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Five cinematic portraits of womanhood in Indonesia
‘The Jakarta Post’ considers five iconic films about the lives of Indonesian women.
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A still image from ‘Tiga Dara’. ( Courtesy of PERFINI/PERFINI)
M
any will agree that Indonesian films have a long way to go in offering equal, substantive representations of women. Although female characters may appear as often as their male counterparts on screen, their representation often falls short. This lack of diversity, depth and complexity in depicting women has been a longtime concern of feminist film critics nationwide. Not only are women stereotyped, stigmatized and objectified, they are often depicted with tropes of submissiveness, wherein efforts to gain independence are depicted as ‘curses’.
Still, there are a handful of gems, admirable films that portray women’s experiences with nuance and depth. Because of the lack of robust women’s stories in the industry, recognizing films that have shown substantive progress in depictions of women is crucial to encourage better representation more generally. In celebration of International Women’s Day, here are five films that portray the everyday experiences, struggles, joys and journeys of women.
Marlina, si Pembunuh dalam Empat Babak (Marlina the Murderer in Four Acts)
2017 / Dir. Mouly Surya / Cinesurya / 93 mins / available on Netflix
It’s impossible not to put Marlina on the list. Its national and international cinematic accomplishments are hard to miss as it became the talk of the town upon its release. The film tells the story of Marlina, a young widow, venturing into the wilderness of Sumba, East Nusa Tenggara, after being sexually assaulted by a group of bandits.
Although the film utilizes the ‘rape revenge’ trope, Mouly was able to work Marlina into a grounded contemplation of a woman’s journey through her sense of self while seeking justice for what she has suffered. Even though Marlina experiences firsthand how violence against women manifests in social relations, she never uses it as justification for her revenge. Surviving and living, after all, are prerogatives she does not need justification for.
