Under the Tree by Garin Nugroho

Under the Tree

Under the Tree is a 2008 Indonesian movie directed by Garin Nugroho.
The film follows three women on their individual journeys in Bali. The first, Maharani, is an adoptee from Jakarta who has come to Bali to look for her birth mother. The second, Nian (Nadia Saphira), is a celebrity who goes to Bali to escape her family life back in Jakarta. The last, Dewi (Ayu Laksmi), is a radio personality whose husband is never home and who is carrying a dead child in her womb; Dewi must eventually choose whether to live or to commit suicide.
Nugroho and his production team spent 20 days filming on Bali, including in Ubud, Sanur, and Karangasem. The film was produced without a screenplay. Instead, the actors were asked to discuss their ideas for their characters with Nugroho, to ensure that they understood their own character.
Nugroho notes that Under the Tree is a critique of suicide in Indonesia, and how very few people pay attention to it, including the government. He notes that "trees are attached to human lives". Nugroho has also stated that the movie has an environmental message.
Under the Tree had its world premiere at the BFI London Film Festival. It later competed in the Tokyo Film Festival.
Nauval Yazid of The Jakarta Post notes that Under the Tree is somewhat mainstream for Nugroho, who generally makes art films. The film's choreography during the Balinese dancing is praised, as is storyline and Laksmi's performance. However, the other two main characters are described as not resonating as much as Laskmi, and the use of the shaky camera technique is criticized.
In its review of the film for the Toronto Film Festival, Variety notes that Under the Tree mixes traditional Balinese music with modern issues, similar to the Javanese music used in Nugroho's previous film Opera Jawa; the execution is noted to be not "as well integrated" as in the older film. The brown-tinted and shaky camerawork was considered "sometimes near-nauseating."

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Puisi Tak Terkuburkan by Garin Nugroho

Puisi Tak Terkuburkan

Puisi Tak Terkuburkan is a 2000 award winning Indonesian documentary/drama directed by Garin Nugroho in black and white. At the 2001 Singapore International Film Festival the film won the FIPRESCI Prize and the Silver Screen Award for Best Asian Actor which went to the poet Ibrahim Kadir, who played himself. The film was also nominated at for the Silver Screen Award for Best Asian Feature Film, while Nugroho won the Silver Leopard Video Award at the Locarno International Film Festival.
In 1965, Ibrahim Kadir is falsely arrested after being accused of being a communist or communist sympathizer. While imprisoned, he meets other inmates who have also been falsely imprisoned. Together, they sing the traditional poetic form didong, and attempt to band together. However, every day more prisoners are taken outside and executed.
While alone, Kadir thinks of the crimes committed by the military that he has witnessed, including the killings of unarmed women and children, as well as the execution of the wrongfully incarcerated. He continues to hear the voices of the past as the number of prisoners dwindles done to a few; he is eventually released after spending 22 days in prison.
According to the film's director Garin Nugroho, he wrote Puisi Tak Terkuburkan to "reinterpret the wounds of history"[A] after being offered Rp 60 million to write a script after finishing Daun di Atas Bantal. At the time, he intended to make three films: one regarding Aceh, one regarding Papua, and one about the youth movement, choosing areas of potential conflict.
Anne Rutherford, a senior lecturer on cinema studies at the University of Western Sydney, notes that Puisi Tak Terkuburkan was the 1st Indonesian movie to discuss the 1965â€"1966 communist purge. It was produced during a "wave" of Indonesian films criticizing former president Suharto's New Order regime. Such films were not allowed during the New Order, and Nugroho reported that his family feared he would be killed.

Puisi Tak Terkuburkan format, with shooting

was shot in a digital video beginning in August 1999.

The movie is set entirely within two prison cells and a guards' room. Nugroho uses close shots which, according to Rutherford, amplify the claustrophobia of the setting. The film is shot entirely in black and white. She describes the sound as being fluent and mobile, contrasting the claustrophobia of the shots. Nugroho himself considered the visuals secondary to the dialog.
The perpetrators of the communist purges aren't shown on screen. According to Rutherford, this leaves the audience wondering "what has gone wrong?".
The Gayo poetic form didong, contrasting two or more voices, is prominent throughout the film. During and following the communist purges, didong was used as a way to reinforce that revolutions would bring death to the perpetrators.
Puisi Tak Terkuburkan was released in 2000. Nugroho said that it wasn't meant to be commercial, and that he only planned to show it for several days at higher-class theatres before selling it to local television stations.
It was screened at the Sydney Asia Pacific Film Festival in 2001. In February 2005, Nugroho showed the film to raise money to help the Acehnese survivors of the 2004 Indian Ocean earthquake and tsunami.
Puisi Tak Terkuburkan received the Silver Leopard award at the 2000 Locarno International Film Festival. Kadir won Best Actor at Cinefan film festival in India in 2001; that same year, he received best actor at the Singapore International Film Festival, with the film winning a jury prize for best film.

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Daun di Atas Bantal by Garin Nugroho

Daun di Atas Bantal

Daun di Atas Bantal is a 1998 award winning Indonesian film directed by Garin Nugroho. It is one of the most acclaimed films from Indonesia in recent years and was the country's proposal for an Academy Award. It was also screened in the Un Certain Regard section at the 1998 Cannes Film Festival.
The film follows three street children, Sugeng, Heru, and Kancil, in their day-to-day lives in Yogyakarta. Although they live in poverty, are from broken homes, and must sell marijuana to survive, they aspire to rise above poverty and hope to receive an education. They are supported by Asih (Christine Hakim), a saleswoman who lets them stay in her workshop; the children fight over Asih's leaf pillow.
The children's lives don't go smoothly. Sugeng dies after attempting to help another street child, while Kancil is decapitated while playing on top of a train. Heru falls victim to an insurance scam, where he is given false identification papers and then killed to collect the premium.
Daun di Atas Bantal was produced by Hakim, who also played Alih. The film was her 1st production, and she initially didn't intend to act in it to avoid stress; however, she changed her mind after being told the film would be more marketable in Japan if she acted in it. Hakim has called the film "an expensive university" for her because she made a mistake that required Nugroho to reshoot all of the footage. In an attempt to cut expenses, she had saved all cans of exposed film in an attempt to send them to the developing together; upon their receipt, the lab notified her that a technical fault with the camera had rendered the film unusable, and that it could have been detected earlier had she sent each can as it was filmed.
Hakim chose Garin Nugroho to direct the film, noting that he was a "very talented young director", partly inspired by Nurgoho's 1995 documentary film on street children Dongeng Kancil untuk Kemerdekaan.
The street children in Daun di atas Bantal are actual street children, who portray "dramatized versions" of their own lives. After production, Hakim ensured that the children received an education; for example, Heru was placed in a music school.
The sound for Daun di Atas Bantal is Dolby Digital and was done in Australia. At the time, Dolby Digital sound was rare in Indonesian films.
The film is based on true stories in the lives of three street boys in Yogyakarta who all die under tragic circumstances, and was played by the real street boys around the event location. The film also deals with poverty in Indonesia, as seen through the experiences of the poor.
According to Stephen Holden in a review for The New York Times, Daun di Atas Bantal is a "documentary-flavored" film that does not attempt to make the viewer care for the characters; he describes it as being detached and loosely structured. Ade Irwansyah of Tabloid Bintang notes that the plot is much more linear than Nugroho's earlier works, without confusing metaphors or poetic imagery.
Daun di Atas Bantal was shown in the Un Certain Regard section at the 1998 Cannes Film Festival on 23 May 1998. It was Indonesia's submission to the 71st Academy Awards for Best Foreign Language Film, although it wasn't nominated.
Derek Elley, writing for Variety, called the movie Nugroho's best work to date, noting that although the opening was weak, "the viewer is slowly drawn into the urchins' nether world". Holden wrote that the film "hits you in the face with almost unimaginable squalor and a patchwork of teeming sights and sounds that are more than the senses can take in". In 2010, Ade Irwansyah of Tabloid Bintang listed Daun di Atas Bantal as the 17th-best Indonesian film of all time, noting that it was the 1st film in which Nugroho's dialogue was effective and the plot was easy to follow.

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Garin Nugroho

Garin Nugroho

Garin Nugroho Riyanto, better known as Garin Nugroho, is an award-winning Indonesian film director.
Nugroho was born in Yogyakarta, Special Region of Yogyakarta on 6 June 1961. He was the 4th child of postal workers Soetjipto Amin and Mariah, who eventually had seven children. As a child, he attended an Islamic elementary school, later attending Catholic secondary schools. His father owned a lending library and enjoyed writing, leading Nugroho to start writing from a young age; he later quit writing because he felt his father to be too critical. He also enjoyed exploring, and would bathe in the Code River fed by the cold lahar runoffs from Mount Merapi; he notes that the sulfur, which was brought to the river by the lava, was good for his skin.
After graduating from Kolese Loyola high school in 1981, Nugroho went to Jakarta to study filmmaking at the Jakarta Institute of Arts, as well as law and politics at the University of Indonesia (UI). After studying under Teguh Karya, he graduated from the IKJ in 1985. He later graduated from UI in 1991. During his free time, Nugroho directed documentaries and short movies.
Nugroho made his directorial debut with 1991's Cinta dalam Sepotong Roti, overcoming bureaucracy caused by his refusal to join the Indonesian filmmakers' union. Cinta dalam Sepontong Roti was selected as Best Film in that year's Indonesian Film Festival.
After his mother's death in 2005, Nugroho decided to make a film about Javanese culture. He was later commissioned by the government of Austria to make a film for the 250th anniversary of Mozart's birth. The result, Opera Jawa, was based on the Ramayana and produced by Simon Fields.
In 2008 Nugroho returned to theatre with The Iron Bed, adapted from Opera Jawa. The play was shown at the Zxrcher Theater Spektakel in Zurich, Switzerland.
Nugroho's debut film Cinta dalam Sepotong Roti garnered six Citra award nominations at the Indonesian Film Festival (IFF); Nugroho was selected as the Best Young Director at the Asia Pacific Film Festival in Seoul the next year. His next movie, Surat untuk Bidadari (Letter for an Angel), won Best Film at the Taormina Film Festival as well as the Tokyo International Film Festival, while Nugroho himself received Best Director at the Pyongyang International Film Festival and Young Filmmakers Jury award at the Berlin International Film Festival.

His film Daun di Atas International Film Festival, in 1998.

Bantal also won Tokyo -

Nugroho enjoys Indonesia and abroad.

gardening and travelling, both in -

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