Institut Kesenian Jakarta

Tji and Ing are grandparents who lived happily in the old days. One day, Ing said that she was afraid if someday, one of them can not wake up anymore.

Late night in Jakarta, a woman walks home alone and becomes a man's sexual harassment target, but things take an unexpected turn when the hunter suddenly becomes the hunted.

A family goes on a road trip and sparks various conversations along the way in their car.

A researcher is searching for a film directed by a member of LEKRA in the 1960s that have never been found in order to complete his post-graduate thesis. In the midst of the search, he meet a man who helps him to locate the reels.

After 12 years of documentary courses being absent as a form of Integrated Practicum in the Film Department at IKJ, Bikeska, Paul, Arrivo, and Raihanul chose to break the tradition. Amidst the dominance of fiction films, which are considered more prestigious, they chose documentaries due to budget constraints and a desire to respond to the world in a more honest and intimate way. Their poetic documentary film captures two layers of reality: a man who draws architectural spaces, and the laborers who build them. However, the process led to a creative crisis and the images were too structured as the treatment felt like fiction filmmaking. The question arose: were they recording reality or constructing it? The camera turned around, highlighting the team’s process and confusion. Ultimately, the film not only captures space and labor, but also reflects that documentaries, like buildings, are the result of construction and choice.

Beneath dim village lights, Murni walks the night — a quiet act of survival in the face of unseen burdens.