Putu Wijaya

This film almost literally visualize three short stories on which it is based. The difficulty was to assign real spaces in the film for the world of short stories that does not require material reality. The question of ”What is love?” is stretched into three periods: the 70s, the 80s and the 90s. The story which is divided into three periods is trying to reveal the story of the main characters through three different periods of their lives.

In Jakarta, a young journalist struggling to escape from the confines of familiar obligations, receives a telegram informing him that his mother is dying.

The story of two young people from wealthy families who are looking for their own individual identities. Ramona (Lydia Kandou), who hates the patriarchal attitude men have toward women, immerses herself in the lives of the less fortunate people around her. Ramadhan (Djamal Mirdad), who is descended from Malaysian nobility, is in Jakarta gaining work experience as a low level company employee. The two young people meet in Jakarta and begin to like each other. The blossoming romance between these two young people who are each keeping their backgrounds secret from the other conveyed in a light and humorous tone. Eventually, however, they find out about each others' backgrounds. Ramona backs off, while Ramadhan continues to pursue her.

The story of two young people from wealthy families who are looking for their own individual identities. Ramona (Lydia Kandou), who hates the patriarchal attitude men have toward women, immerses herself in the lives of the less fortunate people around her. Ramadhan (Djamal Mirdad), who is descended from Malaysian nobility, is in Jakarta gaining work experience as a low level company employee. The two young people meet in Jakarta and begin to like each other. The blossoming romance between these two young people who are each keeping their backgrounds secret from the other conveyed in a light and humorous tone. Eventually, however, they find out about each others' backgrounds. Ramona backs off, while Ramadhan continues to pursue her.

City students come to the village for KKN with all their arrogance and pretentiousness, led by a fat student named Joe (Didi Petet). Many problems arise, starting from Budi (James Lapian) and Imam (Leroy Oesmani) who are not doing KKN well, but instead competing for a beautiful village flower named Neneng (Deasy Ratnasari). Likewise with Pinky (Meriam Bellina) and May (Sylvana Herman) who went down to the village as if they were going to shop at an elite shop. Their arrival also made the village hoodlums feel angry, so that the KKN activities were disturbed.

City students come to the village for KKN with all their arrogance and pretentiousness, led by a fat student named Joe (Didi Petet). Many problems arise, starting from Budi (James Lapian) and Imam (Leroy Oesmani) who are not doing KKN well, but instead competing for a beautiful village flower named Neneng (Deasy Ratnasari). Likewise with Pinky (Meriam Bellina) and May (Sylvana Herman) who went down to the village as if they were going to shop at an elite shop. Their arrival also made the village hoodlums feel angry, so that the KKN activities were disturbed.

Because of his wife’s encouragement, Prabowo enters a dangerous business and is eventually imprisoned. While waiting for his trial, his business partner, Wahyuni the divorcee, whom he also loves, bails him out. Their children Ani and Reni, who have to downgrade from their mansion to a flat, suffer from the shock of change. They resort to drugs and prostitution to escape reality. While the mother is sick, Wahyuni becomes intimate with Prabowo. Once found out, they slowly try to solve each problem. Wahyuni is willing to reconcile the entire family. So Rini attempts to become a photographer, by following her boyfriend, a tour guide in Bali. There is another character, a journalist, who comes in and out of the film, and functions as a commentator and witness of their lives. The dialogue veers on philosophical messages as director, Slamet Rahardjo, tries to represent both the lower and upper classes, mixing his narrative style with realism.

This is the story of one of the heroes of independence from South Sulawesi - Wolter Monginsidi. Monginsidi is portrayed as a flamboyant young man, brave and daring yet emotional at times. He and his troops always ambush the Dutch until they are finally caught. His father is persuaded to sign the clemency form, which turns out to be a trap, set up by the Dutch. He receives the death sentence instead.

The story of Tantini from the Sanca Bachtiar family who is kidnapped and later adopted by the Arnold van Dyk family. They change her name into Tinneke. Sanca finds out about her daughter’s whereabout several years after the child is declared dead. He tries hard and eventually succeeds on getting Tinneke back.

The story of Tantini from the Sanca Bachtiar family who is kidnapped and later adopted by the Arnold van Dyk family. They change her name into Tinneke. Sanca finds out about her daughter’s whereabout several years after the child is declared dead. He tries hard and eventually succeeds on getting Tinneke back.

Karmila (Tanty Josepha), a final year student at the Faculty of Medicine, is engaged to Edo (Rudy Salam) who is studying abroad. In a youth party, Karmila is trapped by Feisal (Robby Sugara), a bad boy who then rapes her. Karmila is willing to marry Feisal on the condition that after the baby is born and old enough, he will divorce. She stayed with her aunt until she gave birth and was curt, not taking care of the baby. Meanwhile, Feisal has the opposite attitude because he is sorry and loves Karmila. The son then followed his father and Karmila continued his studies until the end. During a party to go abroad, Karmila was told that her child was sick. Karmila comes to check. Her heart melted, and she canceled her abroad and chose to be a good wife for Feisal, so she had two children. He refused Edo who returned from abroad.

The film is a "reconstruction" of the real event of Sum Kuning’s rape that happened 10 years before, and sums up the lack of justice in the Indonesian courts. Sumirah, is raped by four vandals but during the investigation, the event is given a ridiculous interpretation when Sum is forced to confess that she was trying to gain popularity for herself. During the trial, the true facts are revealed gradually and this ranks as one of the best courtroom films ever made complete with spirited and lively dialogue.

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Astri’s mother demands angrily for a porn-video cassette that embarrasses the son-in-law Dedi, and the two grandchildren. Mother also gossips with the neighbours and even protests by not eating. To cap it all, she wants to marry Item, the blind masseur whom she often hires. She is actually seeking attention and therefore wants to remarry. In desperation, she even runs away from home. Her daughter, son-in-law, and grandchildren miss her. In the end, she returns, and her daughter and son-in-law finally agree to her demands. All the acts and behaviour of the mother are comedy moments in the film.