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TÉMA: FESTIVAL INDONÉSKÉHO FILMU V KINĚ PONREPO

FESTIVAL INDONÉSKÉHO FILMU V KINĚ PONREPO 12 roků 2 týdnů #1299

A WEEK OF INDONESIAN FILMS

3.-11. prosince 2007

Indonéské velvyslanectví v Praze – Národní filmový archív – Kino Ponrepo, Bartolomějská 11, Praha 1

www.indonesia.cz/index-cz.php

3 December 2007; 17.00 Opening Ceremony + 17.30 Ibunda (Mother)
5 December 2007; 17.30 Cinta Dalam Sepotong Roti (Love in a slice of bread)
6 December 2007; 17.30 Suci Sang Primadona (Suci, the Primadona)
7 December 2007; 16.30 Pejuang (Soldier)
11 December 2007; 17.30 Pagar Kawat Berduri (The Barbed Wire Fence)


Ibunda - Mother

Directed by Teguh Karya - Indonesian Title Ibunda, English title Mother
Year of production 1986, 98 min.


Set in contemporary Jakarta, Ibunda (Mother ) interweaves two separate problems a widow is facing with her family. Youngest daughter, Fitri, and her boyfriend, Luke, are ostracised by elder daughter, Ida, and her nouveau riche Javanese businessman husband, Gatot, because Luke is Irian Jayan and not Javanese. At the same time elder son, Fikar, has left his wife and child and is living with an actress. The film traces the mother's psychological and moral relations to her still immature family-she is the point where problems intersect or where problems are expected to be solved.
The film uses a conventional melodramatic plot to raise, more or less directly, the question of racial prejudice by Javanese towards people from Irian Jaya, who are nominally equal under Indonesian law. It is interesting that the film should have been received so well in Indonesia, being awarded 9 Citras at the Indonesian Film Festival in 1986.
Ibunda has been praised in the Indonesian press for its control of nuance and its deftness in representing the manners and mentality of the Javanese middle classes, without imposing Western acting styles, behaviour or values. Issues in the film are explored at two levels: in the finely acted, fast moving, naturalistic family scenes, and in the stylistically different scenes of an expressionist folk opera in which Fikar is performing-and which clearly bear some deeper relation to the main story in its mother/son, husband/wife, and mother/infant tableau. The film is exceptionally rich in its handling of filmic, theatrical and musical effects, and includes a very fine performance by Tuti Indra Malaon as the mother, a performance which gained the Piala Citra Award for best actress.

Love Is a Slice of Bread - When the film was thin as the bread

Directed by Garin Nugroho – Indonesian title - Cinta Dalam Sepotong Roti, English title - Love Is a Slice of Brad, Year of production – 1991, 100 min.

Garin Nugroho is a name almost unknown to our audience, but should be considered one of the most important authors came to light in the'90s, not only for a purely cinematic discourse. From a historical point of view the figure of Nugroho assume a stature in some ways truly legendary: he was responsible for the revival, after a vacuum lasted a decade, the Indonesian film industry, which has experienced with the advent of the 90s a real revolution, style and content. “Cinta Dalam Sepotong Roti” is a story of love and friendship, nothing more and nothing less, but he a truly shocking.
Nugroho practice a systematic and delirious destrutturalizzazione of macchina-cinema, times and spaces, dilating details. A debtor surely, like every revolution self-respecting film, the adventure nouvelle vague; of French Nugroho resumed the commistione of genres. It passes so from the classic road movie (structure of the film, in which the points of conjunction of succession of events are always achieved through the use of characters from various kinds of cars, cars, trains, ships) to melodrama a bleak colors, from the comedy movie diary, through the documentary, another love of the Indonesian filmmaker. All this without ever losing sight of the development of drama, in its triangle of love and friendship makes an explicit homage and fortunately never pedissequo in “Jules et Jim” François Truffaut. But it is also a work that reflects on memory and the past, and this mental confusion is made avoiding the cliches of experiencing flashbacks and the memories live are the same people who, remembering, recite what was its past. A splendid past that seems impossible to find in the present, crushed by the need to build; double metaphor for Nugroho which on the one hand reflects on the situation of stagnation experienced at the local film industry and the other reflects true documentary - - loss of roots Indonesia today, country living with great difficulty, his multiculturalism, unable to interact in a constructive manner the various identities that the crowd, lost in a chaos of Babel media from which it seems very difficult to quit. It is no coincidence that the character of the photographer explains not be able to impress on negative traditional masks what lies behind them? Perhaps the mouths who eat hamburgers? Plans narrative overlap between items outside the camp, memories apparent outstanding dramas and declaim poetry-all work of the poet Indonesian Sapardi Djoko Damono, going to further exacerbate the palpable feeling of lack. Anthem expectancy Nugroho, cantor of the new Indonesian cinema, the search continues fusion between folklore and modernity, between reality and fiction. Here perfectly successful.

Suci Sang Primadona - Suci, The Primadona

Directed by Arifin C. Noer– Indonesian title – Suci Sang Primadona, English title - Suci, The Primadona, Year of production – 1977, 116 min.


Pagar Kawat Berduri - The barbed wire fence

Directed by Asrul Sani Indonesian title – Pagar Kawat Berduri, English title - The barbed wire fence, Year of production – 1963

Asrul Sani, with his American education background, directed this film about an Indonesian military officer who works for the Dutch colonial government, embodying “the principle of ‘Universal Humanism’ and a ‘hero of humanity’.”
The film was criticized by LEKRA, a communist cultural organization, for defending colonialism and imperialism. The antagonism between Asrul Sani and LEKRA mirrors the cold war polarities -- imagined by the U.S. - between those who believed in individual liberty and “totalitarian regimes”.
Poslední Úprava: 12 roků 2 dní od Tok. Důvod: Admin - překlepy
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Odp.:FESTIVAL INDONÉSKÉHO FILMU V KINĚ PONREPO 12 roků 2 dní #1300

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Minifestival byl zahájen, přijďte ! Doplním, že podle mých informací stojí vstupné lidových 30 Kč. Filmy mají (většinou) anglické titulky a vždy český simultánní překlad.

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Odp.:FESTIVAL INDONÉSKÉHO FILMU V KINĚ PONREPO 11 roků 11 měsíců #1308

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Festival indonéských filmů je u konce. Byl jsem na třech filmech z pěti, zejména Suci, Sang Primadona s překladem Tomáše Petrů stál za to.
Nedá se říct, že by byla účast nějak extrémně vysoká, většinou na jednoho diváka připadla cca jedna řada v sále :-) Nicméně, jedná se o první krok a můžeme doufat, že některý příští ročník bude lépe připraven, aby lépe "oslovil českého diváka".
Myslím, že je to docela dobře možné, když se na to půjde "od lesa". :-)
Indonéská ambasáda rozhodně přijímá nápady, jakým způsobem zlepšit přípravu a marketingovou strategii.
Vaše komentáře? Hynku, Viléme, Marcelo...?

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