This is a gamelan musical story that based on the famous Ramayana, and in particular the episode of Abduction of Sinta.
Teoh Gay Hian
Scenografia Set Design
Nanang Rakhmat Hidayat
Costumi Costume Designer
Interpreti Main Cast
Artica Sari Devi
I Nyoman Sura
Set Film Production
New Crowned Hope
Distribuzione internazionale World Sales
35 mm, Colore Colour
This is a gamelan musical story that based on the famous Ramayana, and in particular the episode of Abduction of Sinta. A story about a love triangle between the three dancers, Ludiro, Siti and Setio. Setio and Siti is a spouse that live in an exile situation with the bankrupt of their earthenware business. In that hard condition came Ludiro, the rich and powerful traders in the village, offers his love and with domination tries to win Siti’s heart. These love triangles creates not only civil wars but also mean killings and slaughtering fields, which reflected the conflict and extremities that happens these days. A requiem for all forms of violence throughout the world.
Commento del regista Director’s notes
This is my ninth movie. The 14 days shooting for the musical film with gamelan was stressful work, as were the three months preparation needed to create more than 40 new choreographies with 60 leading dance artists, which first required the composition of over 70 new works for gamelan within a short space of time. It is interesting to note that this film was supported by the number one composer of karawitan music in Indonesia (Rahayu Supanggah) whose most recent work was a theatre collaboration with Robert Wilson entitled I La Galigo, and also a number of well known dancers who have performed with Peter Sellars and Peter Brookes, and Indonesian installation artists whose works have been exhibited at the Bianalle in Italy.
Since I was a child I saw the slaughtering fields, I saw bodies being burnt, hanged and blood on the street. Strong people become extreme and the week also became extreme because there is no space for sharing, what occurs is a war between two extreme that borne the slaughtering fields. When I started becoming a filmmaker that travel from island to island, I became a witness from many conflict that lives such as domino, move from one place to another. Specially in the 90th , when democracy is speeched over the world, many issues conflict of religion, ethnic, racism and terrorist lives among Indonesia that have more than 500 tribes, 13.000 island and more than 200.000.000 populations.
Garin Nugroho nasce a Yogyakarta nel 1961. Nel 1986 si laurea alla Film Academy di Giacarta. Nel 1986 e nel 1989 due dei suoi documentari, Tepuk tangan e Tanah tantangan di nusa tenggara Timur vincono il primo premio al Festival nazionale indonesiano. L’esordio nella regia di lungometraggio è del 1991 con Cinta dalam sepotong roti (Love is a Slice of Bread) che ottiene il premio come miglior opera prima all’Asia Pacific Film Festival nel Sud Corea, e numerosi riconoscimenti. Seguono nel 1994 Surat untuk bidadari (Letter for an Angel) e nel 1995 Bulan tertusuk ilalang (And the Moon Dances), vincitore del Premio Fipresci e del premio Netpac a Berlino. Nel 1998 con Daun di atas bantal (Leaf on a Pillow) vince il Premio Speciale della Giuria all’11° Tokyo International Film Festival e il premio della sezione “Un certain Regard” al festival di Cannes. È presidente della commissione sociale e culturale dell’Indonesian National Film Board. Con il film Puisi tak terkuburkan (The Poet, 2000), ha vinto il Pardo d’oro del concorso video al Festival di Locarno 2000.
1986 Tepuk tangan doc.; 1988 Menyuling minyak doc.; 1989 Tanah tantangan di nusa tenggara Timur doc.; 1991 Cinta dalam sepotong roti (Love on a Slice of Bread); 1994 Surat untuk bidadaric (Letter for an Angel); 1995 Bulan tertusuk ilalang (And the Moon Dances); 1998 Daun di atas bantal (Leaf on a Pillow); 2000 Puisi tak terkuburkan (The Poet); 2002 Komodo permata purba doc.; Air dan romi doc.; Icon sebuah peta budaya doc.; Aku ingin menciummu sekali saja (Bird Man Tail); 2004 Rindu kami pada mu (Of Love and Eggs); 2005 Serambi.