sultanmuzaffar Publish time 3-8-2007 05:02 PM

aku baca. kalau boleh buat lah jugak utk Sinetron Indonesia...

dan dari website mana ko cut & paste. senang sket next time tak payah ko cut & paste.

kalau dpt rating sinetron indonesia pun bagus gak...:)

sultanmuzaffar Publish time 3-8-2007 05:08 PM

jf_pratama,

bagaimana ingin dapatkan filem GIE dlm bentuk DVD/VCD ?

atau pun filem 3 Hari Untuk Selamanya ?

ninja9 Publish time 3-8-2007 06:51 PM

aku tengah cari torrent filem dari indonesia ni... sapa tau yek...:loveliness:

jf_pratama Publish time 5-8-2007 01:33 PM

Reply #122 sultanmuzaffar's post

Kalau di Jkt akan mudah anda dapatkan di toko-toko CD/DVD ....
Kalau sudah resmi diedarkan di Malaysia, saya yakin anda dapat membelinya disini...

jf_pratama Publish time 5-8-2007 01:39 PM

Film Sang Dewi: Kisah Cinta Petinju Bisu
Ilham Khoiri

Sebuah film baru, Sang Dewi, mengangkat kisah cinta seorang petinju bisu dan pelacur Ibu Kota. Tema segar ini bisa memperkaya khazanah film nasional. Sayang, sinematografi yang indah tak didukung cerita yang bernas.

Karya ini merupakan debut Dwi Ilalang sebagai sutradara sekaligus penulis naskah. Sebelumnya, dia lebih dikenal sebagai editor sejumlah film. Sebagian besar tokoh penting dalam film dengan produser Adrianus Yoga itu juga dimainkan muka-muka baru, kecuali Ria Irawan dan penyanyi Titi DJ yang tampil sekilas.

Cerita berawal dari persahabatan kental dua petinju, Beno (Volland Humonggio) dan Aliang (Donny Alamsyah). Beno adalah petinju bisu yang minder. Aliang lebih agresif, bahkan bernyali mengikuti pertarungan thai boxing jalanan yang jadi ajang perjudian.

Suatu saat, acara ilegal itu digerebek polisi. Beno, yang kebetulan ikut menonton, berlari menyelamatkan diri sampai tiba di tepi sungai. Tiba-tiba, dari atas jembatan, terlihat seorang perempuan terjun ke air. Pemuda itu pun menolongnya.

Laras (Sabai Morscheck), nama perempuan itu, ternyata seorang pelacur yang mau bunuh diri akibat patah hati setelah pacarnya tewas dalam kecelakaan. Beno segera jatuh hati kepadanya. Apalagi kemudian saat disadari, sekitar 15 tahun silam, dia pernah menyelamatkan gadis itu ketika dikejar gerombolan preman di sebuah pelabuhan.

Persoalan muncul saat Aliang mengaku pernah mem-booking dan tidur dengan Laras. Meski sakit hati, Beno ngotot meneruskan cintanya, sedangkan Aliang melarang. Konflik menajam, sampai-sampai dua sahabat itu berbaku hantam tanpa bisa dipisah Jessi (Cathy Saron), sahabat kedua petinju itu. Situasi berubah drastis ketika Aliang kemudian tewas mengenaskan dalam pertarungan jalanan.

Kesedihan melecut Beno untuk giat berlatih demi merebut gelar juara tinju profesional. Dia pun menantang Dendy Trendy (Dendy Subangil), petinju juara nasional yang brutal dan arogan. Saat genting, Laras muncul bak Sang Dewi yang menumbuhkan semangat petinju bisu itu.

Tema segar

Sang Dewi merambah tema yang cukup segar. Dunia tinju profesional masih jarang dilirik meski punya banyak penggemar di masyarakat. Beberapa petinju nasional kita pernah mengukir nama harum di pentas internasional, seperti Ellyas Pical tahun 1980-an.

Tema ini memperkaya khazanah film nasional yang beberapa tahun belakangan telanjur dipenuhi hantu-hantuan atau kisah cinta remaja metropolitan. Pilihan ini sekaligus bisa dibaca sebagai support kalangan perfilman pada perkembangan tinju profesional Indonesia. Itu terasa saat Pical dan komentator tinju Syamsul Anwar Harahap dihadirkan dalam pertandingan puncak pada akhir film.

Jika digarap bagus, sebenarnya dunia tinju cukup menjanjikan. Setidaknya, kita masih ingat film Rocky yang melambungkan nama Sylvester Stallone menjadi bintang aksi papan atas Hollywood. Kisah perjalanan petinju Rocky Balboa itu cukup sukses sampai-sampai dibuat enam sekuel.

Dunia tinju memang membuka kesempatan luas bagi sutradara untuk bermain dengan aksi-aksi di atas ring. Dalam Rocky, adegan latihan sebelum naik ring saja sudah enak dinikmati: bagaimana lelaki kekar itu menggembleng diri dengan latihan mengangkat barbel, memukuli daging sapi yang dijadikan samsak, atau jogging bersama anjing.

Aksi di atas ring lebih memikat lagi. Rocky menyuguhkannya lewat drama pertarungan yang keras dan berdarah-darah sebelum akhirnya sang juara mengangkat tangan di tengah sorak-sorai penonton. Di luar ring, sosok manusiawi petinju asal Italia itu menjadi bumbu cerita yang menyentuh.

Pada Sang Dewi, potensi itu tak digarap maksimal. Film ini lebih tertarik mengulik drama kisah cinta dan persahabatan ketimbang membeberkan perjuangan petinju bisu sampai menjadi juara nasional. Alih-alih menampilkan pendalaman filosofi dan latihan teknik pukulan atau pergulatan hidup-mati di atas ring, film ini malah terkesan menampilkan adegan tinju sebagai sampiran pendukung saja.

"Sang Dewi diarahkan menjadi film drama percintaan dan persahabatan. Terlalu idealis untuk masuk dalam filosofi dunia tinju, seperti cerita Rocky. Kami merasa belum bisa menggambarkan film action yang kental dengan kekerasan di sini," kata Dwi Ilalang.

Tanggung

Namun, pilihan drama itu pun terasa tanggung karena tidak didukung unsur cerita yang kuat. Meski tokoh Beno, Aliang, dan Laras diceritakan satu per satu, asal-usul dan latar belakang ketiga tokoh itu masih terlalu gelap. Akibatnya, penonton agak sulit bersimpati kepada mereka.

Alur cerita yang cenderung linier dan mudah ditebak membuat kisah itu kehilangan gereget, kurang mendebarkan. Lagu Sang Dewi yang dibawakan Titi DJ pada akhir cerita terasa sebagai tempelan saja.

Pemeran utama, Sabai Morscheck, tampil lurus-lurus saja. Akting Volland Humonggio terlalu datar untuk membangun sosok petinju bisu yang memendam derita belasan tahun akibat tunawicara dan direndahkan masyarakat. Justru Donny Alamsyah, aktor yang pernah ikut membintangi film 9 Naga garapan sutradara Rudi Sudjarwo, yang berhasil mengekspresikan karakter Aliang yang suka berkelahi, keras, dan bebas.

Film ini tertolong oleh sinematografi yang indah. Banyak adegan diambil dengan sudut pandang unik dan disajikan dalam kemasan visual yang indah. Adegan pembuka film, yaitu saat Laras dan Beno kecil dikejar-kejar gerombolan preman di pelabuhan, menyuguhkan gambar yang detail dan menawan. Begitu pula saat Beno dan Aliang berlatih tinju dengan latar belakang langit senja, Beno bertemu Laras di puncak gedung di tengah Jakarta saat fajar, atau pertarungan terakhir Aliang.

Sebagai debut Dwi Ilalang, film yang memakan dana sekitar Rp 3,5 miliar itu sudah cukup menghibur. Siapa tahu, pada film-film berikutnya, dia bakal bisa menyajikan tontonan yang lebih memikat secara visual dan juga jalan ceritanya.

adin Publish time 6-8-2007 06:47 PM

JF pratama postnya sudah 680 :lol:

ck ck ck ;P

sultanmuzaffar Publish time 7-8-2007 09:09 AM

Originally posted by jf_pratama at 5-8-2007 01:33 PM http://forum.cari.com.my/images/common/back.gif
Kalau di Jkt akan mudah anda dapatkan di toko-toko CD/DVD ....
Kalau sudah resmi diedarkan di Malaysia, saya yakin anda dapat membelinya disini...


mau ngak kita tukar-tukar alamat dan pos kan ke sini. saya bayar lah. hahahaha

macam ruangan kembang setaman lah plak.

jf_pratama Publish time 8-8-2007 08:34 PM

Reply #127 sultanmuzaffar's post

Saya dapat membantu jika anda memerlukan CD/DVD film-film Indonesia (film lama ataupun baru) disini..
Tolong PM saya untuk diskusi/pembicaraan爈ebih detail ..

[ Last edited byjf_pratama at 8-8-2007 07:36 PM ]

remizati Publish time 9-8-2007 11:37 AM

aku rasa tak berkualiti bagi aku ler, byk ciplak dan takdek originality..sori to say..;P

jf_pratama Publish time 12-8-2007 08:09 PM

Ada Hantu Diantara Mereka

http://www.suarapembaruan.com/News/2007/08/12/Hiburan/12filmh1.gif牋牋燵img]http://www.suarapembaruan.com/News/2007/08/12/Hiburan/12filmha.gif

Film : Hantu
Sutradara : Adrianto Sinaga
Pemain : Dhea Ananda, Oka Antara, Dwi Andhika, Andhika Gumilang, dan Monique Henry
Skenario : Adrianto Sinaga
Genre : Horor Remaja
Produksi : PT Grandiz Media Production

Selain tema drama percintaan, film tema horor dianggap jurus ampuh mere-but pasar penonton Indonesia. Tidak heran dalam bulan Agustus ini saja, ada tiga film horor yang bakal "gentayangan" di bioskop-bioskop. Salah satunya adalah Hantu besutan sutradara Adrianto Sinaga.

Genre horor yang dibumbui thriller memang banyak penggemarnya di Tanah Air ini. Terutama kalangan remaja. Sehingga mungkin tidak salah jika produser kemudian berlomba-lomba membuat film jenis ini dengan pertimbangan untuk meraup keuntungan yang besar.

Namun banyak pihak yang menyayangkan bahwa film-film dengan tema horor ini tidak dikerjakan dengan baik, sehingga terkesan malah membodohi pasar. Sutradara Garin Nugroho pun pernah menyatakan bahwa belakangan tema-tema film di tanah air cenderung mengalami krisis, karena semakin banyaknya film "berhantu" yang digarap hanya untuk mencari untung saja. Di sisi lain, film horor sebenarnya sah-sah saja selama digarap dengan baik. Bagaimanapun tema horor memang memiliki penggemar tersendiri.

Kemunculan tiga tajuk horor pada bulan ini sepertinya ingin memperlihatkan bahwa serangan hantu-hantu di bioskop masih belum selesai. Para produser melihat pasar tema horor masih kuat setelah meledaknya film Jelangkung beberapa tahun silam.

Film Hantu yang sudah tayang sejak pertengahan pekan lalu mungkin berambisi menyaingi Jelangkung yang mampu bertahan beberapa bulan di layar bioskop.

Film Hantu dibintangi oleh artis-artis muda seperti, Dhea Ananda, Oka Antara, Dwi Andhika, Andhika Gumilang, dan Monique Henry. Pemilihan bintang muda memang disesuaikan dengan alur cerita, dan terutama pangsa pasar yang dibidik oleh film Hantu.

Hantu berkisah tentang lima remaja yang ingin mencoba hobi baru, naik gunung. Adalah Gali yang diperankan Oka Antara yang memiliki ide untuk menjelajah sebuah daerah yang di dalamnya ada Telaga Setra Wingit. Keberadaan telaga itu sebenarnya hanya desas-desus belaka. Konon tidak semua orang ternyata bisa menemukan telaga itu.

Gali mengajak pacarnya, Rinjani (Dhea Ananda), dan tiga sahabat yakni, Ray (Dwi Andhika), Maya (Monique Henry) dan Indra (Andhika Gumilang). Maya dan Indra adalah pasangan kekasih seperti halnya Gali dan Rinjani. Hanya Ray seorang yang berstatus jomblo di antara rombongan itu. Tidak ada yang tahu, alasan Ray ikut dalam perjalanan itu adalah karena dia sebenarnya mencintai Rinjani yang sudah menjadi sahabat sejak kecil.

Meskipun dari judul film ini sudah menjual kengerian, pada awal-awal cerita, Hantu tidak memberikan teror yang berarti. Sutradara mungkin ingin menjalin cerita terlebih dahulu, agar penonton tidak perlu berpikir ekstra mengaitkan jalinan cerita.

Secara perlahan, sutradara membangun karakter tokoh-tokoh. Penguatan karakter ini pun cukup ditunjang oleh masing-masing kemampuan akting pemain. Sekilas mereka tampil sebagai remaja yang berbeda-beda. Tokoh Gali, Ray dan Indra dapat ditarik sebuah perbedaan karakter, begitu pula antara Rinjani dan Maya. Hanya saja penguatan karakter ini kurang "menyusup" diantara alur cerita.

Teror hantu dalam film itu baru muncul setelah mereka masuk ke hutan yang diduga tempat Telaga Setra Wingit. Kelima remaja itu menemukan sebuah warung yang menjual makanan ringan. Mereka sempat berteriak-teriak memanggil penjaga warung. Namun si penjual tidak kunjung membalas panggilan. Tiba-tiba, sosok seorang kakek dengan raut wajah pucat sudah berdiri di tengah-tengah mereka.

Begitulah salah satu senjata sutradara untuk menampilkan kejutan dalam filmnya. Penonton akan dicekam dan dibalut rasa was-was, kapan gambar menyeramkan akan muncul. Seperti halnya film tema-tema horor lain, hantu, setan, atau makhluk halus akan diselipkan di pojok-pojok gambar. Entah dengan sekilas siluet atau bantuan efek suara.

Yang mungkin berbeda dalam film Hantu, sutradara tidak terlalu mengeksploitasi wajah buruk dan menyeramkan. Dalam film ini, hantu cukup ditampilkan seperti gelandangan lusuh dan kumal. Penampakan hantu pun tidak banyak diumbar. Sutradara membangun suasana mencekam, sehingga kehadiran hantu pun menjadi klimaks dari bagian-bagian cerita.

Barangkali "kenikmatan" menonton justru berasal dari jalan cerita yang utuh. Dari lima karakter, sutradara tetap konsisten jalinan keutuhan. Pada suatu waktu, mereka terpisah serta mengalami peristiwa yang berbeda. Namun peristiwa-peristiwa yang dialami oleh mereka diakhiri dengan baik oleh sutradara.

Hantu seolah mengambil cerita sederhana, seperti halnya cerita-cerita yang pernah terdengar sebelumnya. Bagi penggemar kisah horor lokal, karakter hantu dalam film Hantu mungkin akan menambah perbendaharaan cerita. Boleh jadi, orang menduga produser kehabisan judul, paling tidak film ini menjadi satu alternatif setelah Suster Ngesot, Jelangkung, Wewe Gombel, Genderuwo, Pocong, Leak dan Kuntilanak. Maklum sederet "nama" makhluk halus itu lebih dulu diborong produser lain.

Note: Review Sinema-Indonesia http://www.sinema-indonesia.com/imej/bintang3.jpg燿apat dilihat disini燵b](http://www.sinema-indonesia.com)


kalchi Publish time 14-8-2007 07:09 PM

aku nak sgt tgk muvi yg released jun ari 2(indon release),titled '3 hari untuk selamanya/3 days to forever'..nicho saputra &adinia wirasti(1 of my fav indonesian actrss)...it's a road movie...

tapi rmai org kate x best..dissapointed hehe..tapi aku nk tgk jgk..cuma xtahu nk dptkan cd/dvd dari mana

jf_pratama Publish time 19-8-2007 03:27 PM

Q! Film Festival: Gender and sexuality on film
Lisabona Rahman, Contributor, Jakarta

Now in its sixth year, the Q! Film Festival aims this year to offer an even wider selection of films that focus on gender and sexuality.

Starting in Jakarta, the festival will then tour different cities in Indonesia. The Jakarta part will run from Aug. 24 through Sept. 2; that in Bali from Sept. 6 through 8.

Presenting a line-up of 80 films produced in 22 countries around the world, this year's festival takes up the theme "Youth Revisited".

The opening film is Taiwan director Leste Chen's Eternal Summer, a story about youth, friendship and the emotions that affect a group of people growing up together both in a village as well as in metropolitan Taipei.

It was awarded Best New Performer at the 2006 Golden Horse Film Festival, Taipei.

The main feature of this festival is Asian films. It therefore revisits the very well-known Happy Together by Hong Kong director Wong Kar Wai, about two Chinese gays living in Buenos Aires and struggling with their lives, love and loneliness.

The film will be presented together with a documentary about its making by Kwan Pun Leung and Amos Lee, an absorbing story of how the film mirrors the real life of the city, as well as that of its cast and crew.

It is a revealing, behind-the-scenes story of one of the Asian masters of filmmaking, and will definitely be a real treat for Wong fans.

The Asian film list also includes Tuli from Philipino director Auraeus Solito and Goodbye Boys from Malaysian director Bernard Chauly.

Both present the anger and angst of growing pains in diverse Southeast Asian settings, each with its unique crisis of identity.

For B-movie fans who like to enjoy the genre's regional version, there are two films from The Adventure of Iron ***** series from Thai director Michael Shaowanasai. Short films in this section will include a special retrospective on Singaporean director Victric Thng.

The greatest difference compared with previous festivals is the noticeable number of Indonesian films. Gender and sexuality seem increasingly to be addressed by contemporary Indonesian filmmakers.

Critically acclaimed Kala by director Joko Anwar and Coklat Stroberi by newcomer Ardy Oktaviand are in the section. A documentary about the bissu (cross-dressing high priests) in South Sulawesi royal surroundings by Rhoda Grauer shows how a ritual still survives despite the contemporary shrinkage of space available for royal tradition.

The closing film of the festival will also be Indonesian feature Jakarta Undercover by director Lance.

Moving away from Asian cinema, the audience may also view work from other continents, including Israeli director Eytan Fox's The Bubble, which is set in Tel Aviv's stylish quarter with its people dreaming about overcoming political conflicts.

A South American perspective is also featured in the lineup through Brazilian director Jose Eduardo Belmonte's The Conception.

As in previous Q! Film Festivals, there will be fringe events ranging from casual talks to a photo exhibition. An informal gathering billed as Q! Gossips will feature individuals or families sharing their experiences on subjects like coming out and urban sexuality.

Three book discussions, novels and a short-story collection on sexuality and HIV/AIDS are scheduled for the 10-day event. A photo exhibition on the making of Japanese directors Imaizumi Koichi and Iwasa Hiroki's First Love will also be presented at the Japan Foundation by photographer Taguchi Hiroki.

This year's Q! Film Festival highlights the many ways in which people deal with delicate subjects in their varied circumstances.

The wide range of cultures that serve as its context also shows that sexuality is treated in so many ways that it constantly changes along with the lives of the people involved.

Screenings at Q! Film Festival are free of charge but only for people who are at least 17 years of age (ID card may be required). Screenings and fringe events will take place at Blitz Megaplex, Goethe-Institut, Subtitles, Center Culturel Francais, Cemara 6 Galeri, Kineforum (Tim 21 Studio 1), The Japan Foundation, Erasmus Huis and Usmar Ismail Hall.

For schedule and full event details please visit www.qfilmfestival.org (launched Aug. 20).

jf_pratama Publish time 19-8-2007 03:32 PM

Festival Nusantara: Success all round at Brisbane Powerhouse
Dewi Anggraeni, Contributor, Brisbane, Australia

The strategic position of Brisbane's arts center Powerhouse, on the bank of the Brisbane River -- a stone's throw from the central business district -- makes it an ideal spot for any community event.

That it hosted Festival Nusantara for five successive days and evenings, Aug. 8 -12, made it a magnet for international arts-loving and fun-loving local residents, as well as for the proud members of Brisbane's Indonesian community.

The festival offered entertainment ranging from satirical comedy, intense and serious modern drama, dance drama, modern gamelan concerts with comedy acts, keroncong orchestra, a lively show for the young and young-at-heart, and an all-day outdoor party.

Alongside the entertainment, however, the organizers had events for the heart and mind: a photography exhibition and a seminar. The arts center was filled with nonstop activities for five days, and people streamed in and out at all times.

All events were undeniably professional, some even breathtakingly good. One particular aspect adding to the overall strength of the festival programs is that they were all grounded in today's time and the real place.

Some people in the audience of various performances commented that they had expected to see the usual, traditional type of show and were pleasantly surprised to find how contemporary it was.

Unconsciously, many Australians have placed Indonesian culture in a time warp, where it is expected to stay forever. They regard everything outside that frame as foreign, and therefore will clash with the "real" thing.

The festival has broken that mind-set, albeit in a limited way. Those who saw the performances are aware now that arts and culture in Indonesia can move with the times and social requirements, while retaining their inherent, original, indigenousness.

What is more, in their contemporary persona, they are equally attractive to the general community in Australia as they are to the cognoscenti or Indonesianists.

It is evident that Powerhouse director Andrew Ross and producer Luke Harriman put in a great deal of thought and consideration, and made extensive use of their network in Indonesia when planning the festival.

Their hard work paid off.

The intense, physical Merah Bolong Putih Bolong (Red Hole White Hole) by Bandung's Teater Payung Hitam gripped the audience with its story about the struggle for freedom, democracy and normality. Equally intense and physical was Nan Jombang's Sangketo Piriang dalam Randai (The War of the Plates). They were Indonesian and universal all at once.

Butet Kartaredjasa entertained a full house with his act, Matinya Toekang Kritik (Death of a Critic). Butet was obviously aware that he was not addressing an audience consisting of only those in the Indonesian community and Australian Indonesianists, because he included as the targets of his satirical delivery an Australian political figure -- the prime minister, no less.

With the federal election looming, he struck the right note with the audience.

In the meantime, Djaduk Ferianto's Kua Etnika, while presenting a persona unmistakably Javanese, transcended the cultural boundaries and delivered a wholesome program embracing not only elements of Australian culture but also those of other Asian and European countries.

One particular number that received roaring applause from the audience is Kua Etnika's version of the Mission Impossible theme tune.

Djaduk could not help having a remote dig at Yogyakarta's local government for not having a Chinatown, despite the number of ethnic Chinese living in the city. He started by relating how he was strolling in Brisbane's Chinatown and was impressed by its architecture.

Also a prominent feature in this group is the beautiful Trie Utami, singer, dancer, comedienne, and entertainer extraordinaire, who also took on the role of Djaduk's interpreter with ‚lan. Without Trie Utami, the show would not have been so perfectly well-rounded.

The event most popular with young people was Project Pop, sponsored jointly by the Indonesian Students Association (PPIA) and the Indonesian Association of Queensland (PIQ) as well as the Powerhouse.

Most of the young audience preferred to sit -- and later, stand also -- in front of the stage, while the more mature audience sat -- not always sedately -- in the seats provided.

Here also, the group seamlessly included Australian humor in their acts, without sacrificing their Indonesian young people's often very basic humor.

Some among the Australian audience were bemused by a number they performed wearing sleeveless vests, baru ketek (smelly armpits).

However, they liked the parts when the group impersonated international entertainers, such as Australia's Bee Gees. Here, the accomplished performer Tika Panggabean stood out. She knew when to self-deprecate, when to pick on the audience, and when to rally people for any particular act.

She sang, and even managed to cajole Consul General Sudaryomo and his wife to croon a love song. When she picked on someone in the audience, there was none of the surreptitious cruelty often found in Western comedy acts. It was usually brazen or funny, but gentle to the person.

There were also programs for those who wanted to be involved through their hearts and minds.

The photography exhibition, Mata Hati (The Feeling Eye) opened up numerous windows into intimate moments in people's lives in various circumstances in Indonesia.

The seminar Obrolan Sama Tetangga (Conversations with a Neighbor) presented a panel of speakers canvassing issues perceived as sources of misunderstanding in Australia-Indonesia relations.

The audience participated by asking for clarification as well as contributing opinions.

Festival Nusantara is the first comprehensive event focused on one country. It was an ambitious project which came off. It has never been attempted by any other arts center -- some much larger -- in Australia.

There is now an expectation that it is going to be a regular feature of Brisbane Powerhouse, a challenge that the venue is ready to address.

jf_pratama Publish time 19-8-2007 03:37 PM

Merah Itu Cinta: Promising psychological drama spoiled by foggy script
Rizal Iwan, Contributor, Jakarta

(Drama, 91 minutes) Starring Marsha Timothy, Gary Iskak, Yama Carlos, Inong. Directed by Rako Prijanto. Produced by Rapi Films.

As far as the title goes, it's hard not to think of this film as another melodrama on an aimless quest to explain the definition of love (although the phrase has slightly more brain than the movie that invokes the comparison, Love is Cinta).

Where the film itself is concerned, though, this third feature film from director Rako Prijanto has got a more grounded story, more talented actors, more decent direction, but, sadly, suffers from the same problem that made Love is Cinta such a ghastly spectacle: a bad script.

Prijanto provides fittingly gritty direction for this story about Raisa (Timothy), a young woman who has just lost her fianc‚ (Carlos) in a car accident, and who finds both solace and aggravation from his mysterious best friend, Aria (Iskak), who suddenly bursts into her life.

As a director, he comes up with some pretty good scenes. The one in the museum, where Aria whispers something to Raisa, is an ordinary scene brought to a higher level by Prijanto's subtle and meaningful direction.

But screenwriter Nova Rianti Yusuf -- who made a name as a novelist with an excessive pride in her background in psychiatry (which I'm sure is the reason why she was employed in this purportedly psychological drama) --- drags the whole film down with her foggy and confused script.

Even without a story-driven narrative, the two characters' psychological journey could have been very interesting. But Yusuf fails to make the most of Raisa and Aria's mutual demon: the dead fianc‚.

Instead of anchoring itself to this rock, the script rambles pointlessly (and ever so sluggishly), making it seem like the two are having a psychological battle, while doing nothing to give us a deeper insight into the characters' psyche.

Therefore, Raisa's eventual attraction to Aria feels lame. Yusuf also mars the script with prose-like dialog, which dangles dangerously between the pretentious and tacky.

The twist -- if you're familiar with the buzz proceeding this film -- doesn't really feel like a twist. This should not have been a big problem, if only Prijanto had cared a little more for this part of the movie, to give it more plausibility.

The two leads, though, do a good job. Timothy shows that there's more depth to her after a lighter turn in her previous film, Coklat Stroberi. Iskak -- a good actor often misunderstood for his over-the-top roles -- downplays his part to gloomy and seductive effect.

His performance even manages to make a phrase like "libido junkie" in the dialog sound not quite as pretentious as it really is.

Unfortunately, one cannot say the same for the supporting cast. The film's biggest mistake is to have its very first scene start with the presence of Carlos.

His acting is so bad that it's hard to take the film seriously from this point, which makes the film sort of roll downhill before the third minute.

That is, until the two leads' performances do some damage control. But again, the weak script overwhelms their good acting, so that at the end we don't really care about them as characters, and the final resolution -- Raisa's liberation -- makes her character pretty shallow.

This is a major flaw that even some good acting and decent directing fail to save. *1/2 (out of *****)

jf_pratama Publish time 22-8-2007 09:02 PM

FILM KANGEN- Roman Picisan Gaya Modern
Rabu, 22/08/2007

Apa yang terjadi apabila Bunga Citra Lestari dirasuki cinta yang sudah menjalar di tubuh dan merasuki pikirannya. Dan bagaimana rasanya bila Bunga juga harus dipisahkan oleh ruang dan waktu dengan sang pujaan hati.

JAKARTA (SINDO) –Jawaban cinta sejati Bunga hanya ada di cerita film Kangen yang akan diputar serentak di seluruh Indonesia pada 23 Agustus. Kisah percintaan di masa remaja kembali menjadi inspirasi sutradara Nayato Fio Nuala. Ini adalah film kedua Nayato yang bekerja sama dengan Bunga Citra Lestari, pemeran utama film ini.

Sebuah pertemuan dua remaja yang diawali kesinisan tanpa sengaja berubah menjadi sebuah hubungan romantis. Mengambil set di Kota Bandung yang penuh dengan romantismenya, cerita ini dibuat mengalir dengan lambat agar penonton merasakan chemistry film ini. Imel (Bunga) adalah anak Jakarta yang baru pindah ke Bandung untuk melanjutkan sekolahnya di sebuah perguruan tinggi.

Imel hidup seorang diri di kota yang dijuluki Paris Van Java tersebut. Pertemuan pertama Imel dengan Tian (Rueben Elsihama Hadju) terjadi saat mereka sedang mendaftar ulang di sebuah kampus di Kota Bandung.Pertemuan mereka diawali dengan pertengkaran ringan saat mengantre. Imel yang tidak mengantre, ditegur Tian.

Tian yang asli Bandung menjadi sentimen melihat tingkah laku Imel dan akhirnya adu mulut pun terjadi. Alhasil,Imelharuskembaliberbaris dari antrean awal kalau ingin dilayani, begitu juga dengan Tian. “Di Bandung bebek aja ngantre, euy!” ejek Tian. Dialek khas anak Bandung itu terasa sedikit dipaksakan oleh sang aktor.

Pertemuan selanjutnya tanpa sengajaterjadilagisaatImelhendak memesan burger di sebuah kios. Tidak disangka si penjual adalah Tian sendiri, Imel pun lantas mem batalkan pesanannya. Imel pun lebih memilih belanja di tempat lain. Tanpa sengaja, kartu kreditnya ketinggalan. Si pemilik toko menitipkannya kepada Tian karena Tian mengaku mengenal baik si pemiliknya.

Pertengkaran di antara mereka kembali terjadi saat Imel mengetahui kartu kreditnya ada di tangan Tian.Saat itu dia sedang mentraktir makan teman-temannya, dia pun dipaksa Tian meminta dengan manis. Tian pun menemui Imel.Bukannya mendapat ucapan terima kasih, Imel malah jutek dan sewot bahkan sampai menonjok Tian.

Perkenalan mereka diawali dengan banyak keributan kecil, namun justru membuat mereka jadi akrab. Lama kelamaan, cinta pun tumbuh.Kehadiran mantan Imel, Jacky (Nino Fernadez), sempat menjadi penghalang cinta mereka. Namun, sebuah kejadian yang tidak terduga merenggut kebersamaan yang sempurna itu sehingga yang tersisa hanya perasaan kangen yang tidak terhingga.

Sang sutradara memberi kesan komedi yang sengaja disisipkan untuk menambah kesan film ini ringan untuk disimak. Namun, sekali lagi terkesan dipaksakan. Susunan cerita sebenarnya sudah memiliki keterkaitan satu sama lain dengan alur cerita yang mengalir. Keterfokusan pada tokoh utama cerita justru membuat film ini miskin dengan gaya bercerita dan tidak adanya variasi tokoh lainnya.

Alur film pun menjadi membosankan. Penggambaran karakter Tian yang cuek sepertinya dikalahkan dengan hobinya sebagai pengamat dan peneliti bintang.Tema cerita Kangen sendiri sempat terlupakan untuk ditonjolkan, yang lebih menjadi perhatian adalah hobinya mengamati bintang. Film Kangen justru malah menggambarkan panjang lebar perjalanankisahcintaImeldan Tian.

Dari awal hingga akhir cerita diungkap, namun tema utama film ini masih belum diangkat dengan baik. Ekspresi kerinduan seorang kekasih hanya diungkap dengan penggambaran kegalauan, kesedihan, dan kesendirian tokoh. Maksud hati untuk menonjolkan kemampuan berakting pemeran utamanya, justru menimbulkan kesan film ini hanya menjual penampilannya semata.

Tema cerita Kangen tidak menggunakan penekanan-penekanan pada plot cerita. Konflik pun disuguhkandengandialog- dialogyang kurang sarat makna. Walaupun begitu,keseluruhan dari cerita ini bisa ditangkap karena tema cinta yang sangat universal.

Kerja Sama Kedua Kalinya

SETELAH sukses bermain dalam film Cinta Pertama yang melambungkan namanya, Bunga Citra Lestari kini hadir kembali dalam Kangen, sebuah film komedi romantis, di bawah arahan sutradara Nayato Fio Nuala.Film Kangen ini adalah produksi MVP Pictures dengan durasi 90 menit.

Meski baru kedua kalinya mereka bekerja sama,keduanya mengakui mempunyai hubungan yang istimewa.‘’Saya jadi teringat waktu pertama kali bertemu dengan Mas Nayato dalam pembuatan film Cinta Pertama. Saat itu, saya pikir dia sangat galak.Eh, ternyata dia sangat menyenangkan.’’ ujar Bunga memulai cerita.

Bahkan,untukKangen ini,lanjut Bunga Citra,banyak hal yang bisa dia dapatkan dari Nayato. “Misalnya, seperti karakter Imel yang saya perankan. Mas Nayato minta agar karakter Imel ini bisa membuatnya jatuh cinta, bukan hanya secara visual, tapi juga emosional. Inilahyangsaya pertahankandalam bermain sebagai Imel yakni membuat orang lain jatuh hati padanya,’’ terang Bunga.

Hasilnya, bukan hanya Nayato yang jatuh hati pada Imel,tapi juga pemeran pria yang terlibat kisah cinta dengan Imel dalam film ini yakni Rueben Elsihama Hadju.”Bunga memerankan Imel dengan baik, mulai cara dia berjalan hingga tersenyum, semuanya dihayati dengan sempurna,” tutur Reuben.

Reuben E Hadju dikenal sebagai lelaki penggoda di film Arisan! yang dinobatkan sebagai Film Terbaik Festival Film Indonesia 2004. Dia juga berperan dalam film Berbagi Suami.(isfarihikmat)

KoSe Publish time 23-8-2007 01:45 PM

korang dah tengok ke susta ngesot tu?
takut giler babas...lebih takut dari JPB..

limau Publish time 23-8-2007 03:19 PM

Filem diorang ni, pemandangan dia memang cantik.......

egp. Publish time 28-8-2007 07:00 AM

'Opera Jawa' Diputar di Bioskop Indonesia dan Eropa









JAKARTA--MIOL: Setelah mengikuti berbagai festival film internasional dan meraih penghargaan, Opera Jawa karya sutradara Garin Nugroho akan diputar di bioskop-bioskop Indonesia dan Eropa pada September 2007.

"Sudah satu tahun film ini mengikuti berbagai festival di luar negeri, kini saatnya masyarakat Indonesia dapat menikmatinya," ujar Garin dalam pertunjukan perdana Opera Jawa di Blitzmegaplex, Jakarta, Sabtu (25/8) malam.

Garin yang didampingi pemeran utama Opera Jawa, Artika Sari Devi dan Martinus Miroto mengungkapkan mulai 17 September film itu juga diputar di London (Inggris), Rotterdam (Belanda), dan sejumlah negara Eropa lain, sedangkan di Indonesia akan diputar di Yogyakarta, Bandung, Jakarta, dan Semarang.

"Film itu sudah dibeli oleh salah satu perusahaan film internasional, Pyramid namanya. Jadi distribusi Opera Jawa sudah ke berbagai negara," ujarnya.

Opera Jawa adalah film produksi gabungan Indonesia-Austria tahun 2006.

Film ini menggambarkan kehidupan yang penuh konflik, mulai dari permasalahan cinta segitiga dalam satu keluarga dengan tokoh Setyo, Siti, dan Ludiro, hingga masalah sosial, politik, dan perekonomian dimana rakyat kecil selalu menjadi korban.

Sesuai judulnya, yang tersaji sebuah opera yang berisi penggabungan unsure seni drama, tari, tembang (lagu Jawa), dan busana tradisional Indonesia.

Artika Sari Devi menyatakan senang film ini akhirnya diputar di Indonesia.

Film yang mengadaptasi sendratari Ramayana ini bagi Tika, sapaan Artika, sudah saatnya menjadi tuan rumah di negeri sendiri.

"Semoga dengan diputarnya film ini di Indonesia akan menjawab rasa ingin tahu masyarakat terutama pecinta film Indonesia," ujarnya.

Opera Jawa antara lain pernah diikutsertakan dalam berbagai festival film internasional di Venezia (Italia), Toronto dan Vancouver (Kanada), Pusan (Korsel), Taiwan, Tokyo (Jepang), London (Inggris), dan Goteborg (Swedia)

Film berdurasi dua jam ini juga mendapat berbagai penghargaan antara lain "Aktris Terbaik" (Artika Sari Devi) dan "Komposisi Musik Terbaik" (Rahayu Supanggah) dalam Festival Film Internasional Nantes (Prancis), "Komposisi Musik Terbaik" (Festival Film Internasional Hong Kong, "Film Asia Terbaik" (Festival Film Internasional Singapura), ";Penghargaan Khusus Juri" dalam Festival Film Internasional Jakarta (Jiffest) 2006.

Sejumlah seniman dan seniwati juga mendukung film ini seperti penari senior Indonesia Retno Maruti yang berperan sebagai ibunda Ludiro, Rahayu Supanggah sebagai penata musik, dan koreografer Jecko Siompo. (Ant/OL-06)

jf_pratama Publish time 2-9-2007 01:29 AM

To build a Q-munity: Joko and Rizal on Q! founder

jf_pratama Publish time 2-9-2007 01:36 AM

Queer as folk: Cinematic life of John Badalu
Features - September 01, 2007

Tiffany Wan, The Jakarta Post, Jakarta

When Q! Film Festival director John Badalu finally decided to come out to his parents, it's fitting that he was inspired to do so by a film. It was 1996 and John -- 25 at the time -- was on holiday in Singapore with his parents. While out shopping with his mother, he simply blurted it out.

The year before, he had shown Ang Lee's The Wedding Banquet to his family, hoping its gay-themed storyline would ease his impending confession.

So he said to his mother: "Remember that film last year that you watched? Well, I'm like that."

His mother, in disbelief, had little to say and "was just cool", said John. Her only request was to keep the news quiet from his father, who has a heart problem; John agreed, but only if she would keep mum, too.

"It was never really the right time," said John, now 36 with bleached-blond hair and an easy smile. "The thing is with my family, we were never really close. At dinnertime, even if we sit down together, we never really talk about something personal. So I didn't know how to tell them."

John's father found out shortly after the Singapore trip and he was considered "out" -- of the family, that is. Support from his younger sister and his then boyfriend allowed John to overcome the situation, and slowly his parents came to accept him as their son again.

Fast-forward to 2007. John is now helming the sixth annual Q! Film Festival, the only gay and lesbian film festival in Indonesia. Founded by John and six colleagues in 2002, the festival has flourished despite the dominance of Islam here.

"The audience is always increasing every year," said John. "From the first festival to the second, it was a big leap, actually. Ever since then, it's grown more gradually."

Q! has even gained recognition from the Berlin International Film Festival's Teddy Awards, the official queer award of that festival. John even sat on the Teddy Jury in 2003 and in 2006.

The queer film festival was also, unsurprisingly, inspired by cinema -- but one drawn from a negative reaction.

While working for the Jakarta International Film Festival (JiFFest) as an operations manager, John became bored with the Hollywood fare being shown and contemplated establishing a film festival with a queer twist. He told the idea to some friends and fellow freelance journalists and the Q! Film Festival was born.

"I'm gay myself, so I thought maybe it was a good time to start something a little more political and to do a gay movement in Indonesia," said John.

Using the connections he had made from working at various cultural institutes around the capital, such as the Goethe Institut and the Italian Institute of Culture, John procured enough films and screening venues to stage a modest five-day festival.

"We started from scratch and we didn't really know how to do it. We also wanted to raise the awareness of the queer community. In Indonesia, that's never talked about."

Born 1971 in Makassar, South Sulawesi, to an ethnic Chinese family, John found himself somewhat of an outcast from the beginning. He faced widespread discrimination in his hometown, and found his transition from a majority Chinese elementary school to a state-run junior high -- which was predominantly attended by pribumi, or native Indonesians -- a difficult feat.

"I fought almost every day with some students here or there," said John. "Every day I went home with one black eye or some scratch somewhere. But that's the way we grew up. We just have to be tough in the end."

That toughness is still evident in John, who speaks almost whimsically of the initial friction the festival experienced in its first two years.

The inaugural festival was a small affair, but still managed to garner protest from a fundamentalist Islamic group.

"We didn't expect there would be any trouble at all," John said of the 20-strong group that blocked one of the screening venues.

"We told them that this is a film festival. It's film, it's culture, it's nothing to do with trying to do something really, really political. It's not a sex party or something like that."

The second year drew no protests, but John's life was threatened by one group that also vowed to burn down the festival venues. But fear was the last thing on John's mind.

"I wasn't scared at all," he said. "I was like OK, if it's time to die, I'll die. At least it will mean something in the future, hopefully."

Telling his Q! colleagues about the threats was a struggle, and when he finally did, several committee members quit. But the visiting guests that year found the peril exciting, and told John he was doing something really meaningful.

Over the last five years, the Q! Film Festival has proven this meaningfulness to a new generation within the queer community.

Queer advocacy group Arus Pelangi was born from a group of individuals who would regularly attend the festival. And the National Commission on Human Rights finally added the queer community to their list of populations in need of rights protection.

"One of the people who work there actually pushed this agenda hard after watching all these films at the festival," said John.

But John readily admits that the festival unintentionally excludes certain groups of people.

"Because the films are only (those) with English subtitles or are only in English, the low-class queer people cannot go and see (the films)," said John. "They wouldn't understand a thing. It's just a shame, but technically it's very expensive to have Indonesian subtitles. We don't have the resources to do that."

As the festival continues, John dreams of having an outdoor public screening, but worries that Indonesia's censorship laws will be too constricting.

In the meantime, he is planning a more organized program for next year -- and films of higher quality.

"I would like to show less and less commercial films, less and less naked men running everywhere, (films) more related to the queer issues," said John. "It will be more quality movies that I will be trying to push."

Q! Film Festival runs through Sept. 2 in Jakarta, with a Bali showing from Sept. 6-8. All screenings are free. For complete schedules and listings, visit www.qfilmfestival.org.
Pages: 1 2 3 4 5 6 [7] 8 9 10 11 12 13
View full version: INDONESIAN MOVIES (Gallery and Discussion)


ADVERTISEMENT