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WORKS

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(work-in-progress) THE UNDERSIDE

2018 HOUSE NO.15 | Experimental Documentary

2013 KITMIR | Installation | Co-author: Iswanto Hartono

2013  THE FLANUERS #3 | Experimental Documentary

2009-2011 ON BROADWAY | Experimental Documentary

2007 PLAYING BETWEEN ELEPHANTS | Feature-Length Documentary

2006 THE FIRST STEP | Short Documentary

2005 LUKAS’ MOMENT | Short Documentary

2005 A MAIL | Experimental Documentary

2003 ABRACADABRA | Short Documentary

2003 LANGIT DIAKU BAPAK, BUMI DIAKU IBU: KISAH PERJUANGAN SUKU TALANG MAMAK (RIAU) | Short Documentary

2000 THE WHISTLE | Short Fiction | part of Omnibus film “Viva Indonesia”

2000 THE POET OF LINGE HOMELAND | Short Documentary

1999 VILLAGE GOAT TAKES THE BEATING | Short Documentary

1998 JOPLES (The Jobless) | Short Fiction

 

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Intersubjektivitas dan Gaya Kamera dalam Film Etnografi

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ABSTRACT
This article is about the use of observational camera style in articulating intersubjectivity. The case is my experience in making Lukas’ Moment (2005), an ethnographic film shot in Merauke, Papua. The film is about Papuans’ intersubjectivity toward indigeneity in the post-2000 riot Papua. I observed
the experiences of three Papuan entrepreneurs in processes of building their enterprises which in different ways involve politics of indigeneity. Following the existential-phenomenological anthropology approach, I explicate intersubjectivity as instable formation of subjects engaging in their process of being-in-the-world. In the filming process, I experienced two modalities of
observational camera, which I called hunting and fishing modes of visuality. The hunting mode focuses on searching for preconceived images of targeted social scenes to satisfy a research goal, while the fishing mode is about building correspondence with the rhythm of the subject’s social processes in everyday life in order to capture the unexpected social scenes. As it is characterized by establishing cinematic correspondence with the subject’s path of life, I argue that the fishing mode is more suitable as an ethnographic endeavor which aims to broaden the horizon of humanity instead of predicting it.

The Flanuers #3

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Screen Shot 2017-10-23 at 10.25.37

International

  • PREMIERE: Rotterdam Film Festival
  • DMZ Film Festival, Korea
  • Singapore International Film Festival
  • Luang Prabang International Film Festival
  • Chop Shot Film Festival (DocNet Southeast Asia, Goethe Institute Project), Jakarta
  • ICA Boston:

    MONSOON, PRAYERS AND NEW ROUTES: URBAN ISLAM ACROSS THE INDIAN OCEAN AND BEYOND – Curator: Xin Zhou

 

Indonesia:

  • FFD Festival Film Dokumenter, Jogjakarta
  • Kineforum
  • ARKIPEL
  • MES56, Cafe Society Cinema
  • Karya Tanpa Batas #4, Jogjakarta (2016)

 

VIDEO: Village Goat Takes The Beating (1999)

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Producer: Elsam (Lembaga Studi dan Advokasi Masyarakat)
Writer/Director : Aryo Danusiri
Music: Thoersi Argeswara 
Running Time: 47 mins
Language: Acehnese and Indonesian with English subtitles

The Village Goat Takes the Beating, filmed in Aceh in late 1999, through lengthy interviews with victims or with relatives of deceased victims, and through partial re-enactments, records allegations of human right abuses perpetrated by the Indonesian army in Aceh during the 1990s, particularly in the Tiro subdistrict of Pidie, during the notorious DOM period, when under Suharto Aceh was first made an area of military operations (Daerah Operasi Militer) with the aim of suppressing GAM (Aceh Freedom Movement). The full meaning of the film’s title is contained within the Acehnese saying ‘the mountain goat eats the corn, the village goat takes the beating’, for it is claimed that the killings and torture by the army were frequently perpetrated on the villagers, rather than on GAM members.