Camel Aandin’s “Java” head to the funding market in Venice

Indonesian author Camelanda andini is getting ready for what she calls “the hardest story I’ve ever created” with “Four Seasons in Java“A magical realistic drama facing the dark underlines of progress and power in modern Indonesia.

Film, now in post-production and on Venice for funding gauzeFollowing Pertivi, a woman who returns to his village after more than a decade in prison for murdering Mladic as he defended himself from trying to rape. Its arrival coincides with the arrival of electricity in the remote community, placing what Andini describes as a collision between a modern and personal trauma she sees “repetitive in our daily life” repetitive

“The development cost in our country is very expensive,” Explains Andini. “We pay him with our body, tears, blood and life. And yet, we are still very far. Most of the development does not only meet the political needs of people looking for power and leave nothing but trauma.”

Marks Project Marks Andini’s third cooperation with the producer and life partner IFA Films, after the international success “IUNI” (winner “of the 2022 prize” (Silver bear in Berlinale). But this latest effort pushes its partnership boundaries in new instructions.

“Every time I work with a camel, from one movie to another movie, I always want to challenge to achieve greater production value,” says Isfansiah. “I’ve never done it as a producer. It was placed in the mountain, which was challenging to produce processes, logistics and techniques. The camel wanted to explore nature and technology. The camel and I never worked it in the film before.”

The name of the protagonist carries symbolic weight – Pertiva literally means “Mother Earth” in Indonesia. “This character is a metaphor of Indonesia,” Andini reveals. “In Indonesia, we see the country as Mother Earth, because” Mother “is a source of life in Java. And there is a relationship of human and its nature begins in our culture.”

“I keep watching our leaders sell and damage our country without seeing it as our source of life,” she added.

PERTIVI’s journey brings its face to face with four men who sent it to prison – individuals who are now dominated in the village. Together with a marginalized society – mentally ill, former prostitutes and people with disabilities – it reveals that the wrongs of its past last in new forms.

The narrative mixes magical realism with local mythology and pointed social criticism, and hopes will hope for tonal compositions and hope will illuminate “as feminism in the global south.” The story attracts the power from abandoned facilities and forgotten people, with a used electronics that brightens the service as metaphors for resistance and renovation.

The themes of the film carry an emergency modern relevance. “The story based on many things that happen in modern Indonesia”, notes Andini. “Non-exalt electricity is still happening so far. Sexual harassment continues to happen and a lot of this do people with power in society.”

Recent headlines have only strengthened the need. “While I wrote my scenario, the news showed a girl (who endured a) a sexual harassment by 11 people in power. And only yesterday, the girl was found raped and dead in Palminia in Palminia,” reveals. “Stories still fill even when I create a movie. To be honest, I’m not easy to create a heart, but I think it’s really time to really talk about it.”

Production boasts the list of international partners, including Founter Netherlands, Hubert Balsa Fund, Sorfønd and Manufacturing and Co-production companies, Norway (Storm Films), France (ICI Et La <бр>), Germany (one two films) and Singapore.

“Every partner and co-producer in this film has different values,” Explains Isfansiah. “Through each phase, from developing production, post-production and promotion, I needed their perspective. I have ensured everything is harmonized. I was confident in one thing from the beginning: confidence in camel’s vision”.

The manufacturer strategically aligned with Indonesian partners to ensure a wider domestic reach, including the newcomers with strong digital possibilities of promotions and miles, instrumental in revival film in Indonesia.

As the project participates in the Venetian market funding market, the team seeks final financing of post-production, especially visual effects, together with the right sale.

For Andini, the platform presents more than financial possibilities. “Meeting people who believed in the story and support in this voice to raise, is a kind of collective power I look for.”

Isfansiah hopes that the completed work will end key conversations, especially among those in power positions. “There are those in power in each region,” notices. “They often feel like helping weak in their own way, but it’s just a dominance of increasingly imbalance.”