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Messages from Festival Director

Let's Smile at Each Other Again

The thing I like most about a festival is the gatherings. A smile can be transformed into great energy in these meetings. This year, the Jogja-Netpac Asian Film Festival (JAFF) is returning to its normal format just like before the pandemic. Films will be screened, guests brought in, the stage set, and cinema tables and verandas ready to witness these gatherings. The pandemic has taught us all to appreciate the meaning of a meeting even more. Like the commitments from previous years, if during the year we are too busy with work and routines, the implementation of JAFF is designed to be a summary of the journey of Asian and Indonesian films throughout the year. JAFF is ready to host cinema lovers’ gatherings and it has become characteristic that we are all part of JAFF hospitality. We are all the ones who determine whether JAFF is comfortable or not. We are all faces of JAFF itself.

 

This year I have to thank the Indonesiana Fund from the Ministry of Education, Culture, Research and Technology. Funding assistance from Dana Indonesiana requires JAFF to continue to improve both in terms of implementation and organization. Before and during the festival, we will simultaneously hold Focused Discussion Groups (FGD) for the development of JAFF with regard to the Accumulation of Resources and Knowledge, and Consolidated National and International Strategic Partners to formulate JAFF’s future sustainability plans. It’s a big responsibility if in the next few years JAFF doesn’t improve and develop. For this reason, we ask for the active participation of all festival visitors and guests to provide input, and criticism as objectively as possible so that JAFF becomes more mature.

 

The theme of the festival is decided annually. A theme that we think can represent the spirit of the festival, as well as our reading of Asian cinema now and in the future. We quickly chose BLOSSOM to represent the spirit of the 17th edition of JAFF this year. 17 is an iconic age. We are opening up and blooming. Support from the audience and collaborations with various partners encourage and demand us to continue to be more mature. New talents grow and begin to blossom. For this reason, for the first time, JAFF chose a collection of short films to act as the opening screening. Films from young directors whose careers started from and through JAFF. ‘Piknik Pesona’ which contains a collection of 10 short films will be the opening film this year. Witness the courage of Indonesian cinema’s young people to speak.

 

Every year we also select a visual artist for the official artwork from JAFF. This year is the first year we have a three-dimensional object artwork by Octo Cornelius. This object will also be animated by Iwan Effendi. Enjoy this exceptional work in various visual elements of this year’s festival. Festival opening bumpers, official merchandise as well as various elements in every corner of the festival venue. This year hundreds of volunteers will also be the faces of JAFF. We are also holding another Community Forum, hundreds of film community activists will attend from various regions in Indonesia. It is JAFF’s commitment to stand on three main legs: New Talents, Academics and Professionals. Public Lectures are held every year with a number of urgent themes that we have selected, including two interesting and rarely discussed themes: Film Subtitling and Film Publicity.

 

This year JAFF will present 130 films from 19 countries which will be featured in JAFF’s main programs such as the Asian Feature Competition, Light of Asia, Asian Perspective, and JAFF Indonesian Screen Awards and ensure the excitement of the festival which will take place across the week. In addition, there are also three new programs starting this year: The emerging Program for new short film directors, the Panorama Program for showcases of Asian films, and also Series Program for series that have never been shown on digital platforms. Focus on Ho Yuhang continued with a Masterclass will be one of our special programs this year. Ho Yuhang is a filmmaker who has been active since the first festival. In addition to Ho Yuhang, JAFF will also screen works by established directors such as Jafar Panahi, Garin Nugroho, Lav Diaz, Hong Sang Soo alongside the classics of Wong Kar Wai.

 

It is necessary to make special note of the achievements of Indonesian films. Indonesian films are really developing. The rapid rise in audience numbers since the pandemic is something that no one could predict. In the main competition session of this year’s festival, for the first time, there will be three Indonesian films. Gina S. Noer, whose film two years ago was the best film at JAFF ISA, this year, enters the main competition with her latest film Like & Share, alongside the two film festival darlings Before, Now & Then by Kamila Andini and Autobiography by Makbul Mubarak. It is a pleasure to receive the latest work from filmmakers who work with JAFF such as Djenar Maesa Ayu, Dain Said, Wo Ming Jin, Yuda Kurniawan, BW Purbanegara, Ismail Basbeth, Robby Ertanto as well as short filmmakers such as Reza Fahriyansyah, Eden Junjung, Loeloe Hendra and Aco Tenri. After AUM!, this year one of the alumni of the Jogja Future Project has also finished his film and joined the JAFF-Indonesian Screen Award competition, Alang-Alang by Khusnul K Hitam. I also want to give bring attention to the Community Screen program, which this year curates the works of eight new talented Indonesian female directors.

 

JAFF cannot grow alone. We are very happy that several festivals are being held in several cities such as Balimakarya and Jakarta Film Week. Each festival has a limited screening capacity, while good work continues to be produced every year. Films have their own audience and characters, the more Film Festivals, the stronger the watching culture in Indonesia will be. The more viewers who come to enjoy JAFF, the more filmmakers will register their films to be screened at JAFF, so there is the demand to increase the appreciation and new screening spaces for these quality films that are constantly being born. Hopefully, in the future, Indonesia will have more and more film festivals.

 

Thank you to all JAFF supporting partners this year who have consistently supported us. Cinema XXI and KlikFilm have consistently acted as the venues for our film screenings. The Ministry of Education and Culture, the DIY Culture Office and the Film Censorship Institute always provide support. Also many thanks to all our supporting partners this year: Artotel Suites Bianti, MLDspot, Online Cinema, Vision+, Vidio, Grand Kangen Hotel, Citra Net, RK Studio, ATM Production, Telkomsel, Kuma Acting Workshop, Servis Bahasa, Kwikku, Cantrik, The Publicist, Jogja Film Academy, FEB UGM, Panasonic, Epson and friends at Jogja Festivals.

 

Let’s grow together celebrating our identity through Asian cinema.

Ifa Isfansyah

Ifa Isfansyah

Festival Director

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Message from Governor of Yogyakarta

Message from Governor of Yogyakarta

Assalamu’alaikum warahmatullahi wabarakatuh

 

Best wishes

Om swastiastu

Namo Buddhaya

Kind regards



Since it was first held in 2006, the Jogja-NETPAC Asian Film Festival (JAFF) has become an inseparable space from the dynamics of its community, where JAFF was presented as an effort to revive the spirit of the people of Yogyakarta after the earthquake.

 

Like Yogyakarta, which is open to incomers for both studying and tourism, JAFF enables cross-cultural communication between countries in Asia. This also strengthens the distinctiveness of Yogyakarta. Where cultural heritage and traditions are preserved while celebrating diversity.

 

As a region with the highest Cultural Development Index in Indonesia, all cultural activities that take place in Yogyakarta undeniably contribute to this achievement. For this reason, the Yogyakarta Regional Government is committed to supporting cultural activists in Yogyakarta in maintaining these achievements. This is only possible through communication and collaboration with all stakeholders.

 

Therefore, I offer my warmest embrace and appreciation for JAFF which has been able to continue to be held for 17 years without fail, even during the Covid-19 pandemic, as an actualization of the spirit of caring for the culture of Yogyakarta and its special people.

 

On behalf of the government and the people of the Special Region of Yogyakarta, I wish you “congratulations and success!”.

 

Wassalamu’alaikum Warahmatullahi Wabarakatuh.

 

Yogyakarta, November 2022

 

GOVERNOR

SPECIAL REGION OF YOGYAKARTA

 

HAMENGKUBUWONO X

Hamengkubuwono X

Hamengkubuwono X

Governor Special Region of Yogyakarta

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The Idiot – Final Part

by jaff admin
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Messages from Festival Curator

The Idiot – Final Part

I once felt like an idiot standing next to the famed Sri Lankan film academic, Wimal Dissanayake. We were at an Asian film conference in Hawaii, and I had noticed that most of the texts on Asian film were written by non-Asians. This was one of the key points made by Edward Said, in his classic book, Orientalism (1978), where he observed that much of the knowledge of Asia was often captured, catalogued, and consumed by non-Asians who then assumed the authoritative voice on the subject. In practice, as per Edward Said’s observation, Western experts would then quote other Western experts on the subject (instead of the Asian expert), to reinforce that dominance. That moment in Hawaii made me feel ashamed. Wimal didn’t say anything to my rhetorical question but of course, how could he? He had published over 30 books on Asian film. What answer could he give? 

 

Over the years, it made me think that TIME gave us an opportunity, but it is also often a trap. The opportunity of time is to effect change. The trap is that we don’t realise that we are repeating past mistakes. Hence that famous cliché – “History repeats itself.” Time traps us because memory is limited. Time itself is endless but memories are short. The propagandists know this well. This was why the cinema of the New Order used film to propagate official history. Knowing how short memory is, the Suharto regime insisted on screening Pengkhianatan G30S/PKI (Treachery of September 30 Movement, 1984), each year on September 30, to repeat the official line of the New Order’s legitimacy. But the opportunity of time is that, just as good things can be forgotten, so can bad things.

 

This aspect of short memory makes me think about my philosophical approach when looking after JAFF’s programme. For the last 17 years, I used a key discipline from my training as a social worker – self-determination. To practice this principle, I had to consciously apply non-intervention whenever I look at each year’s programme. Over the years, I’ve often told the programmers to have the belief in their own selection. Even if I didn’t like a film that was selected or if something I like didn’t get in, I had to tell myself that the festival is for the JAFF people. Ultimately, the result of JAFF is the successful work by the local people themselves. For years, I’ve watched many festivals with foreign advisors who forced their will over the local voice. This is nothing more than a modern cultural aspect of post-colonialism. I didn’t want that to happen with JAFF, as JAFF’s Founder, Garin Nugroho, and I, have fought many battles to establish a local voice. It’s perhaps a key reason why JAFF chose to be an Asian, instead of an international film festival. The Asian voice had to be supported and promoted because it wasn’t very loud before. Plus, it was important to us that the Asian local voice got louder.

 

Furthermore, if JAFF is successful, then the new model of a non-interfering foreign programmer could be established and promoted. JAFF could set a useful example. A friend of mine who used to run a film festival, once hired a famous foreign programmer to contribute to her Asian programme. She had many years of conflict with him. Not being Asian herself, she didn’t mind it too much, perhaps she had less of a historical baggage of being bossed around. But such memories are perhaps just my memories. There are less of the new folk who have any intimation about the struggle in establishing the space to find your own voice. In the confidence of the new, that free space is taken for granted as theirs already. There is therefore no need for it to be hard-won, and no emotion in the satisfaction of having it.

 

But what of film selection itself? What kind of compass do we use to establish taste? Do we see what films have been selected and awarded at the big festivals? Or do we follow the song of the little road? One path is easier to walk than the other. Then again, there is always the middle path. Between both worlds, neither here nor there, the idiot savant walks. He smiles. He listens. He laughs. His blind eye is open…

Philip Cheah

Philip Cheah

Festival Curator

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Messages from Festival President

Let’s Make Our Souls Blossom

Without any interruption in seventeen years, Jogja-NETPAC Asian Film Festival (JAFF) has been consistently present since its inception. As it navigates various obstacles along the way, JAFF nurtures a genuine appreciation as well as high respect to Asian cinema as an organic element of Asian culture and society. Thus, this seventeenth edition of JAFF can be understood as a testimony of our resilience and commitment to promote and disseminate Asian cinema regardless of socio-political conditions.   

 

Choosing ‘Blossom’ as this year’s festival theme, we would like to highlight not only the festival’s age, but also as an ode to the youthful and vigorous spirit brought about by contemporary Asian cinema. As is well known, Asian cinema has always offered a fresh perspective as well as a new way of seeing of Asian culture and society.  In other worlds, the word ‘blossom’ is closely associated with the youthfulness embodied in an emerging generation of Asian filmmakers and the need for rejuvenation of Asian cinema in keeping up with the changing world.  Indeed, we deeply appreciate the great works that have been laid out by all Asian filmmakers in the past as they can be a source of inspiration to continue making a better work.   

 

Translating the festival theme, this year we are providing a wide and more open platform for new Asian filmmakers to showcase their works although they might not receive as much support from established institutions. We believe wholeheartedly in the quote of Nobel laureate Doris Lessing, “Any human anywhere will blossom in a hundred unexpected talents and capacities simply by being given the opportunity to do so.” Therefore, we believe that extraordinary talent and incredible creativity might be sourced from less known places in Asia. The best cinematic gems often hide in the muddy ignorance and negligence of the diverse cinema culture in Asia. 

 

Finally, film festival is a space for filmmakers to reach out to their audiences and encourage further conversation and reflection.  Through cinema, we learn more about other culture and apply it to reflect on our own conditions. Moreover, cinema touches both mind and soul and makes us understand how to be human in a fullest sense. As the French author Marcel Proust once remarked, “Let us be grateful to people who make us happy, they are the charming gardeners who make our souls blossom.” Therefore, thank you to the Asian filmmakers who have enriched our lives with meanings and joy by watching their wonderful cinematic works. And let’s make our soul blossom.

Budi Irawanto

Budi Irawanto

Festival President

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Talks: What Does Film Publicist Do? by thePublicist

Since the Indonesian film ecosystem began to emerge from its hibernation, the existence of publicists has become more apparent. Publicity is undeniably required in introducing a film production to the public. Publicists design publication and promotion strategies, manage media relations and collaborate with screening venues and other related partners. Publicists carry out their roles and responsibilities by collaborating with producers and establishing effective communication channels and relationships with the cast and crew. Publicists must also be eager to analyze public reactions and consistently evaluate ongoing strategies’ efficacy. The Talks program aims to explain the existence, function, and role of advertising in the Indonesian film industry.

LPP 1 | TUE, 29 NOV | 15:00 - 17:00

Speakers

Ifa Isfansyah

Ifa Isfansyah

Ifa Isfansyah graduated from the Television Department of Indonesian Institute of Art Yogyakarta. He began his career in cinema as Producer and Director of several short films, including BE QUIET, EXAM IS IN PROGRESS! (Tokyo ShortShort, Competition, 2006) and HALF TEASPOON (Grand Prize Hong Kong Independent Film Video Award & competition, IFFR 2008). In 2001, he started his company Fourcolours Films with other local filmmakers in order to produce and support Indonesian filmmakers. He was selected by the Asian Film Academy BUSAN in 2006 and got a scholarship to attend the Im Kwon Taek College of Film & Performing Arts, KOREA. Then back to Indonesia, he directed his first feature film, GARUDA DI DADAKU (2009), which encountered a great commercial success. His second film, THE DANCER (2011) was awarded Best Director and Best Picture at the Indonesian Film Festival. Since then he has produced SITI (Eddie CAHYONO, TELLURIDE 2015), TURAH (Wicaksono Wisnu LEGOWO, Indonesian Official Entry for OSCAR 2018), THE SEEN AND UNSEEN (Kamila ANDINI, Grand Prix Generation K-Plus Berlinale 2018), MEMORIES OF MY BODY (Garin NUGROHO, Best Film 3 CONTINENT FF 2018) and YUNI (Kamila ANDINI, Platform Prize Toronto IFF 2021). ISFANSYAH is also a founder of JOGJA-NETPAC Asian Film Festival that started in 2006 and a founder of the JOGJA FILM ACADEMY, which was established in 2014.

Emira Pattiradjawane

Emira Pattiradjawane

Emira Paradytia Pattiradjawane, also known as Mia, graduated from Prof. Dr Moestopo University with a Bachelor of Communication Science (2011) and a Master of Communication Science (2022). In 2006, while she was still in high school, she became an usher at the Konfiden Short Film Festival and thus entered the world of film. After completing high school, she worked as an administrative assistant at the Konfiden Short Film Festival (2006-2009), executive assistant at the scenario school "Serunya Scriptwriting" (2010-2011), and account executive at the PR Agency "Think Opposite" (2011- 2013). Then, from 2013 to 2018, she worked as a project assistant at MediAN Publicist, where she handled several films, including "Ada Apa Dengan Cinta 2" (Riri Riza, 2016), "Kartini" (Hanung Bramantyo, 2016), "Banda: The Dark Forgotten Trail" (Jay Subyakto, 2017), "Wiro Sableng: Pendekar Kapak Maut Naga Geni 212" (Angga Dwimas Sasongko, 2018) and Korea Indonesia Film Festival 2014-2018. She co-founded thePublicist in 2019 with Andi F. Yahya and Frederika K. Dapamanis, a company that has published numerous films, plays, books, and festivals. She is also a member of the 2021-2023 Indonesian Film Festival Committee.

Michael Ratnadwijanti

Michael Ratnadwijanti

Michael Ratnadwijanti started to pursue her career as a film publicist in 2012, by working on some wide screen movie with two of her colleague, which are Ade Kusumaningrum a senior film publicist and Nauval Yazid, the one who took a big role as a festival programmer. Not long after that, with two of her friends, they built MediAN Publicist, a company that takes part in film publicity. with MediAN Publicist, Michael work on promoting and publicizing a various amount of wide screen movie such as, Ada Apa Dengan Cinta 2 (Miles Films, 2016), Kartini (Legacy Pictures, 2017), Kulari Ke Pantai (Miles Films, 2018), dan Wiro Sableng (Lifelike Pictures, 2018).

The start of her career in the film industry is in 2004 by becoming a researcher for a documentor project that is being produced by Salto Films and then she is involved a few times in Jakarta International Film Festival as Public relation and media relation team. Since that moment on, her love and interest for the film industry have brought her consistently to deepen in the film industry as a publicist. right now she officiate as the Head of Marketing, Promotion & Distribution in Miles Films, an independent production house that has been around for more than 25 years and known as an house production that pioneered the birth of indonesia new generation viewers by the legendary movie Petualangan Sherina (2000) dan Ada Apa Dengan Cinta? (2002).

host

Alexander Matius

Alexander Matius

A film curator based in Jakarta. Now, he's a programmer for Kinosaurus and FLIX Cinema and also runs a house tools shop. Matius is also a manager (2014 - 2016) in kineforum, the first alternate movie screening program in Jakarta, other than that he also takes part in few other movie programs, two of which are RRREC Fest in the Valley and Synchronize Fest. Since 2018, he learned a lot about film curator and expedition manager from some workshops, for example like film programming workshop in Japan and Philippines, Art-House Cinema Workshop in Venezia, and Berlinale Talents.

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Scandal 2: Love, Sex & Revenge

Episode 1 & Episode 2

100 minutes | 2022 | Indonesia | Narrative | Indonesian | sub. English | 17+

[Scandal-2]-Final-Poster-for-JAFF

Schedule

XXI 2 | MON 28 NOV | 14:15

World Premiere

Synopsis

Luna is a young dancer who harbors a grudge against Oliver, a well-known Bali hotelier. Luna infiltrated the dark world of prostitution set up by the Prince to destroy Oliver to exact her revenge. However, it was more complex than he had imagined. She and Netra, her Royal Club rival, and Prince, a prostitution pimp, must overcome obstacle after obstacle.

 

Luna meets Angga, the heir to Oliver’s business, who is intrigued by the beauty and mystery of Luna’s life but realizes that Luna has a tricky plan for someone who has been regarded as a father figure to her.

 

Will Luna be successful? What secret has Luna kept so that she has a burning grudge against Oliver and is willing to risk everything by becoming a prostitute?

Director

Razka Robby Ertanto



Production Company

Sky Films

Director's Profile

Razka Robby Ertanto

Razka Robby Ertanto

Razka Robby Ertanto is an Indonesian writer and director. He graduated from the Jakarta Arts Institute. Robby made his directorial debut in 2008 with the "The List" segment of the anthology horror film "Fear." He continued to work on "Faces of Fear," which premiered at the Rotterdam International Film Festival. She then wrote and directed "7 Hati 7 Cinta 7 Wanita", a social drama tackling women's daily struggles in Indonesia. It was Robby's feature directorial debut. He later wrote and directed "Dilemma" (2011) and "Ave Maryam" (2018), which were screened at festivals around the world. His latest film, "Jakarta vs Everybody," premiered at the Tallinn Black Nights Film Festival in the fall of 2020.

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Teluh Darah

Blood Curse

Episode 1 & Episode 2

90 minutes | 2022 | Indonesia | Narrative | Indonesian | sub. English | 13+

Teluh-Darah_Poster-B_v2

Schedule

XXI 2 | SAT 3 DEC | 13:00

Indonesia Premiere

Synopsis

Wulan is a beautiful and intelligent woman, with a bright future at a bona fide investment firm. Wulan’s life takes a somber turn when a string of bizarre incidents starts happening to her family. A dead civet is found in the house, filthy maggots start appearing, and a mysterious lump of hair is blocking the drainage. All these lead to Ahmad falling sick. After throwing up a bloody nail and thousands of flies, the family’s patriarch dies a gruesome death in front of his wife and kids. At around the same time, in Bogor, a young man named Esa also witnesses his father’s equally tragic death. Bonded by a similar fate, Wulan and Esa decide to work together and investigate the cause of their fathers’ deaths.

Director

Kimo Stamboel

 

Director’s Filmography

2019

The Queen of Black Magic

 

2022

Ivanna

 

Production Company

Rapi Films

Director's Profile

Kimo Stamboel

Kimo Stamboel

Muhammad Stamboel (Born on 1 June 1980) is an Indonesian film director, producer, and screenwriter. He is known for his works on the horror genres both as himself and also as part of the Mo Brothers with friend Timo Tjahjanto. Kimo launched his filmmaking career in 2004 with the release of his directorial debut Bunian in 2004 and achieved mainstream success with the release of slasher hit Macabre (also known as Rumah Dara) in 2009. The duo received a Citra Award nomination for Best Director in 2016 for Headshot. Kimo went solo and directed the box office and critical hit Ratu Ilmu Hitam, a remake of the same-titled Indonesian horror classic, in 2019. His latest feature film is the box office horror hit Ivanna (2022).

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No One is Illegal

30 minutes | 2011 | Malaysia | Narrative | Indonesian | sub. English | 17+

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Schedule

XXI 5 | MON 28 NOV | 18:00

Synopsis

The filmmaker has many friends in Jakarta, knows the place and the people, and he has a soft spot for Indonesia. It is hard for him to understand that some people there hate him and his home country of Malaysia and would love to declare war. So he asked them why.

Director

Ho Yuhang

Director's Profile

Ho Yuhang

Ho Yuhang

Yuhang Ho was born and raised in Petaling Jaya. He took a degree in engineering at Iowa State University, but opted for a career in TV production when he returned to Malaysia. His debut feature MIN in 2003 was financed by television and shot on digital video, but was invited to many film festivals as a film and won the Special Jury Prize at the Festival des 3 Continents in Nantes, France. His subsequent features and shorts have been invited to an ever-widening circle of festivals and have won several more prizes, including the NETPAC Award and the Tiger Award for Best Short at International Film Festival Rotterdam.

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Open Verdict

2 minutes | 2011 | Malaysia |Narrative | English, Malay, Cantonese | sub. English & Mandarin | 17+

artwork

Schedule

XXI 5 | MON 28 NOV | 18:00

Synopsis

The Hong Kong anti-smuggling agents receive help from two Malaysian agents. They have been tipped about a Malaysian who will be in Hong Kong for some illegal dealings. Nobody knows exactly when he will show up. 

Director

Ho Yuhang




Director's Profile

Ho Yuhang

Ho Yuhang

Yuhang Ho was born and raised in Petaling Jaya. He took a degree in engineering at Iowa State University, but opted for a career in TV production when he returned to Malaysia. His debut feature MIN in 2003 was financed by television and shot on digital video, but was invited to many film festivals as a film and won the Special Jury Prize at the Festival des 3 Continents in Nantes, France. His subsequent features and shorts have been invited to an ever-widening circle of festivals and have won several more prizes, including the NETPAC Award and the Tiger Award for Best Short at International Film Festival Rotterdam.

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