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A gifted artisan's journey of love and self-discovery unfolds as she defies tradition within Indonesia's clove cigarette industry in the 1960s.
A dance film that explores the role of women in the domestic space.
Set against Indonesia’s turbulent post-independence years in the 1960s, the story revolves around the domestic life of a woman whose personal life has been completely overturned by the political turmoil.
Manga creator Tsukasa Hojo's debut live-action film. 'Angel Sign' is Hojo's debut as a director, which is made by editing a number of short films into one movie. Hojo directs the "Prologue" and "Epilogue" stories, while a different director will handle each of the other stories, which were selected in Silent Manga Audition. All the stories will have no spoken lines, and will only have video and music.
When Diana’s husband returns home one night with big news—he has taken on a second wife, and expects Diana to live in harmony with the situation—she does what is least expected and plans to make a life on her terms.
Since his father died, Gimba did not want to get away from his mother, while his mother feels that her health is getting worsen. One day, Gimba was left in a hut by his mother. Gimba also realized that his mother was gone too long.
In her last year of secondary school, a bright Indonesian student is determined to pursue her education and resist getting married, despite the expectations of her community.
Sekar is a blind woman who makes her mother's batik her whole world. Until Sekar met a silversmith who made batik motifs for her. The man brought batik to life in another way.
Tantra and Tantri are inseparable. When they secretly steal eggs from the family’s sacrificial offering, Tantri always gets the whites and Tantra the yolks. One day, however, the yolk is missing, as is Tantra. Her brother gravely ill and in hospital, Tantri starts slipping into magical parallel worlds, approaching the inevitable farewell through costumes, body paint and dance. When at one point Tantri’s mother washes the paint from her face, it is as if tenderly to expel the illusion that things can remain as they are. In long dream sequences and against the background of the Balinese philosophy of sekala – the seen – and niskala – the unseen – Andini relates how one ten-year-old girl deals with parting and grief.
A small island is inhabited by members of the Bajo tribe, a nomadic fishing community of the Wakatobi Islands. After her father is lost at sea, twelve-year-old Pakis keeps treasuring the mirror he gave her, hoping that (according to Bajo belief) he will return and appear reflected in it. Then a young man comes into her life, threatening conflict between Pakis and her mother.