Fairy tales about Indonesian Beauty

Ayie, as Celerina Judisari is known, enthusiastically explained the interesting sides of Indonesia, especially Jakarta, as a film shooting location. Apart from hundreds of skyscrapers, dozens of toll roads and thousands of open spaces, Ayie explained that Jakarta has suburban areas that are no less interesting as film locations. Crime or action films, for example.

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The audience, some of whom were production house actors and filmmakers, were transfixed by Ayie’s presentation. Especially when explaining the beauty of the Thousand Islands. “This is Kelor Island. There are buildings left by the VOC. “It’s very good for shooting films,” he said when the image of Kelor Island filled the big screen. The display continues to several films that use Jakarta as a shooting locationsuch as The Philosophers (2013), Blackhat (2015), Monkey Man< /i> (2024). He then moved on to other areas that were no less interesting. In short, Ayie emphasized that there are many interesting places in Indonesia that are suitable as film shooting locations. “Come and we are ready to help,” he said, concluding his story.

The stories here are not idle talk, but a narrative about the allure of Indonesia. Because what Ayie presented was truly accurate. The information about film locations is just one of the many strategies these storytellers have to introduce Indonesia further. Like a movie, Ayie’s presentation is just the opening scene. Shierly Kosasih, COO of Adhya Pictures, then continued with presentations about the films she produced.

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In terms of location, Tulang Belulang Tulang shooting in four Lake Toba locations, namely Bukit Beta in Tuk-tuk Siadong District, Samosir Regency; Sipira in Onanrunggu District, Samosir Regency; Tipang Mas in Humbang Hasundutan Regency; and Tulas, Sinajur Mulu-mula District, Samosir Regency. This location promises the beauty of Lake Toba from several locations.

This film was shooting on Lake Toba for 24 days. “For me, it’s discover Indonesia. It turns out that Lake Toba is as beautiful and big as it is, the air is that pleasant. The residents, who were thought to be rude when they got there, were very friendly. “Inang and Ito-ito just have loud voices, they are friendly,” said Shierly, sharing her experience.

Experiencing Indonesia is what he wants to share with the audience through the film Tulang Belulang Tulang.

The other side

From Lake Toba in North Sumatra, Shierly then flew to Bali. Here he explores other angles outside people’s perception of Bali which is usually associated with Kecak dancing, surfing, beaches and temples. Through the film Forza, which tells the story of a boy who loves football, Shierly introduces the slums of Denpasar, the splendor of the Captain I Wayan Dipta Stadium, which is the training center for Bali United, and the melasti ceremony.

Forza seems to be clarifying many people’s perceptions about Bali. The face of Indonesia in this film appears from another perspective so that the audience can see Bali more fully. In this way, a more complete perception of Indonesia emerges.

Apart from that, Indonesia is also known for its horror films. Some Indonesian horror films have sold well outside the country, such as in Malaysia, Brunei Darussalam, Thailand, and even China.

Managing Director of the film production and distribution company in Malaysia, Suraya Film, Shures R, said that Indonesian horror films are selling because the stories connect with Malaysian people. Suraya Film has distributed hundreds of horror films, including, Demons in Blood,Servants of Satan, Perangan Gaib, and Makmum.

So what do you want to introduce about Indonesia through horror films? Many Indonesian horror films are based on folklore, urban legends, myths or local traditions. Through all of this, Indonesian values ​​are sublimated through films so that audiences who listen carefully will know a little more about Indonesia.

In other words, CFO and Producer of Magma Entertainment, Linda Gozali, describes that horror films do not only tell stories of terror. Indonesian values are portrayed in various ways, both subtly and clearly. For example, the tradition of “meruwat anak” (postpartum confinement), has different rituals between Balinese, Javanese, Kalimantan and Sumatran communities. When filmed, audiences will know the diversity in one frame of the same value, which is “meruwat anak”.

Horror can also be seen as a subculture, namely another facet of the big narrative about Indonesia. “From horror films, audiences can get to know Indonesia better,” said Linda, who, among other things, produced the films Qodrat and Qodrat 2.

More sublimely, filmmaker Mandy Marahimin chose to introduce Indonesia not through natural beauty or exotic traditions, although there is nothing wrong with that. He tends to introduce Indonesia by telling stories as an Indonesian. “When talking about films or cultural products, even though the film does not have local culture, it is still something that makes people Indonesian, so Indonesianness is still there,” said the director of the film Crocodile Tears.

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The perspective or way of expressing Indonesian filmmakers, whatever the film, already represents more or less Indonesian values. Because, this way of expression and perspective cannot simply be replaced by other people. The anxieties, dreams, fantasies of being Indonesians, genuinely appear in the films they make.

The aforementioned approach is very important to be highlighted in festivals or international forums so that Indonesia can become better known. Another way, of course, is through collaboration with other countries.

P Jayakumar, CEO of an entertainment company in India, Toonz Media Group, has realized that there are many fairy tales and extraordinary stories from India, Thailand, Indonesia, China, and other countries in Asia. Unfortunately, most of these stories are only known in their respective countries. Few people outside are aware of the stories that exist in another country.

Jayakumar’s statement means that it is time for every country to introduce its stories, identity, customs and even territory to other countries, like the provocation of Ayie and Shierly above. At least, director Roopak Gogoi from Shyam Productionz, India, is interested in making films in Indonesia. He is already in Surabaya and will visit several places in Indonesia for film shooting. “In principle, we are ready to help, including processing permits and accommodation,” said Ayie.

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When the Indonesian Pavilion committee who were also Jakarta Film Week (JFW) activists were talking, a woman in a blue shirt came in, smiling kindly and introducing herself as Tomoko Nishizaki, Film Commissioner at the Hiroshima Film Commission. He said he was interested in Indonesian films, especially feature-length films. “Please choose one so I can take part in the Hiroshima Film Festival,” he said.

Director of the JFW Festival, Rina Damayanti, along with her colleague, Ridla An-Nuur, then invited her to have a further discussion about Indonesian films. They then engaged in a warm conversation, also entering into the realm of Indonesian beauty tales.

Folktales about the beauty of Indonesia cannot just be conveyed verbally. Indonesia’s participation in establishing the Indonesian Pavilion at the Hong Kong Filmart is a strategic step. Ayie, Shierley, Rina, Ridla, and other filmmakers are currently working to tell stories in many ways to capture the hearts of the market.