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GOD B3TA V1.0: HOW TO TAKE GOD’S DESIRE – Legawa Allit

Allit’s analogy unfolds a realm of openness, suggesting that the human aspect can delve into the depths of cinema, exploring the narrative of bodily power and questioning the dimensions of humanity. It traverses the dual facets of the microcosm and macrocosm, creating a surreal reality shaped by the immaterial nature, extending far beyond the inquiries about the material body that forms itself. The pursuit of this Micro-Macro meaning is unearthed from Allit’s reflection when addressed with the moniker “Alit” (in Sundanese, meaning small). Revealing oneself akin to the arrangement of subjects and objects in the universe, Allit presents two modes of expression in an expanded cinematic form, utilizing both material and immaterial mediums. The concept of the gaze becomes Allit’s form, projecting visuals that are small, peering into a medium resembling a viewfinder, and projected through a medium akin to a kinetoscope. This work becomes immaterial, much like the form of God that we cannot physically touch. Allit enters the realms of Ego and consciousness in the research text on Ibn Arabi’s Cosmological Sufism, Microcosm-Macrocosm, and engages with Ibrahim’s Theological perspectives, as well as delving into Slavoj Zizek’s “The Sublime Object of Ideology.” When the context is structured, Allit provides a dynamic, extreme, and radical view regarding the singular nature of God through the camera medium, portraying a liberal perspective (akin to how Ibrahim interprets the magnificence of God and the Universe). However, this liberal view contextualizes the work more towards the substantive meaning of the “Folded World.” Subject intervention is fragmented, illustrating how Allit traps oneself in a fragile, lifeless interpretation of divinity, where only their perspective is singular, caught in the confines of space and time. Isn’t reality a mechanism wherein the body accepts the conditions of life intimately tied to the relevance of space and time?

I BROUGHT YOU TO LIFE THROUGH THE ARCHIVES – Made Virgie

Starting from the archives He left behind which became memories. Trying to record it as a child’s imagination and definition of Father to bring the meaning of Father to life without the memory of Father’s figure remaining. Apart from the archives, trying to capture the images around us and look for the meaning and relationship between the father and the child themselves. As well as trying to relate it to the cremation tradition which can be articulated differently, cremation as an end or a new beginning in life and body as a form? This form of experimental work on celluloid film was developed through the elaboration of Chronophotographieor practice which was developed into moving images from collect the photos that could be combined, through this practice it could become a form of approach to past cultural speech that articulates flat space-time on temple reliefs. As well as connect how past lost can still affect humans in the future.

CHOICE IN TIME – Nadir Muhararan

It started with my personal closeness, so can this film also be close to the audience? What I felt in the film can also be felt by the audience here using the medium of motorbikes, taking shots with an action camera on a motorbike, making installations of motorbikes and projectors which are stored in headlamps and helmets with an intercom or Bluetooth speaker attached.

LIF(E) – Jasmine Azizah

Since ancient times, humans have been compelled to live honestly. Living honestly is not always easy. Humans sometimes find themselves trapped in situations that demand them to conceal the truth. This can stem from environmental pressures, social expectations, or even personal discomfort. Despite knowing that these lies only result in fleeting comfort, humans sometimes choose to embrace them to maintain a better self-image.

WHY ME? – Halimah Mimi

Experimentation in channeling feelings in the form of clay media. A work that represents the feeling of why a child who never asked himself to be born into the world must accept all the actions he previously committed (generation; parents, elders). This is a pressure and limitation for children, but it becomes a need and obligation to be accepted and live life.

RETICENT TIES – Farhan Abyan

An experimental work that delves into the memories of a young child through a blend of non-linear narrative, visual abstraction and deep emotional atmosphere. This work takes the viewer through a series of fragments of memories that fly and drift, not bound by time or chronological order. Through visual play, this film invites the audience to immerse themselves in important moments in the life of this young child, while exploring themes of freedom of imagination, family warmth, and the journey of identity. This work is not just a film, but a sensory experience that evokes memories and feelings, creating an opportunity for each viewer to reflect on their own personal memories.

CHRONICLES OF COSMOS – Azlin Faqih

Integrating the wonders of the macrocosm, the intimacy of the microcosm, and the complexity of humanity through the lenses of physics and natural sciences. Presenting a narrative that interconnects galaxies with the subatomic world, challenging viewers to contemplate their role in the larger cosmic order to the minutest scale.