Yuki Aditya

Om Pius is a native Papuan from the Keerom mountains who has been living and residing with communities of various ethnicities in the coastal area of Sentani, Jayapura, since the post-Act of Free Choice in the 70s. For more than 30 years, he has been a ‘mountain man’ living with a coastal culture. The history of population displacement, violence in Papua, natural wealth, longing for the homeland, romantic past, war, hopes, and dreams, are the life stories of Om Pius which he manifests through the lottery.

An essayistic film exploring the legacies of cinema in New Order Indonesia and what it means to be inheritors of its filmic language.

New cosmopolitanism started with the bromocorah’s (free agent) dynasty. Through Palah (Panataran), we see the legitimacy of his great-grandsons appropriating the power of the Central Javanese dynasty, perpetuating the throne and cultural hegemony through the story of the man in the tkes hat, Panji.

She is a teacher. She is a mother to young artists, a mother to activists of social and cultural movements. Indonesia has a long and unresolved historical wound, starting from the events of 1965, the silence of democracy and human rights activists, and the spread of identity politics. In the midst of it all, DOLO, a female sculptor opens the wounds of history through her sculptures.

After over a decade in prison, little trace of filmmaker and member of the leading Communist cultural movement Bachtiar Siagian’s life and work could be found, but Hafiz Rancajale still searched. Alongside his colleagues, they revise his mis-slandered history.

Siwalaya, which means the nature of Shiva. A place where birth, glory and destruction are in perfect circle lines. In Siwalaya there are worship buildings that have stood for centuries; experiencing changes in natural and human history. For those of us who live today, what is the meaning of these buildings that are hundreds of years apart in culture and time?

The Glebagan system was created to force farmers to rotate crops and convert some of their land from basic agricultural commodities to industrial raw materials. This system has changed the face of agriculture and shaped the sugar map in various regions in Indonesia. With psychogeographical documentary approach, the film shows the landscape of the sugar map in a village of Krembung region, tracing step by step the sugarcane plantations that occupy farmers' rice fields. It is an observation of a repeating cycle, interjected with past archival footage of sugarcane and people movements.

A woman looks for traces of surveillance from the urban spaces around her, she uses a camera and takes pictures of things that she thinks are potential surveillance sites, but to understand more about what she is doing, she also positions herself as a surveillance by taking pictures of people, in the middle of her journey, the woman realizes that she is being followed by a man carrying a long lens camera.