vinguson

Something in the Way

Setelah menjadi lost media selama 12 tahun akhirnya film ini muncul ke permukaan, kapan lagi ya kan liat Reza Rahadian coli. Film ini dimulai dari coli, diakhiri juga dengan coli, hidup untuk coli, coli untuk hidup. Ahmad ini juga sangat yin and yang, seimbang antara dosa dan ibadah. Mungkin ya ini film Indonesia terliar yang pernah kutonton, soalnya eksplisit gt gak malu-malu, dan juga suka bgt sama penggambaran masa kelam Indonesia, benar-benar bring back the memories, dan kata2 "Hidup di Jakarta itu keras" sangat tergambarkan di film ini.

Masquerade.

Something in the Way

Dr. Tirta when he saw Reza Rahadian jerking off throughout the film:

Farrel

Something in the Way

creepy bc wdym you’re dying and watching porn

nathansnook

Something in the Way

“𝘐𝘧 𝘺𝘰𝘶𝘳 𝘤𝘰𝘤𝘬 𝘪𝘴 𝘪𝘯 𝘩𝘦𝘳 𝘮𝘰𝘶𝘵𝘩, 𝘺𝘰𝘶 𝘧𝘰𝘳𝘨𝘦𝘵 𝘢𝘣𝘰𝘶𝘵 𝘴𝘪𝘯.” What is life without obsession? A 2010’s Jakarta character study of a man tied to God and his escape from it all as obsession overwhelms him. Has he found love? Has his obsession led him to love? Or are we blinded by the very thing that shakes us from our roots, makes us believe that we can do better? Be better? What if the lead was ugly? Would we have much more grace? But there’s enough attractiveness (for a porn-obsessed taxi-driving nobody) in Rahadian to put up a charming act, especially with such a cute tush, but the film loses itself in its developing web of the many shades of obsession in the first half to really deliver its brutal end. At one point I thought this could’ve been a short film. Something closer to 60 minutes. But the great sacrifice would be the convincing that is done au debut. Do we pity? Do we feel empathy? Or do we merely sympathize? It’s hard to convince the audience to feel bad about a man who wants sex so much, but feels too much fear to enact on the act based on his moral and religious grounds. I’m reminded of McQueen’s Shame (https://letterboxd.com/film/shame-2011/) where sex-obsessed individuals try and find grace for themselves in a world that seems to ostracize them. But the ostracization is an orchestration born from the city itself. Jakarta, in its indie haze and saturations in greens and oranges don’t provide the same kind of alienation to create a convincing narrative, and so defaults itself as mere mood piece concentrated in character study, which, in turn, works well in the favor of the film. It works to a degree depending on the day, but overall, in my opinion, perhaps could’ve earned a better place as as a short film as it better exists as a case study for what we can do with character study, mood piece, and form.