Milisifilem

Pasar Minggu, Jakarta. The big monster is ready to clean the market.

Going through a journey of three filmmakers trail tracing Indonesia’s family cinema. From Indonesia to the Netherlands and back, they met Kwee Zwan Liang Cinema and Rusdy Attamimi Cinema, to a whole other level of the journey that brought them to not only culture issues in the public cinema but also on aesthetics and the truth of family cinema from a generation to the ones to come.

Om Pius is a native Papuan from the Keerom mountains who has been living and residing with communities of various ethnicities in the coastal area of Sentani, Jayapura, since the post-Act of Free Choice in the 70s. For more than 30 years, he has been a ‘mountain man’ living with a coastal culture. The history of population displacement, violence in Papua, natural wealth, longing for the homeland, romantic past, war, hopes, and dreams, are the life stories of Om Pius which he manifests through the lottery.

New cosmopolitanism started with the bromocorah’s (free agent) dynasty. Through Palah (Panataran), we see the legitimacy of his great-grandsons appropriating the power of the Central Javanese dynasty, perpetuating the throne and cultural hegemony through the story of the man in the tkes hat, Panji.

The Batujaya Temple in Karawang revolutionized the notion that terracotta buildings from the Hindu-Buddhist period came from a younger period than andesite. Sites stretching from prehistoric times to the 10th century are evidence of the archipelago's cosmopolitanism since the early century AD based on the Citarum River. The discovery and interpretation of it were also guided by Indonesian archaeologists, long after the colonial antiquities department had led archaeological missions in the past. This film is a poem for ancient terracotta, soil, archaeologists and the citizens of Batujaya today.

She is a teacher. She is a mother to young artists, a mother to activists of social and cultural movements. Indonesia has a long and unresolved historical wound, starting from the events of 1965, the silence of democracy and human rights activists, and the spread of identity politics. In the midst of it all, DOLO, a female sculptor opens the wounds of history through her sculptures.

In one afternoon, at some place, a basketball boy whom is bored entering an empty land in the middle of a city. Every empty land is "theirs." He rotates his body, but then he is not alone.

Dancing lines, dancing eyes, dancing camera, dancing body, dancing spirits.

A woman looks for traces of surveillance from the urban spaces around her, she uses a camera and takes pictures of things that she thinks are potential surveillance sites, but to understand more about what she is doing, she also positions herself as a surveillance by taking pictures of people, in the middle of her journey, the woman realizes that she is being followed by a man carrying a long lens camera.