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inema captures the history of a country, be it in good or bad times, telling sweet stories or bitter tragedies.

It is a shame that Indonesia, with a population of more than 260 million people and countless social troubles, currently only produces less than 100 movies every year. We can look for inspiration to Africa, where Nigeria is paving its way to become Nollywood and currently listed as the second largest film industry in the world.

That is another issue of discussion. Today, there is hope, with the local film industry growing confidently, albeit slowly (and film production is certainly way better than the dark days of the mid-1990s).

We are fortunate that there are also several very good movies that depict the complex social and cultural relationships among Indonesia's people, telling them honestly for local audiences and for foreigners to gain a better understanding. They do not garner dramatic praise ' the President may not shed a tear at watching their premieres ' or are commercially successful, but they do have a significant story to share.

Here are my choices of movies that set the standard of how good movies should be, and how they reflect issues important in Indonesian society.

Berbagi Suami (Love for Share)

Polygamy will always be an important issue for Indonesian women. Those in polygamous relationships, both men and women, must be prepared to receive judgment from society, even if the practice is permitted in Islam.

It was here that Berbagi Suami, released in 2006, brought a totally different point of view on polygamous practices in Indonesian families. Director and scriptwriter Nia Dinata had it all: a stellar cast (who knew the considerable acting range of singer Shanty?), interesting plots and a beautiful message to deliver. Indonesia's official submission for the 79th Academy Awards, against all odds and resisting the temptation to dip into sensationalism, gives insight into the 'normalcy' of polygamy for a family.

In another women-to-women complicated relationship, we have Eliana, Eliana. Directed by Riri Riza, the movie portrays the eternal love-hate relationship between a daughter and her mother.

Rindu Kami PadaMu (Of Love and Eggs)

As the world's largest Muslim country by population, religion is one of the most frequently discussed topics in the film industry. Unfortunately, most religion-themed movies are mediocre to awful, and are poorly made, preachy and boring (that includes those taken from best-selling novels).

Rindu Kami PadaMu stands out as one of the few good religion-themed movies. The 2004 movie by Garin Nugroho binds criticism of Islamic values, poverty, romantic relationships and some humor into one simple but teary storyline.

Sang Penari (The Dancer)

In 1976, renowned author Ahmad Tohari wrote Ronggeng Dukuh Paruk (The Dancer of Paruk Village), a tragic novel depicting the brutal communist purge through the eyes of a traditional dancer named Srintil. The controversial novel banned by the New Order regime was brought to the screen by young director Ifa Isfansyah in 2011.

Ifa, who wrote the script with Salman Aristo and Shanty Harmayn, showed the dim reality of how prejudice led to the slaughter of millions of innocent people and how the brutality of a military regime could destroy a form of art forever. The message culminates in a heartbreaking final scene.

Another movie centering on the communist purge is The Act of Killing by Joshua Oppenheimer. Locally known by the title Jagal, the movie consists of intense interviews with several people who were the henchmen in the murder of communist party followers in Medan, North Sumatra, during the 1960s. Be ready to be shocked by the men's matter-of-fact discussion of the killings and pride in their status as mass murderers.

Lewat Djam Malam (After the Curfew)

Released in 1954, this film remains a classic, and is deeply meaningful and surprisingly relevant to contemporary Indonesia. In raising the question of morality and love for country, director Usmar Ismail and scriptwriter Asrul Sani tell of a former soldier who finds emptiness and a loss of pride upon returning from the battleground.

It also takes aim at those 'old soldiers' who wallow in luxury lifestyles and bask in corruption because they believe they are entitled to more privileges than other citizens.

In 2012, Lewat Djam Malam was restored by L'Immagine Ritrovata Laboratory in Bologna, Italy, in a joint project of National Museum of Singapore (NMS) and World Cinema Foundation.

Another attention-grabbing movie on patriotism is Naga Bonar. The comedy is the story of a pickpocket who becomes a soldier and fights for his country. Despite its comical plot, the movie shares inspiring insight: even a despised pickpocket can turn out to be hero.

Lovely Man

Donny Damara deserves all the awards bestowed upon him for playing a transgender sex worker and father of a young woman in 2011's gritty and powerful human drama. In its honest, affecting way, it asks the question if society (and a family) can accept a transgender person just the way they are. It also portrays the unique and touching relationship of unconditional love between the parent and his offspring.

Also breaking ground on the issue of sexual orientation in Indonesia was 2004's Arisan! Another brilliant work of Nia Dinata, the film centers on the friendships and relationships of Jakarta urbanites, including infidelity and the often taboo issue of homosexuality. It also turned a quizzical gaze on the emerging, uniquely Indonesian definition of the 'socialite', who are today even more entrenched in Jakarta's urban landscape than ever before.

Kejarlah Daku Kau Kutangkap (Run After Me, I'll Catch You)

This is widely acknowledged as Indonesian romantic comedy at its best. The plot is great, the lines are strokes of genius and the stars play their roles very well. It's all thanks to the winning combination of director Chaerul Umam and scriptwriter Asrul Sani (where oh where are such talented scriptwriters today?).

Released in 1986, it is the story of Ramadhan (Deddy Mizwar), a journalist who falls in love with a bank employee Ramona (Lydia Kandouw). They marry impulsively, and Ramadhan finds it a difficult and uneasy transition to becoming a family man.

Years later, director Joko Anwar, who has said he is a huge fan of the movie, made his directorial debut with Janji Joni. Also distinguished as a contemporary romantic comedy-drama, the film pays homage to its predecessor by including footage in one of its scenes.