Bayu Prihantoro Filemon

Young Vania faces her fears and finds courage in tumultuous times when she takes in an injured thief seeking refuge in her family’s traditional Chinese medicinal hall.

At his mother's request, a university student returns to his home on the island of Sumba, where questions about his late father come to light.

Halim considers himself a pious Islamic man. He wishes to marry a young woman in her village as a second wife to save her from miserable life. His wife doesn't agree. Halim contemplates on his own decision while a weird fantasy world starts to suck him in.

Mbah Sri (95 years old) is looking for the grave of her husband, who has been missing for decades, with one simple aim: she wants to rest in peace beside her husband’s grave.

인도네시아와 분쟁을 벌이던 동티모르 독립운동 시기, 성적으로 학대당한 마리아는 아직도 그 악몽에 시달리고 있다. 그리고 그 악몽 같은 일들이 딸에게도 일어나지 않을까, 두려워한다. 폭력적인 남성중심사회에 대한 감독의 근심.

The Suharto regime has been holding power in Indonesia for over 30 years, shutting down democracy time and time again. Highly critical of the regime and unafraid to speak his mind, Wiji Thukul is a poet whose words are often yelled proudly by the crowd during political protests. When riots break out in Jakarta in 1996, he and a few other activists are accused to be responsible. Forced to flee, Wiji escapes to Pontianak in Borneo where he hides for eight months, sometimes living with complete strangers. There, he has to change his identity several times, but continues to write poetry and short stories under a pen name. In the meantime, in Solo, central Java, his wife, Sipon, lives with their two children under constant surveillance. In May 1998, Wiji Thukul is declared missing, a month before Suharto is deposed by his own people.

Overdubbing the roles of both torturer and victim in one of Indonesia’s most contentious movies, a performer in a sound booth becomes the one-man embodiment of a whole era’s worst cruelties and sufferings.

Overdubbing the roles of both torturer and victim in one of Indonesia’s most contentious movies, a performer in a sound booth becomes the one-man embodiment of a whole era’s worst cruelties and sufferings.

Overdubbing the roles of both torturer and victim in one of Indonesia’s most contentious movies, a performer in a sound booth becomes the one-man embodiment of a whole era’s worst cruelties and sufferings.

Love Story Not explores the daily lives of two female prositutes, Martha and Ning, focusing on the dynamics of the relationships with the people around them, particularly their relationship with Erik King, their shared lover.

A single Chinese-Indonesian mother have to save her daughter as the anti-Chinese riot rose near their neighborhood.

SESERAHAN (The Wedding Gift) is a story about a bride who’s waiting for the groom. Unfortunately, the groom and his family met some problems on the way to the bride’s house. Anxiety and loneliness approached their hearts.

"A Lady Caddy Who Never Saw a Hole in One" displays a love story filled with absurdities regarding homeland, jealousy, hope, and fundamentally a statement about luck. Ning is a female caddy, while Mur is a man who is loyal to his homeland.

The woman would be happy if the man sit to her right. But the man always prefers to be on the left.

Ning, a young Catholic woman, takes up a better job with a furniture company, while her hapless husband—occasionally hawking gasoline—spends most of his time doing pretty much nothing. It is when Ning is required by her new job to go on a road trip with Mur, a male Muslim colleague, that the suffocation of her marriage gives way to an awakening of repressed desires. Set in Yogyakarta, this delicately observed mood piece and debut feature touches on unspoken issues of sexual repression and adultery in contemporary Indonesia.

A man and a woman bring a sofa into a room that is too small and don't know how or where to turn.