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.
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.
DISHONORABLE IN MAJESTY: HUMAN CANVAS ON HOLY MAGNIFICANCE – Hilmi Irham
Human frailty reflects its limitations and mistakes, standing in stark contrast to the boundless magnificence of the Almighty.
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.
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.
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.
FINDING ME IN SHAPE AND COLORS – Aghnia Nainawa
HUMAN SIGN – Alim Alghani
A signature is not just a stroke but a symbol of meaning that connects people, especially in a family context. In addition, meaningful items such as family heirlooms or treasured objects also play an important role in marking attachment and shared history with those closest to you.
MANG ANG UNG – Aji Surya
The world ‘in the beginning was empty/void’ Then from there, Rama Adam and Mother Hawa were created and their descendants gave birth to the Sundanese people. The Sundanese people were created from will, thought, and power, and from these three patterns, they created humans who were grateful for nature (Water, Earth, and Stone). Humans became intermediaries between Water and Stone, possessing the mind and power to manage both. This concept of triad became humans as a uniting force yet also separating. MANG ANG UNG will critique modernism, which has changed the meaning of traditional Sundanese life. Sundanese people no longer care for their land, no longer respect nature and its creator. They are blinded by the rationality of time, although rationality itself was created by them without considering the consequences. Forests are cleared for uninhabited concrete, rivers are polluted, and their relationships deteriorate. All of this is because of modernity! Using a Postmodern perspective, which formally deviates from conventional forms. Experimentation with Night Vision cameras opens up opportunities for a new cinematic form. Here, light can be captured through the reflection of infrared sensors scattered, but cannot be captured by the naked eye. Therefore, the filming will entirely take place in locations with natural nighttime (dark) lighting, in which conventional lighting is no longer needed
FINDING ME IN SHAPE AND COLORS – Aghnia Zahra
Instead of covering and making me lose my color, the various forms I received along the way turns out to be the things that shaped the person I am today.