ReelOzInd! Film Library
Kelas Imagi (Imagination Class)
After waving goodbye to her parents, Hana goes inside to supervise her little brother, Bian, who is learning online during the COVID-19 pandemic. Hana sees that Bian is bored sitting at his computer in the corner of the room so she comes up with a plan to make online learning fun. Director Nahata ‘Def’ Fathan also directed Lupa Putus Asa in this library.
Characters:
A young woman, Hana, and Hana’s little brother, Bian. We also see two people driving away on a motorbike at the start of the film. They are credited as Hana and Bian’s parents.
Setting:
A modest house in a backstreet neighbourhood. We see the front verandah, the sitting room and another room (possibly a bedroom) where Bian is working at a computer.
Characters:
A young woman, Hana, and Hana’s little brother, Bian. We also see two people driving away on a motorbike at the start of the film. They are credited as Hana and Bian’s parents.
Setting:
A modest house in a backstreet neighbourhood. We see the front verandah, the sitting room and another room (possibly a bedroom) where Bian is working at a computer.
Cipak Cipuk (Splish Splash)
Cipak Cipuk opens with siblings Timia and Galeo on the deck of their floating house, arguing about fixing the roof. Timia wants to take a break but Galeo says they must finish so they can perform a ritual for their mother. Timia seeks help with their roof repairs from a passing perahu (traditional fishing boat) but the perahu is a trap set by pirates who seek to steal a precious talisman from the siblings. Galeo and Timia fight off the pirates and return home. Galeo realises he misunderstood Timia’s intentions and we learn what the ritual is that they must perform.
Characters:
Galeo and his younger sister Timia, two pirates not named in the film but called Mr Bones / Si Kerempeng and Mr Muscles / Si Kekar in the credits/screenplay.
Setting:
An imaginary ocean world. The film is an extract of the novel Galeo Anak Segara by Andra Fembriarto (Director/Producer of Cipak Cipuk)
Caution:
At the end of the film, it becomes clear that the ritual is for the children’s dead mother. The scene is handled sensitively but teachers might need to ensure younger students understand the figure in the scene is a Torajan tau-tau effigy of the mother, not her corpse.
Characters:
Galeo and his younger sister Timia, two pirates not named in the film but called Mr Bones / Si Kerempeng and Mr Muscles / Si Kekar in the credits/screenplay.
Setting:
An imaginary ocean world. The film is an extract of the novel Galeo Anak Segara by Andra Fembriarto (Director/Producer of Cipak Cipuk)
Caution:
At the end of the film, it becomes clear that the ritual is for the children’s dead mother. The scene is handled sensitively but teachers might need to ensure younger students understand the figure in the scene is a Torajan tau-tau effigy of the mother, not her corpse.
| splish_splash_cipak_cipuk-transcript.pdf |
| splish_splash-suggested-activities.pdf |
| splish_splash-quiz.pdf |
The Last Trepangers
This film is an animated story, narrated mostly in first person, about the “Macassan Trepangers” who sailed from South Sulawesi to the land they called Marege in Arnhem Land, to trade in sea cucumbers (trepang) before the Australian government stopped the trade in the early years of Federation. The narrator, Hasni, explains how she listened to stories about Marege as a child and how she and her brother wanted to travel there. She also mentions how loved ones lost their lives during the perilous journey and how her older seafaring brother, Nurdin, might have succumbed to this fate. The story ends with the hope that Hasni and Hasan will be able to look for Nurdin in Marege some time in the future.
Characters:
Hasni: the narrator who is a girl living in a settlement in Makassar.
Hasan: Hasni’s twin brother.
Nurdin: the older brother of Hasni and Hasan who is a trepang trader or trepanger.
Daeng Rangka: the captain of Nurdin’s boat.
Setting:
A settlement in Marege, Arnhem Land, and a settlement in Makassar (now also known as Ujung Pandang, the capital of South Sulawesi).
Characters:
Hasni: the narrator who is a girl living in a settlement in Makassar.
Hasan: Hasni’s twin brother.
Nurdin: the older brother of Hasni and Hasan who is a trepang trader or trepanger.
Daeng Rangka: the captain of Nurdin’s boat.
Setting:
A settlement in Marege, Arnhem Land, and a settlement in Makassar (now also known as Ujung Pandang, the capital of South Sulawesi).
Layang (Kite)
A young boy arrives home from the shop with his new kite. Just as he is about to take it outside, a neighbour can be heard telling his mother that the shopkeeper has COVID-19. Subsequently, Pinto is quarantined in his room and his attempts to fly his kite through the window and with a fan are thwarted. In the final scene we overhear a vegetable seller telling Pinto’s mother that the shopkeeper has an ordinary fever (“masuk angin”), another woman with the same name but living in a different neighbourhood is the one with COVID-19.
Characters:
Pinto, a primary school aged boy. Pinto’s mother appears briefly but all other characters are background voices: a neighbour, Pinto’s friends, a vegetable seller and a newsreader.
Setting:
Pinto’s bedroom and, briefly, the entrance to his house, which is in a narrow lane.
Characters:
Pinto, a primary school aged boy. Pinto’s mother appears briefly but all other characters are background voices: a neighbour, Pinto’s friends, a vegetable seller and a newsreader.
Setting:
Pinto’s bedroom and, briefly, the entrance to his house, which is in a narrow lane.
Lupa Putus Asa (Forget to Give Up)
The film begins in January 2020 with Joko returning home to his son Diwan after a day working as a mime artist. In subsequent scenes we see Joko unable to find work and having to sell his scooter (as the impact of the COVID-19 lockdown worsens). In June, we see Joko removing the dust cloth from an old sewing machine and starting to make cloth masks printed with images of Betawi culture. The tempo of the music picks up and the lighting brightens as Joko and Diwan’s business grows. In the final scene, Diwan’s computer shows a blog post titled “Pekerja seni mencoba bangkit: Ayo! “Lupakan putus asa” (Artists back on their feet: Come on! “Forget about giving up”).
Director Nahata ‘Def’ Fathan also directed Kelas Imagi in this library.
Characters:
A mime artist, unnamed in the film but credited as ‘Joko’ and his son, Diwan. A woman appears briefly at the sewing machine in a black and white scene that might be a flashback.
Setting: The street in front of a modest house and the front room. The house is probably in Jakarta given the Betawi cultural references in the mask fabric and hand puppets.
Setting:
The street in front of a modest house and the front room. The house is probably in Jakarta given the Betawi cultural references in the mask fabric and hand puppets.
Director Nahata ‘Def’ Fathan also directed Kelas Imagi in this library.
Characters:
A mime artist, unnamed in the film but credited as ‘Joko’ and his son, Diwan. A woman appears briefly at the sewing machine in a black and white scene that might be a flashback.
Setting: The street in front of a modest house and the front room. The house is probably in Jakarta given the Betawi cultural references in the mask fabric and hand puppets.
Setting:
The street in front of a modest house and the front room. The house is probably in Jakarta given the Betawi cultural references in the mask fabric and hand puppets.
Air Untuk Kakek Jan (Water for Grandpa Jan)
Air untuk Kakek Jan is narrated by twins Aldo and Aldi. They introduce the viewer to their neighbourhood in Jakarta, where they must sometimes buy drinking water, despite Jakarta being such a rainy city. One day, the water goes off but the water seller doesn’t come. The twins hatch a plan to help their elderly neighbour, Kakek Jan (Grandpa Jan), get the water he needs to take with his medicine.
Characters:
Aldo and Aldi (identical twins aged around 10 years), Kakek Jan (their elderly neighbour), Mas Bambang (the water seller), Bang Johny (a neighbour)
Setting:
Most action takes place in the street outside Kakek Jan’s house and several segments show street life and different forms of transport in Jakarta. There are shots of a river, a swimming pool, driving in the rain and walking/cycling in a flood. One scene takes place at Pasar Benhil (a traditional market in Central Jakarta).
Characters:
Aldo and Aldi (identical twins aged around 10 years), Kakek Jan (their elderly neighbour), Mas Bambang (the water seller), Bang Johny (a neighbour)
Setting:
Most action takes place in the street outside Kakek Jan’s house and several segments show street life and different forms of transport in Jakarta. There are shots of a river, a swimming pool, driving in the rain and walking/cycling in a flood. One scene takes place at Pasar Benhil (a traditional market in Central Jakarta).
| water_for_grandpa_jan-transcript-translation.pdf |
| water_for_grandpa_jan-suggested-activities.pdf |
| water_for_grandpa_jan-quiz.pdf |
Water
This film uses paper cutout animation to tell a story about water. It shows the water cycle, waste water, hydroelectricity, underwater life, surfing at the beach and a tsunami.
Characters:
The main character is water itself.
Setting:
The film opens with a silhouetted figure drinking a glass of water. Subsequent scenes show sun and rain on a rice field, a river, villages, a beach, a coral reef and a seaside town devastated by a tsunami.
Characters:
The main character is water itself.
Setting:
The film opens with a silhouetted figure drinking a glass of water. Subsequent scenes show sun and rain on a rice field, a river, villages, a beach, a coral reef and a seaside town devastated by a tsunami.
Kisah Sekolah Dalam Tiga Babak (The Story of the School in Three Acts)
The first act shows a senior high school student arriving at school to an upbeat soundtrack and dancing to class with a chorus line of fellow students. In the second act she sits in a shadowy room with two masked dancers performing a stylised battle behind her. Her homework piles up and, as the red-faced mask dancer defeats the white-faced one, the girl collapses at her desk. The third act begins with the girl praying. She then returns to her desk and tackles her homework as the white-faced mask dancer recovers and stands tall.
Characters:
Senior high school students (girls and one boy) and two dancers wearing traditional Indonesian dance masks.
Setting:
A senior high school entrance and quadrangle and a darkened room.
Characters:
Senior high school students (girls and one boy) and two dancers wearing traditional Indonesian dance masks.
Setting:
A senior high school entrance and quadrangle and a darkened room.
Divergensi (Divergence)
Belden, a senior high school student is ignored by a group of boys until he saves one of them from getting in trouble for not wearing his cap to assembly. At the end of the film, it is revealed that Belden is deaf.
Characters:
A group of 5 senior high school boys; Belden, a classmate with a hearing impairment.
Setting:
A senior high school quadrangle, classroom and canteen.
Characters:
A group of 5 senior high school boys; Belden, a classmate with a hearing impairment.
Setting:
A senior high school quadrangle, classroom and canteen.
A Bad Hair Day
High school student Jane views herself as an outsider because she is teased at school about her long bushy hair. However, she overcomes her predicament by befriending another bullied student who tells Jane her hair is beautiful. Jane finally accepts that her hair is part of who she is.
This is a simple story, and the content is suitable for students from upper primary levels. However, the language is quite sophisticated, so activities, especially for beginner learners, might need to be based on the themes rather than focus on elements of Indonesian.
Characters
Jane is the main character who has tried everything to tame her wild, bushy hair. Bohlam is another bullied student. Jane’s parents and two bullies are in the story but do not feature prominently.
Setting
The film is set in an unnamed large city. There is no typical Indonesian scenery other than the modes of transport and traffic congestion. The school itself seems more western in design and facilities and the students do not wear a school uniform which is unusual in Indonesia.
This is a simple story, and the content is suitable for students from upper primary levels. However, the language is quite sophisticated, so activities, especially for beginner learners, might need to be based on the themes rather than focus on elements of Indonesian.
Characters
Jane is the main character who has tried everything to tame her wild, bushy hair. Bohlam is another bullied student. Jane’s parents and two bullies are in the story but do not feature prominently.
Setting
The film is set in an unnamed large city. There is no typical Indonesian scenery other than the modes of transport and traffic congestion. The school itself seems more western in design and facilities and the students do not wear a school uniform which is unusual in Indonesia.
| bad_hair_day-transcript-translation.pdf |
| bad_hair_day-suggested-activities.pdf |
| bad_hair_day-suggested-activities.pdf |
Mukhtar's Story
Mukhtar is a farmer living on the coast of Aceh, Sumatra. He talks about what happened to him on that day he was caught in the 2004 Indian Ocean tsunami.
Caution:
At the end of the film, Mukhtar recounts seeing someone lose their life in the flood waters. It is not a graphic account but could be upsetting for students who have experienced natural disasters.
Caution:
At the end of the film, Mukhtar recounts seeing someone lose their life in the flood waters. It is not a graphic account but could be upsetting for students who have experienced natural disasters.
| mukhtars_story-transcript-translation.pdf |
| mukhtars_story-suggested-activities.pdf |
| mukhtars_story-quiz.pdf |
Mengejar Dangdut (Chasing Dangdut)
Icha is a young pembantu (domestic servant) working for a well-off family in Jakarta. She is the biggest fan of dangdut singer, Ismail Jay, and might get the chance to finally meet him if she wins a radio competition.
Characters:
Icha is the main character. She is a cheerful teenager who works as a pembantu for a wealthy family. She dreams of meeting Ismail Jay.
Sri is Icha’s friend. She is cynical and questions any hopes Icha might have in meeting her idol.
Wendy (a boy) is a friend of Icha and Sri. Wendy owns a small mobile kiosk that serves noodles. He fancies Icha.
Setting:
The story is set in Jakarta although no noticeable landmarks are seen.
Characters:
Icha is the main character. She is a cheerful teenager who works as a pembantu for a wealthy family. She dreams of meeting Ismail Jay.
Sri is Icha’s friend. She is cynical and questions any hopes Icha might have in meeting her idol.
Wendy (a boy) is a friend of Icha and Sri. Wendy owns a small mobile kiosk that serves noodles. He fancies Icha.
Setting:
The story is set in Jakarta although no noticeable landmarks are seen.
Miner's Walk: Supeno
This film is an interview with a man who lives in Plampang Village, East Java, who makes a living by collecting sulfur in the Ijen Volcano crater. In a softly spoken manner, he talks about his family, lifestyle, and work in the Ijen crater.
The first half of the film features Supeno at his village house talking about his work as a sulfur miner. Following this, there is footage of the miners working in the crater as Supeno talks about work conditions. At the end, we return to the village where he talks about his pay.
Characters:
Supeno. We also see other members of his family, including his primary school aged son.
Setting:
Plampang Village and Ijen Volcano crater in East Java.
The first half of the film features Supeno at his village house talking about his work as a sulfur miner. Following this, there is footage of the miners working in the crater as Supeno talks about work conditions. At the end, we return to the village where he talks about his pay.
Characters:
Supeno. We also see other members of his family, including his primary school aged son.
Setting:
Plampang Village and Ijen Volcano crater in East Java.
Sebelum 7 Hari (Before 7 Days)
Sebelum 7 Hari continues Indonesia’s tradition of telling ghost stories. This one has its frights but it is as much a story about family love as it is a ghost story and it does not stray into the horror genre.
Two children, Bian and Hanif, must spend the night in their recently deceased grandmother’s house while family members make preparations for her funeral to be held the following day. During the evening the grandmother’s spirit lingers in the house terrifying the children.
Characters:
Bian and Hanif: two young siblings who’s grandmother has passed away.
Mother of Bian and Hanif who is attending to other matters away from the children’s bedroom.
Other mourning family members who we see in the background.
Setting:
The grandmother’s house, a traditional Indonesian home.
Caution:
The start of the movie shows the deceased grandmother that could be triggering for some students.
Two children, Bian and Hanif, must spend the night in their recently deceased grandmother’s house while family members make preparations for her funeral to be held the following day. During the evening the grandmother’s spirit lingers in the house terrifying the children.
Characters:
Bian and Hanif: two young siblings who’s grandmother has passed away.
Mother of Bian and Hanif who is attending to other matters away from the children’s bedroom.
Other mourning family members who we see in the background.
Setting:
The grandmother’s house, a traditional Indonesian home.
Caution:
The start of the movie shows the deceased grandmother that could be triggering for some students.
Bagasi (Baggage)
“Bagasi” is narrated by the director, Meyrick Kaminski, who is also a multimedia visual artist. At the beginning he states that it is a “trailer” that his university lecturer has set as an assignment for students before a journey to Indonesia. The narrator reflects on Indonesia-related memories from an Australian perspective. This includes personal experiences such as smoking clove cigarettes and cooking Indonesian noodles but also reflections of historical events such as the White Australia Policy, the rise of Suharto and the bombings in Bali. The narrator’s tone is wry, for example noting that his mother’s family came to Australia under the White Australia Policy. As he narrates, mementos of each memory are placed around his desk which gradually takes the form of a shrine to his recollections.
Characters:
The unseen narrator speaks in first person, addressing the Indonesian people.
Setting:
The narrator’s desk upon which are placed mementos that represent each memory.
Characters:
The unseen narrator speaks in first person, addressing the Indonesian people.
Setting:
The narrator’s desk upon which are placed mementos that represent each memory.
Memories/Fortress
Memories/fortress takes place during the pandemic lockdowns in 2020. A young Indonesian man studying in London has several phone conversations with his mother, and sometimes father, back in Indonesia. They talk about getting by during the lockdowns and exchange snippets of information about their lives. We hear their conversations played over static video, presumably showing the limits of the young man’s environment during lockdown.
Characters:
The young man and his mother but we only hear their voices. At one point the father says a few words.
Setting:
Scenes of a university and the dormitory where the young man resides.
Characters:
The young man and his mother but we only hear their voices. At one point the father says a few words.
Setting:
Scenes of a university and the dormitory where the young man resides.
Getun (Regret)
Damar is sitting in a boring maths class when a friend messages him, encouraging him to sneak out. The teacher sees him leaving and gives chase. Damar hides in the toilet but when he closes his eyes in relief he finds himself trapped in a dream state and must promise to change his ways to get back to reality.
Characters:
Damar, the main character, is a student at an SMK (Sekolah Menengah Kejuruan – Senior Vocational High School). We also see Damar’s maths teacher and other students sitting in the classroom.
Setting:
A maths classroom, the walkway outside classrooms, a school toilet and a corn field.
Characters:
Damar, the main character, is a student at an SMK (Sekolah Menengah Kejuruan – Senior Vocational High School). We also see Damar’s maths teacher and other students sitting in the classroom.
Setting:
A maths classroom, the walkway outside classrooms, a school toilet and a corn field.
Posko Palu
This film tells the story of three children who survived a series of earthquakes and a tsunami in Palu, Sulawesi in 2018. We see them walking through the rubble and going about their daily activities in the days after the disaster. They recount what happened on the day of the disaster and describe what their life is like now, what they miss, and what they hope for.
The first minute of the film features scenes of the devastation, including demolished buildings, damaged roads, and the hastily erected refugee camps. Following this, the children introduce themselves and tell their stories. At the end of the film we see families leaving the camps and people playing around. The scenes allude to the resilience of the survivors and suggest hope for their future.
Characters:
Three children: Akbar, Diva, and Kesya
Setting:
Devastated city of Palu, the capital of Central Sulawesi
Caution:
Approximately 6 minutes into the film, the children talk about their missing and dead relatives, including details of seeing dead bodies.
The first minute of the film features scenes of the devastation, including demolished buildings, damaged roads, and the hastily erected refugee camps. Following this, the children introduce themselves and tell their stories. At the end of the film we see families leaving the camps and people playing around. The scenes allude to the resilience of the survivors and suggest hope for their future.
Characters:
Three children: Akbar, Diva, and Kesya
Setting:
Devastated city of Palu, the capital of Central Sulawesi
Caution:
Approximately 6 minutes into the film, the children talk about their missing and dead relatives, including details of seeing dead bodies.
A Daughter's Memory
This film is a historical animation that tells the story of a girl’s experience during the purges of communists in 1965. It is narrated by Svetlana Dayani, the daughter of Njoto, who was one of the leaders of the Indonesian Communist Party. She talks about how the authorities imprisoned her family and despite the necessity to conceal her identity as she grew up, she always remained proud of her father.
Characters:
Svetlana Dayani: The narrator who we see as a nine year old girl in the animated re-enactments of the time.
Njoto: The narrator’s father who was a leader of the Indonesian Communist Party.
Setting:
Set in Jakarta although the animation does not shows any obvious landmarks of the area.
Caution:
The narrator talks about torture in a prison.
Characters:
Svetlana Dayani: The narrator who we see as a nine year old girl in the animated re-enactments of the time.
Njoto: The narrator’s father who was a leader of the Indonesian Communist Party.
Setting:
Set in Jakarta although the animation does not shows any obvious landmarks of the area.
Caution:
The narrator talks about torture in a prison.
Muslimah
Wulan, a 26-year-old Indonesian woman, grew up with two mothers, both of whom were Muslim but had different perspectives on their faith. Wulan talks to each of them on the phone about their attitudes to Muslim dress codes and she talks to camera about her upbringing and how her attitude to wearing the hijab has changed over time.
We also hear from Samiha, an Australian-born woman raised by Bangladeshi parents, who talks about cultural Islam, and Afia, a journalist, who describes factors influencing women’s clothing choices in Bangladesh.
Muslimah is an Australia-Indonesia joint production directed by Nur Wulandari (who features as Wulan in the documentary) and produced by Kinetic Collective, a South Australian theatre, art and technology collective.
Characters:
Wulan; Mama Diana (Wulan’s birth mother); Mama Tati (the younger sister of Wulan’s deceased father, who raised Wulan); Samiha (a dancer); Afia (a journalist).
Setting:
Scenes with Wulan take place in a house and a recording studio. Samiha is seen practising with a dance group.
We also hear from Samiha, an Australian-born woman raised by Bangladeshi parents, who talks about cultural Islam, and Afia, a journalist, who describes factors influencing women’s clothing choices in Bangladesh.
Muslimah is an Australia-Indonesia joint production directed by Nur Wulandari (who features as Wulan in the documentary) and produced by Kinetic Collective, a South Australian theatre, art and technology collective.
Characters:
Wulan; Mama Diana (Wulan’s birth mother); Mama Tati (the younger sister of Wulan’s deceased father, who raised Wulan); Samiha (a dancer); Afia (a journalist).
Setting:
Scenes with Wulan take place in a house and a recording studio. Samiha is seen practising with a dance group.
Hilang (Lost)
A young woman returns home to Indonesia but feels like a total stranger. Getting lost, she finds herself on a beach and meets another woman. By the water, they talk of family, home, and the distance that separates loved ones. They realise that they share a deeper connection than first thought.
Characters:
The main character is a young woman with Indonesian heritage. We do not know her name. She is visiting Indonesia to look after her frail aunt.
Fara is a girl she meets at the beach who tells her a story about family and loss. Another young woman, dressed in black, appears at the beginning and end of the film. In the opening sequence, someone is calling out “Ratna” as the woman in black runs towards the ocean.
There is a short phone conversation between the young woman and her aunt but we do not hear the aunt speak. Later the young woman receives a Whatsapp message from “Bude Fara” (Auntie Fara).
Setting:
The first minute of the film in set next to Beringharjo market in Yogyakarta and the rest is set on an isolated beach.
Caution:
Suicide is mentioned.
Characters:
The main character is a young woman with Indonesian heritage. We do not know her name. She is visiting Indonesia to look after her frail aunt.
Fara is a girl she meets at the beach who tells her a story about family and loss. Another young woman, dressed in black, appears at the beginning and end of the film. In the opening sequence, someone is calling out “Ratna” as the woman in black runs towards the ocean.
There is a short phone conversation between the young woman and her aunt but we do not hear the aunt speak. Later the young woman receives a Whatsapp message from “Bude Fara” (Auntie Fara).
Setting:
The first minute of the film in set next to Beringharjo market in Yogyakarta and the rest is set on an isolated beach.
Caution:
Suicide is mentioned.
| hilang_lost_transcript.pdf |
| hilang_suggested-activities.pdf |
| hilang_lost-quiz.pdf |
Arohuai (Pulang)
This documentary tells the story of Amos Wainggai, a young man from West Papua, who together with 42 other asylum seekers, arrived in Australia by boat in January 2006 after spending 5 days at sea in a traditional outrigger boat. The narrative focusses on the journey, the things Amos misses about home and the message he would send to his family.
While it doesn’t talk about why the asylum seekers made the journey, text on the screen at the end of the film notes that the decision by the Australian government to grant them temporary protection visas (and later citizenship) caused political tension between Australia and Indonesia.
Characters:
Amos Wainggai
Setting:
We see Amos on a tram, on St Kilda beach and in his home in Melbourne. There are also impressionistic shots at sea.
While it doesn’t talk about why the asylum seekers made the journey, text on the screen at the end of the film notes that the decision by the Australian government to grant them temporary protection visas (and later citizenship) caused political tension between Australia and Indonesia.
Characters:
Amos Wainggai
Setting:
We see Amos on a tram, on St Kilda beach and in his home in Melbourne. There are also impressionistic shots at sea.
Behind The Mask
Ari, an Indonesian mask dancer, is an international student in Australia. She feels lonely in a new country and doesn’t know how to approach new people. She thinks that things would be easier if she had the dance mask back that she has lost. Jane is a local student at the same university as Ari and is also a mask dancer. She is unsuccessful at first in her attempt to engage Ari in conversation but when she finds the diary Ari has dropped, she sees a way to build a friendship with her.
Characters:
Ari and Jane. Two of Jane’s university friends also appear but do not speak.
Setting:
An unnamed city – visual clues suggest it is Brisbane.
Characters:
Ari and Jane. Two of Jane’s university friends also appear but do not speak.
Setting:
An unnamed city – visual clues suggest it is Brisbane.
Mayang O Mayang
Joko is a young man who has recently moved to Jakarta. He is under pressure from his mother to find a wife but so far has had no luck. An encounter with traditional Betawi folk performers might change his fortunes.
Characters:
Joko is the main character. He has recently moved to Jakarta and is rather awkward. Bebeh appears briefly. He sells a traditional sweet Jakarta dish, Selendang Mayang, from a small stall that he carries around the neighbourhood. Mayang is literally the girl of Joko’s dreams. She is a dancer who wants to preserve Betawi folk traditions.
Setting:
The story is set near Monas (Monumen Nasional), Jakarta’s National Monument, and in Kota Tua (Old Batavia).
Characters:
Joko is the main character. He has recently moved to Jakarta and is rather awkward. Bebeh appears briefly. He sells a traditional sweet Jakarta dish, Selendang Mayang, from a small stall that he carries around the neighbourhood. Mayang is literally the girl of Joko’s dreams. She is a dancer who wants to preserve Betawi folk traditions.
Setting:
The story is set near Monas (Monumen Nasional), Jakarta’s National Monument, and in Kota Tua (Old Batavia).
| mayang_o_mayang-transcript-translation.pdf |
| mayang_o_mayang-suggested-activities.pdf |
| mayang_o_mayang-quiz-1.pdf |
Kasat Mata (Visible Traces)
This is a first person account of the Montara oil spill in the Timor Sea in 2009 and its lasting impact on seaweed farmers and fisherfolk in West Timor. The narrator, a fisherman, describes the community’s growing realisation that something is killing the seaweed plantations and the fish and people are getting sick. Aid promised by the government never arrives and a sense of hopelessness pervades when a dead whale washes up on the beach.
Wondering what he has done to offend God, the man sets out to sea and leaps into the water. In the next scene his boat is burning on a beach and his son gazes out to the ocean. We then see a figure waving on the horizon. The man says he can still support his family and will wait until the sea returns to how it was.
The Indonesian title, Kasat Mata, is of Javanese origin and usually written as one word. It means “visible to the naked eye, concrete”.
Characters:
A fisherman (the narrator) and his son. We also see a Christian minister and other villagers.
Setting:
A coastal village (Tablolong village in West Timor) with seaweed plantations and a fleet of traditional fishing boats, a school room, a church, a market and the ocean.
Wondering what he has done to offend God, the man sets out to sea and leaps into the water. In the next scene his boat is burning on a beach and his son gazes out to the ocean. We then see a figure waving on the horizon. The man says he can still support his family and will wait until the sea returns to how it was.
The Indonesian title, Kasat Mata, is of Javanese origin and usually written as one word. It means “visible to the naked eye, concrete”.
Characters:
A fisherman (the narrator) and his son. We also see a Christian minister and other villagers.
Setting:
A coastal village (Tablolong village in West Timor) with seaweed plantations and a fleet of traditional fishing boats, a school room, a church, a market and the ocean.
Turut Berdukacita (Deep Condolences)
Maria’s father has just passed away and she now she has to chat with grieving family and friends at the funeral. Maria remains composed as she is required to repeat the story about her father’s passing and displays patience when dealing with visitor’s unhelpful and frequently inappropriate comments. Those who constantly nibble snacks or display outbursts of emotion do not help. The film uses subtle humour to suggest that grieving guests or anyone dealing with those experiencing pain, should be more adept at showing empathy and compassion in delicate situations.
Characters:
Maria: a young woman who deals with various mourning guests at her father’s funeral.
Mourners: Assorted family members and friends whose behaviours are less than appropriate.
Setting:
Set amongst the floral banners at a funeral home in an Indonesian city.
Characters:
Maria: a young woman who deals with various mourning guests at her father’s funeral.
Mourners: Assorted family members and friends whose behaviours are less than appropriate.
Setting:
Set amongst the floral banners at a funeral home in an Indonesian city.
Nameless Boy
A young boy moves through a large demonstration, part of a series of protests by Muslim hardliners against the former governor of Jakarta in late 2016. We see demonstrators carrying Indonesian flags, banners and black flags with Arabic writing and we hear speakers on megaphones denouncing the governor and urging the crowd to start a revolution. The camera follows the boy as he buys an ice-cream, sits listening to the speakers and eats a snack handed to him through a car window. The documentary ends with the sun setting over Monas.
Characters:
A boy dressed in white Muslim dress. He is accompanied by various teenage boys who are similarly dressed at different points in the documentary.
Setting:
A street demonstration in Central Jakarta
Caution:
Threats of violence towards the governor of Jakarta are made by speakers at the demonstration.
Characters:
A boy dressed in white Muslim dress. He is accompanied by various teenage boys who are similarly dressed at different points in the documentary.
Setting:
A street demonstration in Central Jakarta
Caution:
Threats of violence towards the governor of Jakarta are made by speakers at the demonstration.
Ojek Lusi (Tour on Mud)
Ojek Lusi is an observational documentary about victims of the mud flow disaster in the regency of Sidoarjo, East Java, in 2006. The disaster started when the mining company, Lapindo Brantas, drilled into a layer of hot mud which spewed out and inundated the entire area. The flow has not stopped, and thousands of people have been displaced. The documentary focuses on former residents who now make a living by selling DVDs about the disaster and taking tourists on their motorbikes (ojek) to visit the devastated area.
Setting:
Most of the filming takes place in an expanse of barren muddy land. We see the tour guides arrive on their motorbikes, try to sell DVDs to tourists and encourage them to go for a tour to see the source of the mud flow up close. Sometimes the filming takes place at a shelter on the site where the guides wait for tourists to arrive. We also see the neighbourhood where they now live.
Setting:
Most of the filming takes place in an expanse of barren muddy land. We see the tour guides arrive on their motorbikes, try to sell DVDs to tourists and encourage them to go for a tour to see the source of the mud flow up close. Sometimes the filming takes place at a shelter on the site where the guides wait for tourists to arrive. We also see the neighbourhood where they now live.
| ojek_lusi_tour_on_mud-transcript-translation.pdf |
| ojek_lusi_tour_on_mud-suggested-activities.pdf |
| ojek_lusi_tour_on_mud-quiz.pdf |
