her family, deeply rooted in tradition and community values, sees her as a source of pride and a symbol of continuity. However, Ninavau carries with her a personal transformation that she has yet to share.

Young Vania faces her fears and finds courage in tumultuous times when she takes in an injured thief seeking refuge in her family’s traditional Chinese medicinal hall.

A boring NGO documentary. The film descends into chaos when a television crew arrives and starts toying with the meaning of reality in a village.

A single Chinese-Indonesian mother have to save her daughter as the anti-Chinese riot rose near their neighborhood.

Overdubbing the roles of both torturer and victim in one of Indonesia’s most contentious movies, a performer in a sound booth becomes the one-man embodiment of a whole era’s worst cruelties and sufferings.

The Suharto regime has been holding power in Indonesia for over 30 years, shutting down democracy time and time again. Highly critical of the regime and unafraid to speak his mind, Wiji Thukul is a poet whose words are often yelled proudly by the crowd during political protests. When riots break out in Jakarta in 1996, he and a few other activists are accused to be responsible. Forced to flee, Wiji escapes to Pontianak in Borneo where he hides for eight months, sometimes living with complete strangers. There, he has to change his identity several times, but continues to write poetry and short stories under a pen name. In the meantime, in Solo, central Java, his wife, Sipon, lives with their two children under constant surveillance. In May 1998, Wiji Thukul is declared missing, a month before Suharto is deposed by his own people.

SESERAHAN (The Wedding Gift) is a story about a bride who’s waiting for the groom. Unfortunately, the groom and his family met some problems on the way to the bride’s house. Anxiety and loneliness approached their hearts.

Ning, a young Catholic woman, takes up a better job with a furniture company, while her hapless husband—occasionally hawking gasoline—spends most of his time doing pretty much nothing. It is when Ning is required by her new job to go on a road trip with Mur, a male Muslim colleague, that the suffocation of her marriage gives way to an awakening of repressed desires. Set in Yogyakarta, this delicately observed mood piece and debut feature touches on unspoken issues of sexual repression and adultery in contemporary Indonesia.