Genre Sub Genre

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.

Siman discover a foreign crew shooting a moon landing. He gets caught and his tongue is cut off. He goes through life in slow motion, imitating an astronaut in outer space, labeled as crazy.

After a popular girl loses a poetry contest to an outcast, they develop an unexpected interest in each other – but is their young love meant to be?

"A Lady Caddy Who Never Saw a Hole in One" displays a love story filled with absurdities regarding homeland, jealousy, hope, and fundamentally a statement about luck. Ning is a female caddy, while Mur is a man who is loyal to his homeland.

With only 24 hours left to live, a private investigator follows a trail of confounding clues to uncover the disappearance of his childhood friend.

When the police halt their search, a troubled mother works with a podcaster to find her missing daughter but faces a dark force that haunts her.

The old factory where Erwina works holds a dark secret - and because her family owes a debt to the devil, she must pay a terrible price for being there.

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.

Set during the volatile final months of Indonesia’s New Order regime, the narrative chronicles a young student activist's perilous commitment to pro-democracy underground movements and his family's subsequent, grueling quest for justice following his forced disappearance.

Ayumi, 34 years old, has been working as an information call center operator for the past 10 years. In this day when anyone can find whatever they want on the internet, inquiries have dropped markedly. The phone doesn’t ring much anymore. Ayumi is plagued by feelings of emptiness and loneliness. She responds to only one or two calls a day, routine inquiries from older people who use the telephone as their source for information. One day, Ayumi is summoned along with several of her coworkers by her boss that she would be laid off. She then returns to her parents’ house where her father, whom she hadn’t had any contact in years, is waiting.

Ning and Mur, a couple who sells congealed blood for a living, face a huge ordeal when people stop consuming blood due to a shift in religious beliefs. But they are sick of all hypocrites.

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.

Love Story Not explores the daily lives of two female prositutes, Martha and Ning, focusing on the dynamics of the relationships with the people around them, particularly their relationship with Erik King, their shared lover.

A small yellow object makes a child trapped in an illusion and pretense. The device that should serve to bring a much closer instead turned into farther the closeness. A innocent portrait on a modernity that arrogant and stutter.

During her 28 years in Brazil, Bu Ipah has never stopped working. Initially arriving as a housewife with her migrant worker husband, she has spent the last 21 years as a mosque caretaker. During Ramadan, she is especially busy with food orders and iftar events. Despite her many duties, she cares for her youngest child, Totó, while balancing her roles as a mother, liaison to the ummah, and committee member for mosque social programs.

A three-part documentary directed by five young Indonesian filmmakers. It tells the stories about girls that carry burdens as the backbone of their family.