Cas Cis Cus

In Jakarta, a young journalist struggling to escape from the confines of familiar obligations, receives a telegram informing him that his mother is dying.

Darma (Deddy Mizwar), the owner of several companies, suddenly appoints his horse trainer, Ucha (Cok Simbara), as director of one of his businesses that was previously managed by old friends of Darma from the revolutionary period. Ucha attempts to revamps the company as expected, but his efforts are all undermined by Darma’s old friends. Ucha also runs into trouble at home, when his chubby wife lets his new position as director and her status as wife of the director go to her head. She is insistent that she needs a makeover and that their house needs upgrading in line with their new social status. As these various conflicts reach a head, Ucha finally confronts Darma with the reality of his friends’ betrayal, and threatens to quit. Darma understands the situation, but cannot bring himself to fire his old friends.

City students come to the village for KKN with all their arrogance and pretentiousness, led by a fat student named Joe (Didi Petet). Many problems arise, starting from Budi (James Lapian) and Imam (Leroy Oesmani) who are not doing KKN well, but instead competing for a beautiful village flower named Neneng (Deasy Ratnasari). Likewise with Pinky (Meriam Bellina) and May (Sylvana Herman) who went down to the village as if they were going to shop at an elite shop. Their arrival also made the village hoodlums feel angry, so that the KKN activities were disturbed.

The story of Tantini from the Sanca Bachtiar family who is kidnapped and later adopted by the Arnold van Dyk family. They change her name into Tinneke. Sanca finds out about her daughter’s whereabout several years after the child is declared dead. He tries hard and eventually succeeds on getting Tinneke back.

The film is a "reconstruction" of the real event of Sum Kuning’s rape that happened 10 years before, and sums up the lack of justice in the Indonesian courts. Sumirah, is raped by four vandals but during the investigation, the event is given a ridiculous interpretation when Sum is forced to confess that she was trying to gain popularity for herself. During the trial, the true facts are revealed gradually and this ranks as one of the best courtroom films ever made complete with spirited and lively dialogue.

Because of his wife’s encouragement, Prabowo enters a dangerous business and is eventually imprisoned. While waiting for his trial, his business partner, Wahyuni the divorcee, whom he also loves, bails him out. Their children Ani and Reni, who have to downgrade from their mansion to a flat, suffer from the shock of change. They resort to drugs and prostitution to escape reality. While the mother is sick, Wahyuni becomes intimate with Prabowo. Once found out, they slowly try to solve each problem. Wahyuni is willing to reconcile the entire family. So Rini attempts to become a photographer, by following her boyfriend, a tour guide in Bali. There is another character, a journalist, who comes in and out of the film, and functions as a commentator and witness of their lives. The dialogue veers on philosophical messages as director, Slamet Rahardjo, tries to represent both the lower and upper classes, mixing his narrative style with realism.

A young man forgot his roots after spending his childhood at sea.

This is the story of one of the heroes of independence from South Sulawesi - Wolter Monginsidi. Monginsidi is portrayed as a flamboyant young man, brave and daring yet emotional at times. He and his troops always ambush the Dutch until they are finally caught. His father is persuaded to sign the clemency form, which turns out to be a trap, set up by the Dutch. He receives the death sentence instead.

Egi has to work in a garage to help his family. Silvy (Dian Nitami), a rocker, and Nanang, a band member, are both children of wealthy parents that pay very little attention to them. These three friends struggle to stay together despite the problems and challenges that come their way.

After her graduation as a doctor, Siti Pertiwi is sent to the Menggala area in Lampung. She has to deal with many problems, such as the corrupt paramedics who assist her and the villagers’ fear of the shaman – Atuk Raja – and his men. These problems have complicated her role as the local doctor. Then she receives help from a student who interns in the area. Unfortunately, the assistance invites gossip.

The story of two young people from wealthy families who are looking for their own individual identities. Ramona (Lydia Kandou), who hates the patriarchal attitude men have toward women, immerses herself in the lives of the less fortunate people around her. Ramadhan (Djamal Mirdad), who is descended from Malaysian nobility, is in Jakarta gaining work experience as a low level company employee. The two young people meet in Jakarta and begin to like each other. The blossoming romance between these two young people who are each keeping their backgrounds secret from the other conveyed in a light and humorous tone. Eventually, however, they find out about each others' backgrounds. Ramona backs off, while Ramadhan continues to pursue her.

Karmila (Tanty Josepha), a final year student at the Faculty of Medicine, is engaged to Edo (Rudy Salam) who is studying abroad. In a youth party, Karmila is trapped by Feisal (Robby Sugara), a bad boy who then rapes her. Karmila is willing to marry Feisal on the condition that after the baby is born and old enough, he will divorce. She stayed with her aunt until she gave birth and was curt, not taking care of the baby. Meanwhile, Feisal has the opposite attitude because he is sorry and loves Karmila. The son then followed his father and Karmila continued his studies until the end. During a party to go abroad, Karmila was told that her child was sick. Karmila comes to check. Her heart melted, and she canceled her abroad and chose to be a good wife for Feisal, so she had two children. He refused Edo who returned from abroad.

This film almost literally visualize three short stories on which it is based. The difficulty was to assign real spaces in the film for the world of short stories that does not require material reality. The question of ”What is love?” is stretched into three periods: the 70s, the 80s and the 90s. The story which is divided into three periods is trying to reveal the story of the main characters through three different periods of their lives.