Otty Widasari

New cosmopolitanism started with the bromocorah’s (free agent) dynasty. Through Palah (Panataran), we see the legitimacy of his great-grandsons appropriating the power of the Central Javanese dynasty, perpetuating the throne and cultural hegemony through the story of the man in the tkes hat, Panji.

This video is part of Massroom Project (2003) is a documentary video project on Jakarta. The videos consist of nine works that tells nine stories about living experiences in Jakarta. Those experiences pass on various aspects of the city such as: mass transportation, public space, marginalize traditional vendors, voice pollution in the city and survival in Jakarta. These nine works of the Massroom Project has been screened in various film festival and exhibiton in Indonesia and international. Some of the works achieve the nomination for best short filmwork at Oberhausen International Film Festival, Germany. Amongst the important festivals which screened the Massroom Project works is 15th Festival Internacional de Curtas Metragens de Sao Paulo 2004, Brasil; Tales of Two Cities: Jakarta/Canberra 2005, Australia; Seminar and Conference Responsibilities of Criticism 2008, USA.

In May 1998 something happened in Indonesia that no one had thought possible. After persistent demonstrations, primarily by students, the repressive era of President Suharto came to an end. Many film makers from the present generation were closely involved in this revolution at the time. In this omnibus film, ten film makers look back on events.

A reflective biography fragment of three friends reminiscing about their college days through the ten years of the ongoing Reformation era in Indonesia.

Fiksi (Fiction) presents a subjective view of historical narrative, de-emphasizing legibility and transparency. The film is composed of images of dioramas at Indonesia’s National Museum.

A small story from the border of Tangerang Regency and Bogor Regency. It was there that Kang Sui Liong, the temple guard, lived with his wife and children.

New cosmopolitanism started with the bromocorah’s (free agent) dynasty. Through Palah (Panataran), we see the legitimacy of his great-grandsons appropriating the power of the Central Javanese dynasty, perpetuating the throne and cultural hegemony through the story of the man in the tkes hat, Panji.

New cosmopolitanism started with the bromocorah’s (free agent) dynasty. Through Palah (Panataran), we see the legitimacy of his great-grandsons appropriating the power of the Central Javanese dynasty, perpetuating the throne and cultural hegemony through the story of the man in the tkes hat, Panji.

This video is part of Massroom Project (2003) is a documentary video project on Jakarta. The videos consist of nine works that tells nine stories about living experiences in Jakarta. Those experiences pass on various aspects of the city such as: mass transportation, public space, marginalize traditional vendors, voice pollution in the city and survival in Jakarta. These nine works of the Massroom Project has been screened in various film festival and exhibiton in Indonesia and international. Some of the works achieve the nomination for best short filmwork at Oberhausen International Film Festival, Germany. Amongst the important festivals which screened the Massroom Project works is 15th Festival Internacional de Curtas Metragens de Sao Paulo 2004, Brasil; Tales of Two Cities: Jakarta/Canberra 2005, Australia; Seminar and Conference Responsibilities of Criticism 2008, USA.

In May 1998 something happened in Indonesia that no one had thought possible. After persistent demonstrations, primarily by students, the repressive era of President Suharto came to an end. Many film makers from the present generation were closely involved in this revolution at the time. In this omnibus film, ten film makers look back on events.

A reflective biography fragment of three friends reminiscing about their college days through the ten years of the ongoing Reformation era in Indonesia.

Fiksi (Fiction) presents a subjective view of historical narrative, de-emphasizing legibility and transparency. The film is composed of images of dioramas at Indonesia’s National Museum.

A small story from the border of Tangerang Regency and Bogor Regency. It was there that Kang Sui Liong, the temple guard, lived with his wife and children.

A small story from the border of Tangerang Regency and Bogor Regency. It was there that Kang Sui Liong, the temple guard, lived with his wife and children.

This public transport has many story in it. Ukar, the taxi driver told what happen when you drive and meet the strangers. The conversation become really a hero story as Ukar as an actor. And it stop when the rain comes and the wiper cleaning. You can guess which one the truth.

Prized for its durability and beauty, jati, or teak wood, fuelled the expansion of plantations and the extraction economies that connected Indonesia to Europe. Part of Otty Widasari’s larger project Ones Who Looked the Presence (2015–2020), the short film contemplates the histories of Indonesia’s natural resources and their exploitation under colonial trade. Opening with footage of timber transportation, Jati Goes to Rotterdam repeatedly pulls back to reveal the image as a recording within a recording. Moving across locations in Rotterdam, Widasari reintroduces the archival documents of extraction into the spaces that once received these resources.

The Impact of massive Arab tourism in West Java is shown in the documentation of a park, where women must be escorted at all times. Everything – from the architecture and commerce to the edges of social and moral codes – is designed to accommodate the wishes of the visitors.