Now that the camera is handier, cheaper, and more accessible, we can connect the pieces of Indonesia’s historiographies.
Post-Reformasi Cinema in Indonesia is an enigmatic space that reflects the incongruous assemblage of ideologies, wars, regimes, and of incomplete writings on Indonesia’s historiographies.
This is the cinema of a movement or a moving camera towards the archipelago, with big ideas in the hands of anxious citizens.
Maryam by Indonesia, 2014,
Mangga Golek Matang di Pohon (The Mangoes) by Indonesia, 2012,
Saya di Sini, Kau di Sana (A Tale of The Crocodile’s Twin) by Indonesia, 2022,
Segudang Wajah Para Penantang Masa Depan (The Myriad Faces Of The Future Challengers) by Indonesia, 2022,
Di Balik Cahaya Gemerlapan (Sang Arsip) (Behind the Flickering Light (The Archive)) by Indonesia, 2013,
Naga yang Berjalan di Atas Air (The Dragon Who Walks On The Water) by Indonesia, 2012,
Thanks to the democratization of production resources and digital communication channels, new voices are contributing to a cinema in Latin America that challenges hegemonic structures, criticizes the colonizing eye, and yields new narratives proposed by female, indigenous, black, mixed, queer, diasporic people, and others. Despite the vastness of the films’ contents, a deep humanity can be found within the resilience of these nations.
In this collection, we give prominence to new voices that express themselves freely and become the subject of their own images, while exploring different ways of thinking about Latin American experiences. Dreams and intimacies often collide with violence, abandonment, or impositions, but share the unwavering desire for a better future.
El Amparo by Venezuela, Colombia, 2016,
Los Lobos (The Wolves) by Mexico, 2019,
Sola (Alone) by Peru, 2023,
Iwianch, el Diablo Venado (Iwianch, the Devil Deer) by Ecuador, 2020,
Wiñaypacha (Eternity) by Peru, 2017,
In this curated library section, the films deal with different forms of human movements that are relevant to the time in the set African country. The films use the camera as a tool to unearth stolen objects from Africa, document the women that fought vehemently for women’s rights, reconstruct historic events, as well as to capture memories of colonization and the subsequent consequences of neo-colonial struggles that force many young people to risk their lives to cross the Sahara desert to get to Europe.
You Hide Me by Ghana, 1970,
When Women Speak by Ghana, 2022,
Independência (Independence) by Angola, 2015,
Uprize! by South Africa, 2017,
Cinema might have originated in the West, but in South Asia it is domesticated and venerated. Bolly, Lolly, Tolly, Kolly, and other woods of the region have thrived, conforming to and even amplifying the inherent social hierarchies and cultural hegemonies of the region, namely caste, class, religion, languages, clan, aesthetics, and geography, among others. Yet the cinematic expressions that did not conform to this hegemony were bereaved of a wider exposure.
To Miss The Woods invites the audience to literally ‘miss the woods for the trees’ and explore the diverse cinematic flora that has emerged beyond the defined woods. We present to you a bouquet of films from South Asia that are a labor of love and are made with care for community rather than the market. We hope that this selection will inspire and challenge the audience to reimagine the South Asian cinemascape.
Sindhustan by India, 2019,
Trans Kashmir by India, 2022,
Eye Test by India, 2017,
Blood Earth by India, 2013,
A Walnut Tree by Pakistan, 2015,
Khartoum Offside by Sudan, Norway, Denmark, France, 2019,
Caméra d’Afrique (Twenty Years of African Cinema) by Tunisia, 1983,
La Saison des Hommes (The Season of Men) by Tunisia, 2000,
Monangambeee by Algeria, 1969,
Rekava by Sri Lanka, 1956,
La Noire De… by Senegal, 1966,
Borom Sarret by Senegal, 1963,
Tajouj by Sudan, 1977,