The Mirror Never Lies (also known by the Indonesian name Laut Bercermin, meaning The Ocean Reflects) is a 2011 Indonesian film directed by Kamila Andini and co-produced by Andini's father, Garin Nugroho, and former Puteri IndonesiaNadine Chandrawinata. Starring Gita Novalista, Atiqah Hasiholan, and Reza Rahadian, it follows a young Bajau girl named Pakis who has lost her father at sea and uses mirrors to unsuccessfully search for him. It has several interpretations, including as a coming-of-age story and as an environmentalist piece.
Filmed over a period of two months after nearly three years of research, The Mirror Never Lies was sponsored in part by the Indonesian branch of the World Wide Fund for Nature and the Wakatobi regency government. The first feature film to star the Bajau, it used their language extensively. Although a commercial failure domestically, it has been screened at many international film festivals and won several awards both inside and outside of Indonesia. Critical reviews have generally been positive, mostly emphasising the film's visuals.
Plot
Pakis (Gita Novalista) is a young girl from a fishing community of the Bajau people in Wakatobi, Sulawesi, part of the Coral Triangle. She lives with her mother, Tayung (Atiqah Hasiholan). As Pakis' father has been lost at sea, Tayung works hard to support her daughter. Pakis, however, is determined to search for her father, a quest which brings the two into conflict. Pakis regularly visits a local shaman, who conducts a ritual allowing Pakis to search for her father in a mirror's surface. The ritual never shows Pakis his location but she remains determined to keep trying. Meanwhile, Tudo (Reza Rahadian) has broken up with his fiancée. Struggling to cope with the loss, he takes a new job in Wakatobi studying dolphins. There he becomes involved with the Bajau community, staying at Tayung's home. Eventually Pakis is able to realise that her father is dead and continues with her life.
The film was directed by Kamila Andini, who also wrote the script and, in collaboration with Dirmawan Hatta, the screenplay.[1] For her feature film debut, Andini chose to write about the sea– a topic which had long interested her and on which she had previously recorded documentaries. She had also had a long-held interest in environmental issues.[2] It was produced by former Miss Indonesia, Nadine Chandrawinata, together with Andini's father, the director Garin Nugroho.[1] Andini has stated that she only consulted with her father and that he was not directly involved in the production,[2] while Chandrawinata described herself as assistant producer, with Nugroho in charge.[3] Artistic direction was handled by Timothy D Setyanto, with costumes by Retno Ratih Damayanti and make-up by Erwin Wijaya. Cinematography was completed by Ipung Rachmat Syaiful. Editing was handled by Wawan I Wibowo, while Thoersi Argeswara provided music and Khikmawan Santosa provided sound effects.[4]
The Mirror Never Lies was a collaboration between the Indonesian branch of the World Wide Fund for Nature, the Wakatobi regency government, and SET Film Workshop,[2] with the former two providing funding.[5] It focused on the Bajau people,[lower-alpha 1] also known as "sea gypsies" for their nomadic maritime lifestyle. Little Indonesian-language documentation was available to the crew, and as such production took over two years, most of which was research. Andini later recalled that the crew had to "go directly to Wakatobi back and forth to get to know everything about the [Bajau] tribe".[2][6][7] Originally planned for the second quarter of 2010, shooting was further delayed until September owing to an extended rainy season. Unlike most contemporary Indonesian films, which are often completed in a matter of days, the crew shot on site over a period of two months. They faced poor weather, including typhoons and large waves, and had difficulty manoeuvring over the wooden walkways and bridges used by the Bajau.[2][6][8]
The film cast three Bajau teenagers, Gita Novalista, Eko and Zainal, in their feature film debuts; the three were the first Bajau to play in a feature film.[9] More experienced actors, including Atiqah Hasiholan and Reza Rahadian (who had received two Citra Awards), were also cast.[2] Hasiholan later stated that it had been her most challenging role yet, citing the cultural differences between the Bajau and what she was familiar with as well as her unprecedented need to act as a mother.[10] In preparing for their roles, Hasiholan exercised slicing and dicing fish,[11] while Rahadian went to Ancol in North Jakarta to learn about dolphins.[12]
The Mirror Never Lies uses the Bajau language heavily, with its Indonesian spoken in a Bajau accent[1] and, in domestic screenings, Indonesian-language subtitles when Bajau is spoken.[13] The use of pre-recorded music is minimal. Instead, much of the film's soundtrack consists of "folk songs and chanting" in Bajau.[14] Hasiholan had to undergo tutoring to learn her lines, learning from the Bajau people on location.[7][15]
Themes
Producer Garin Nugroho said the film was to remind Indonesians of their maritime heritage.
In a 2012 interview Andini stated that she considered The Mirror Never Lies and the Bajau people symbols of unity; she expressed that the sea should not separate the different ethnic groups in the nation, but serve to connect them.[16] Likewise, in an interview with Antara Nugroho stated that the film was intended to remind Indonesians that theirs is a maritime nation, which has influenced the country's culture.[17] The regent of Wakatobi, Hugua, added in an interview with the Indonesian newspaper Kompas that Indonesian films had historically only presented land based cultures.[9]
Triwik Kurniasari, writing for The Jakarta Post, considered the film a criticism of "destructive fishing practices and climate change" in Wakatobi; she believed that this is shown through the director's "respect for the environment" in the film.[2] Writing for Kompas, Teguh Prayoga Sudarmanto noted that such a theme is representative of realities faced by Bajau fishermen, who must travel ever further as the fish supplies diminish. He further suggested that the film depicts the sea as capable of both friendliness and hostility, a force with which the Bajau must deal every day.[9] The critic Lisabona Rahman, writing for the Indonesian film database filmindonesia.or.id, contrasted The Mirror Never Lies with the plot of "tourist" ("turis") films: unlike in such films, where a city-dweller changes the traditional lifestyle in a village, Tudo is able to adjust himself to village life and follow their ways.[8]
Benny Benke, writing for the Semarang-based Suara Merdeka, drew a parallel between The Mirror Never Lies and Samuel Beckett's play Waiting for Godot. He suggests that they both have the same message: that awaiting somebody who never comes is ultimately futile.[18] Benke further suggests that the film is centred around the conflict between the "utopian" Pakis and her "realistic" mother.[18] Meanwhile, Maggie Lee, reviewing in The Hollywood Reporter, considered the film more of a coming-of-age story, with Pakis "discovering her womanhood just when the most significant man in her life is gone".[14] Lee also noted Pakis' burgeoning sensuality and "nascent physical stirrings" for her friend Tudo.[14] Ultimately, Lee suggested that Andini was expressing her desire to "break away from her father'[sic] artistic influence and swim alone" through the film.[14]
Release and reception
The Mirror Never Lies was premiered at the XXI Cineplex at FX Life Style in Jakarta on 26 April 2011,[17] followed by a wide release on 5 May 2011.[1] According to Lisa Siregar of The Jakarta Globe, the film was one of the first to document the Bajau people, including several of their rituals.[7] It was a commercial failure domestically, seeing little viewership.[16]
Puput Puji Lestari, writing for the Indonesian entertainment website KapanLagi.com, praised The Mirror Never Lies, concluding that it was "highly recomended" [sic] and that, despite some scenes which were out of focus, it "showed its quality from the first minute".[lower-alpha 2][19] Kurniasari considered the performances by the Bajau youth well done and praised the visuals as a "sneak peak into the beauty of Wakatobi".[20] She found, however, that the film had several events with unclear motives.[20] Lee likewise praised the film's "breathtaking underwater cinematography" and Novalista's performance, considering the youth's performance "convincingly embodying the uncertainties of a girl on the brink of adolescence".[14] She found some faults in the film, including its ecological message which made "some scenes look rather Discovery Channel" and the "artificial" manner in which traditional songs were included in the film.[14] Siregar also praised the visuals, writing that "every frame of the film is filled with the natural beauty of Wakatobi" and that The Mirror Never Lies would likely attract tourists to the islands.[7]
Writing for Tempo magazine, Nunuy Nurhayati found that Andini had "done pretty well"[lower-alpha 3] with the film, praising its storyline and the children's acting.[13] She considered the film's main strength to be the "beauty and uniqueness of Wakatobi's panoramas"[lower-alpha 4] and wildlife.[13] Benke found that the film was full of symbolism, similar to the works of Nugroho; Benke stated, however, that The Mirror Never Lies much easier to decipher than works by Andini's father.[18] Rahman gave the film six out of ten. She praised Hasiholan and Novalista's performances, but found Rahadian's to be lacking. Although admitting the technical difficulties in filming on-site, she wrote that the cinematography could have been better.[8]
The Mirror Never Lies has won several awards in both domestic and international film festivals. Before its domestic release, it won a special mention from the Global Film Initiative for its aesthetics and cultural content.[20] For her directorial debut, Andini won a "Bright Young Talent Award" at the 2011 Mumbai Film Festival.[21] At that year's Indonesian Film Festival the film was nominated for eight Citra Awards, winning two.[24] It lost four, including Best Film, to Ifa Isfansyah's Sang Penari (The Dancer; 2011),[25] while Hanung Bramantyo's ? (2011) surpassed The Mirror Never Lies for cinematography.[26]
At the 2012 Bandung Film Festival The Mirror Never Lies received four awards from a total of ten nominations.[27][28] At the 2012 Asia Pacific Screen Awards, it was one of two Indonesian works to compete, winning a single award from a single nomination.[16][24] That year the film competed at the Asian Film Awards, receiving nominations for Best Cinematographer and Best Newcomer. The former award was ultimately captured by Chin Ting-Chang of Seediq Bale (2011), while the latter was taken by Ko Chen-tung of You Are the Apple of My Eye (2011).[29]
Benke, Benny (21 January 2012). "Membaca Tradisi"[Reading Tradition]. Suara Merdeka (in Indonesian). Archived from the original on 4 April 2012. Retrieved 12 January 2013.
"FAQ (Tanya-Jawab)". Official Website for The Mirror Never Lies. Jakarta: WWF Indonesia. Archived from the original on 19 January 2013. Retrieved 19 January 2013.
Febriani, Prih Prawesti (31 October 2011). "Atiqah Hasiholan Belajar Potong Ikan"[Atiqah Hasiholan Learns to Cut Fish]. Tempo (in Indonesian). Archived from the original on 20 January 2013. Retrieved 20 January 2013.
Herman, Ami (27 April 2011). "Nadine Chandrawinata Belajar Jadi Produser"[Nadine Chandrawinata Learning to be a Producer]. Suara Karya (in Indonesian). Archived from the original on 12 January 2013. Retrieved 12 January 2013.
"Kredit The Mirror Never Lies"[Credits for The Mirror Never Lies]. filmindonesia.or.id (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 7 April 2014. Retrieved 29 December 2012.
Lestari, Puput Puji (29 April 2011). "'The Mirror Never Lies', Laut Itu Cermin Besar"['The Mirror Never Lies', Laut Itu Cermin Besar]. KapanLagi.com (in Indonesian). Jakarta. Archived from the original on 22 November 2012. Retrieved 22 January 2013.
"Nominasi Festival Film Bandung 2012"[Nominations for 2012 Bandung Film Festival]. KapanLagi.com (in Indonesian). Jakarta. 1 May 2012. Archived from the original on 13 April 2013. Retrieved 21 January 2013.
Nurhayati, Nunuy (8 May 2011). "Karena Cermin Tak Pernah Berdusta"[Because a Mirror Never Lies]. Tempo (in Indonesian). Archived from the original on 12 January 2013. Retrieved 12 January 2013.
"Penghargaan Tanda Tanya"[Awards for Tanda Tanya]. filmindonesia.or.id (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 23 March 2015. Retrieved 10 June 2012.
"Penghargaan The Mirror Never Lies"[Awards for The Mirror Never Lies]. filmindonesia.or.id (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 7 April 2014. Retrieved 8 January 2013.
Rahman, Lisabona (5 May 2011). "Langkah Pertama Yang Mengesankan Walau Tertatih"[An Impressive First Step, Although Falling Short]. filmindonesia.or.id (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 5 April 2014. Retrieved 20 January 2013.
Sudarmanto, Teguh Prayoga (26 April 2011). "Tiga Anak Suku Bajo Main Film"[Three Bajau Children Play in a Film]. Kompas (in Indonesian). Archived from the original on 23 August 2011. Retrieved 12 January 2013.
"The Mirror Never Lies". filmindonesia.or.id (in Indonesian). Jakarta: Konfidan Foundation. Archived from the original on 1 September 2013. Retrieved 8 January 2013.
"The Mirror Never Lies". Melbourne: Melbourne International Film Festival. Archived from the original on 17 January 2013. Retrieved 19 January 2013.
"The Mirror Never Lies". Seattle: Seattle International Film Festival. Archived from the original on 13 June 2012. Retrieved 19 January 2013.
Nadine Chandrawinata is an Indonesian actress, award-winning film producer, model and beauty pageant titleholder who was crowned as Puteri Indonesia 2005, She is representing Indonesia at the Miss Universe 2006 pageant. She was the second of Puteri Indonesia to participate in the pageant after a long hiatus in 1996. She measures 175 cm in height and 60 kg in weight.
Mereka Bilang, Saya Monyet! is a 2008 Indonesian film directed by Djenar Maesa Ayu. Starring Titi Rajo Bintang, Henidar Amroe, and Ray Sahetapi, it tells the life story of Adjeng, who was sexually abused as a child by her mother's boyfriend. Filmed over 18 days after several years of development, the film adapted two of Ayu's short stories from her debut anthology of the same name. Owing to its low budget of Rp 620 million, its cast and crew were mostly amateurs and students, although several established actors appeared at reduced rates.
? is a 2011 Indonesian drama film directed by Hanung Bramantyo. It stars Revalina Sayuthi Temat, Reza Rahadian, Agus Kuncoro, Endhita, Rio Dewanto, and Hengky Sulaeman. The film focuses around Indonesia's religious pluralism, which often results in conflict between different beliefs, represented in a plot that revolves around the interactions of three families, one Buddhist, one Muslim, and one Catholic. After undergoing numerous hardships and the deaths of several family members in religious violence, they are reconciled.
The Dancer is a 2011 Indonesian film based on the trilogy of novels Ronggeng Dukuh Paruk by Ahmad Tohari and directed by Ifa Isfansyah. Starring Nyoman Oka Antara and Prisia Nasution, it tells the story of a young man and his friendship with his small village's new ronggeng.
Ifa Isfansyah is an Indonesian film director. Initially a maker of short films, his first featured film, Garuda di Dadaku, was released in 2009. His following film, Sang Penari, won four Citra Awards at the 2011 Indonesian Film Festival.
Jamila and the President is a 2009 Indonesian film directed by Ratna Sarumpaet and starring Atiqah Hasiholan and Christine Hakim. It follows the story of a prostitute sentenced to death for killing a government minister.
Atiqah Hasiholan Alhady is an Indonesian-Arab actress and model.
Ruma Maida is a 2009 Indonesian film written by Ayu Utami, directed by Teddy Soeriaatmadja and starring Atiqah Hasiholan, Yama Carlos, Nino Fernandez, and Frans Tumbuan. It details a woman's struggle to save a historic house from a developer; it also shows the life of the house's original owner.
Garuda di Dadaku is a 2009 Indonesian film directed by Ifa Isfansyah. It is about a young boy who dreams to play for Indonesia's National Under 13 football team, despite his grandfather's wish for him to be an artist.
Nino Fernandez is an Indonesian actor of Minahasan, Sundanese, Jawa Barat, German and Portuguese descent. He's the older brother of singer Millane Fernandez.
Teddy Soeriaatmadja is an Indonesian film director. Born in Japan and educated in Britain, Soeriaatmadja made his film debut in 2000 with the short film Culik (Kidnap); it was followed five years later by Banyu Biru, his feature film debut. Since then Soeriaatmadja has directed several films, including two which have garnered him a nomination for Best Director at the Indonesian Film Festival.
Surat Kecil untuk Tuhan is a 2011 Indonesian biographical drama film directed by Harris Nizam. The film stars Dinda Hauw and Alex Komang, it follows a young girl's struggle with cancer. It was the best-selling Indonesian film of 2011.
Laura Basuki is an Indonesian model and actress of mixed Javanese, Chinese and Vietnamese descent.
Gadis Desa is a 1949 comedy from what is now Indonesia written and directed by Andjar Asmara. Starring Basuki Djaelani, Ratna Ruthinah, Ali Joego, and Djauhari Effendi, it follows the romantic hijinks of a village girl who is taken to be a rich man's second wife. The film, produced by a Dutch-run company, is recognised as the first in which future "father of Indonesian film" Usmar Ismail was involved.
Pengkhianatan G30S/PKI is a 1984 Indonesian propaganda docudrama written and directed by Arifin C. Noer, produced by G. Dwipayana, and starring Amoroso Katamsi, Umar Kayam, and Syubah Asa. Produced over a period of two years with a budget of Rp. 800 million, the film was sponsored by Suharto's New Order government. It was based on an official history of the 30 September Movement coup in 1965 written by Nugroho Notosusanto and Ismail Saleh, which depicted the coup as being orchestrated by the Communist Party of Indonesia.
Kamila Andini is an Indonesian film director known for her critically acclaimed debut The Mirror Never Lies.
Reza Rahadian Matulessy is an Indonesian actor who rose to prominence following his role in Perempuan Berkalung Sorban or (Woman with a Turban). Born in Bogor, he took up acting while in senior high school and made his feature film debut in 2004. Since receiving his first Citra Award in 2009, he has acted in over a dozen films, ranging from comedies and romances to dramas and biopics.
The Citra Award for Best Director is an award given at the annual Indonesian Film Festival (FFI) to Indonesian film directors in recognition for their achievement in the previous year. The Citra Awards, described by Screen International as "Indonesia's equivalent to the Oscars", are the country's most prestigious film awards and are intended to recognize achievements in films as well as to draw public interest to the film industry.
The Citra Award for Best Actress is an award given at the Indonesian Film Festival (FFI) to Indonesian actresses for their achievements in leading roles. The Citra Awards, described by Screen International as "Indonesia's equivalent to the Oscars", are the country's most prestigious film awards and are intended to recognize achievements in films as well as to draw public interest to the film industry.
The Citra Award for Best Supporting Actress is an award given at the Indonesian Film Festival (FFI) to Indonesian actresses for their achievements in a supporting role. The Citra Awards, described by Screen International as "Indonesia's equivalent to the Oscars", are the country's most prestigious film awards and are intended to recognize achievements in films as well as to draw public interest to the film industry.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
