Category: Film Experimental

TRY TO IMAGINE – Reihan Naufal

Talking about the process and freedom of a film editor who always imagines freedom in his work because he has the freedom to determine a story.

NAWA LIFE – Reza Pahlevi

Why should animals be eaten? Does the lack of an emotional connection make humans indifferent to slaughtered animals? If an emotional bond is formed between humans and animals, will people still consume animals?

I’M CONFUSED – Rizky Ridho

This work delves into the human quest for the essence of one’s life, navigating the dilemma of social issues, empathy, sympathy, the environment, morals, beliefs, and resistance. It relates to the relevance of oneself in the ever-improving or possibly deteriorating modernity. Right or wrong is a matter of different perspectives. The concept of human causality in the world is worth questioning. But will this story conclude within this work? Like life that never ends, this piece is merely an allegory representing individuals’ grievances, especially my own. The context of freedom seems broken within empty rules.

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.

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?

UNCANNY FEELING – Abdul Shidiq

A young child wished to have a younger sibling. Their joy knew no bounds when they were blessed with a baby sister. However, the sister passed away due to a condition known as Trisomy-18. Twelve years have elapsed, and the child has now grown into adulthood. They question the death of their sister, whom they perceive as having had no impact on their life. They feel nothing. This work becomes a spiritual and emotional journey for the creator, questioning their own feelings and why they perceive what they feel as wrong.

MOTHER’S COOKING – Anisah Rizki

Masakan Ibu menciptakan pengalaman sensori yang membentuk kenangan mendalam. Hidangan-hidangan khas yang disiapkan oleh Ibu seringkali membekas dalam ingatan, membawa kehangatan, dan menjadi sumber energi terbesar. Setiap rempah yang tertuang dan bumbu yang diracik oleh tangannya adalah representasi dari cinta dan kasih sayang seorang Ibu tanpa perlu mengungkapkannya secara verbal.

HUMAN FRAGILITY IN THE BODY OF CINEMA – Annisa Faradila

The human body stores memories and emotions through physical and emotional responses influenced by the environment, from society’s temperature. Similarly, the celluloid film body of cinema also stores memories. The emotions embedded in celluloid can fade and be deterred, just like society and conditions can affect human beings. The body of the human body, the development of cinemas equivalent to the theme of humanity, and cinema memories are also human memories that are an embodiment of the human body. “Presinematic Emotions are similar to Preserving Human Emotions”

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.