Salman Aristo’s Satu Hari Nanti (One Day, Someday) is yet another blessing of Indonesian cinema by the young talented director.

Salman is a director both the Indonesian film industry and the public believe in. He was the man behind the camera for smash hits like Ayat-Ayat Cinta (Love Verses), Sang Penari (The Dancer) and Laskar Pelangi (Rainbow Troops), which is the second-highest grossing film in Indonesian history.

On Thursday, cinemas were again blessed by his touch in the form of the mature romantic drama Satu Hari Nanti, a tale of four Indonesian friends living in small-town Switzerland while they figure out what they want from life and from each other.

 The four protagonists drive two delicate love stories that become integral to the flow and pace of the story. One relationship addresses the issue of honesty and individual freedom, while the other is tied down by responsibilities outside of the self.

 Three of the main characters have their own personal dreams, and each of them is motivated to make the most of it. In the end, of course, not all of them choose to pursue their true ambitions, as their focus shifts or as they realize that some things are beyond their control.

For an Indonesian movie, it is refreshingly daring in its explicit display of sexual intimacy, a welcome change from the very subdued and unconvincing displays of love in typical Indonesian romantic drama.

 The dialogue is presented in tones, words and gestures that are familiar to everyday conversation, blurring the idea of a script in some scenes. In other words, the film presents itself as an engaging, relatable slice of life rather than appearing to come off a script.

 The stunning backdrops of Switzerland are sensations unto themselves. Satu Hari Nanti is set in the Swiss town of Interlaken, near the capital Bern, and the characters blend in well enough with the town’s public life that it doesn’t become obvious they are in a foreign country. The only reminder that they are Indonesian is whenever they talk to each other in Indonesian.

 In other Indonesian romantic drama, such as  Melbourne Rewind or Love in London, it is all too obvious that the main characters are Indonesians, as they bring their hometown attitudes, mannerisms and perceptions into an unfamiliar setting.

Those characters stick out like sore thumbs and do not blend in with the foreign environment, with the result that the movies themselves look disingenuous and overly obsessed with the Indonesian identity, creating the impression that the directors are underestimating the intelligence of Indonesian moviegoers.

Satu Hari Nanti’s characters have their separate lives as members of the public: Adinia Wirasti’s character is a chocolatier-school student with a love for cooking. Deva Mahenra’s character is a musician trying to get his career off the ground.

Ringgo Agus Rachman is a tour guide and budding author. Ayushita Nugraha is a worker at a local hotel. And all of them blend in with other residents and contribute to the town, indirectly for the town’s sake. Each of their stories matter.

 As a whole, the theme that ties all the characters and their stories together is the importance of staying true to what one really wants in life and from relationships. The relationships in the film falter because of the passiveness of the protagonists toward their true desires in favor of responsibilities they may not be ready for.

 This is particularly pronounced in a scene where Adinia’s character finally decides to pursue her true dream and conveys as much to her parents, who create the impression that she is in Switzerland not completely of her own will. We have heard too many stories about people not being able to pursue their passion and dream, either because of burdensome family obligations or because it is against their parents’ wishes.

 In a way, few young people in Indonesia have complete freedom or parental support to pursue their passions to the fullest extent. Many are either unwilling to take the risk of disappointing their families or eschew the arduous long road of making it happen. As a struggling musician, Deva Mahenra’s character learns the hard way that those who choose to pursue a career in the arts are not generally looked upon highly in Indonesian society.

 For its honest depictions of everyday life and for its relatable problems, as well as for the candid ways in which the characters interact, Satu Hari Nanti should become the future standard for Indonesian romantic comedy. But a standard as high as this is unlikely to come about anytime soon. 

— Photos courtesy of Evergreen Pictures and Rumah Film

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SATU HARI NANTI

Directed and written by: Salman Aristo

Production Company: Evergreen Pictures and Rumah Film

Casts: Adinia Wirasti, Deva Mahendra, Ayushita Nugraha and Ringgo Agus Rahman

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