Rayya Makarim

Eight years ago, 14 year old May was raped by a group of men. May’s father is devastated, blaming himself for not being able to keep his daughter safe. Traumatized significantly by this incident, May withdraws completely from life.

Eight years ago, 14 year old May was raped by a group of men. May’s father is devastated, blaming himself for not being able to keep his daughter safe. Traumatized significantly by this incident, May withdraws completely from life.

Traído pelas forças coloniais holandesas, Arana consegue escapar junto com seus sobrinhos Jamar e Suwo, os filhos recém-nascidos de Hamza, um dos últimos sultões indonésios lutando contra a tirania estrangeira. Em 1860, depois de vagar por anos nas planícies do Velho Oeste americano, Arana e os dois irmãos retornam à Indonésia para vingar seus entes queridos mortos e punir o homem mau que causou sua desgraça.

Traído pelas forças coloniais holandesas, Arana consegue escapar junto com seus sobrinhos Jamar e Suwo, os filhos recém-nascidos de Hamza, um dos últimos sultões indonésios lutando contra a tirania estrangeira. Em 1860, depois de vagar por anos nas planícies do Velho Oeste americano, Arana e os dois irmãos retornam à Indonésia para vingar seus entes queridos mortos e punir o homem mau que causou sua desgraça.

After his mothers death, 12-year-old Jaya (Iqbal S. Manurung) is sent to his father, Johar (Didi Petet), who works as a supervisor on a jermal (a fishing platform perched on log stilts in the middle of the sea). Johar is shocked, never knowing he has a son, and rejects the boy as his kin. Fully aware he cant bring Jaya back to land due to a dark past, Johar is forced to accept the boy as a worker on the site. Faced with constant rejection from his father and relentless bullying by the other boys who work on the jermal, Jaya decides to take fate into his own hands. He gives up hope on being accepted and learns the skills and attitude needed to survive on the jermal. Jaya increasingly becomes like the other boys: a tough, rough survivor; while Johar is forced to gradually face and accept his past. Eventually, both Johar and Jaya learn that they are bound by their past, united by the space in which they move, and connected by the inescapable truth.

After his mothers death, 12-year-old Jaya (Iqbal S. Manurung) is sent to his father, Johar (Didi Petet), who works as a supervisor on a jermal (a fishing platform perched on log stilts in the middle of the sea). Johar is shocked, never knowing he has a son, and rejects the boy as his kin. Fully aware he cant bring Jaya back to land due to a dark past, Johar is forced to accept the boy as a worker on the site. Faced with constant rejection from his father and relentless bullying by the other boys who work on the jermal, Jaya decides to take fate into his own hands. He gives up hope on being accepted and learns the skills and attitude needed to survive on the jermal. Jaya increasingly becomes like the other boys: a tough, rough survivor; while Johar is forced to gradually face and accept his past. Eventually, both Johar and Jaya learn that they are bound by their past, united by the space in which they move, and connected by the inescapable truth.

Lintang and Cakra are childhood friends. Lintang believes in astrology and seeks her soulmate. Cakra believes in dreams and sees the same girl.

Lintang and Cakra are childhood friends. Lintang believes in astrology and seeks her soulmate. Cakra believes in dreams and sees the same girl.

Berlian and her teenage daughter Daya are on the run from political violence. Constantly daydreaming that her absent father will return, young Daya chafes under the stern hand of her mother. Forced to move inland from their seaside home to a desert of constantly shifting sands, the pair settle down to their familiar antagonism. Finally, Daya sees a vaguely familiar face shuffle in from across the wasteland.

Berlian and her teenage daughter Daya are on the run from political violence. Constantly daydreaming that her absent father will return, young Daya chafes under the stern hand of her mother. Forced to move inland from their seaside home to a desert of constantly shifting sands, the pair settle down to their familiar antagonism. Finally, Daya sees a vaguely familiar face shuffle in from across the wasteland.