Journal of Film Preservation - FIAF

existed without total detriment, and in other ASEAN countries it was
being withstood. Other opinions cite the emergence of the cineplex –
with its high-tech projection exposing the chronic technical
shortcomings of Indonesian films – and the broadcasting of domestic
films on television.
Two contrasting factors dominate at this time: (1) the appearance of
dubious-taste, sex-oriented films to attract a market, and (2) the
appearance of good films in international festivals, but films which are
difficult for the domestic audience to understand. Neither of these can
alleviate the situation.
Efforts Continue
Fatahillah, a colossal film about a national hero, was made in 1997. Its
story takes place in the 16th Century, when Indonesia was threatened
with Western colonization. It cost around Rp. 2.5 billion, an incredible
amount for an Indonesian production. The expectation was that the
film’s production values would bring back audiences and re-awaken
domestic film production. Press and public reaction has been
enthusiastic.
Meanwhile, Garin Nugroho, an alternative film director who is well
known in several international film festivals, has come more to the fore
with his film Daun di Atas Bantal (The Leaf on the Pillow). Garin
Nugroho has not only won prizes at several festivals, but has also been
successful with the sale of his films abroad, notably in Japan.
With the success gained by Garin Nugroho, many people have been
hopeful that the Indonesian film industry may revive once more. This
remains a hope, however. Young film-makers have tried an alternative
approach, but their efforts remain ignored. Now hopes are pinned on
the latest film of a former outstanding film-maker, Selamet Rahardjo,
whose Telegram, produced jointly with France and processed in Paris,
carries expectations of a re-awakening of the Indonesian film industry.
Meanwhile, the production of other high-cost films is planned, even
though their success is uncertain.
6 Journal of Film Preservation / 69 / 2005