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CHAPTER 1: THE PERFORMANCE

HOMEWARD

I had to do it.

It's for the best.

SIDOMULYO SHOP, NGADIMULYO VILLAGE

Don't be rash!

Adam and Satriya.

I'm the one who stuck it there.

Do you remember
the story behind the sticker?

You really wanted to buy that sticker,

but you had no money.

So I took Mom's money.

But later, Dad found out

and I got beaten by him.

I didn't mind though.

It was the risk of being the eldest son.

What mattered was that
I was able to buy that sticker.

What do you think about the radio?

It still sounds good, right?

Breaking news.

The government finally signed
a Letter of Intent with the IMF

after the struggle
to overcome the financial crisis.

This, of course, came with a price.

The government has to comply
with some terms,

ranging from the establishment of BPPN

to the selling of BUMN.

-It still runs like
-Indonesia's economy

-the first time we bought this car.
-is on the edge.

The exchange rate of rupiah
against the US dollar

fell in the range of 17,000 rupiah.

More than 70% amount of companies
listed on the capital market

suddenly went bankrupt.

This has resulted in a wave of layoffs,

of around 20 million people
or more than 20% of the workforce.

Prices of basic needs
have gone through the roof,

while the people's buying power weakens.

This triggered students to launch
street protests in several cities

as a reaction to the high prices
of basic needs

and at the same time,
to demand economic and political reforms.

The government is preparing Joint Forces
to maintain security.

I got myself in a difficult position.

I was supposed to get rid of you
and your friends.

But…

you're my brother.

Open the middle page.

LARGE ORDERS, PACKAGE 1: SATRIYA

For quite some time, we have been watching
the resistance movement.

Including you.

I just want you to be safe.

Is this how you want to save me?

The military can only use violence,

just like Dad.

We have to hide.

Hide?

No, I can't.

I must continue to fight with my friends.

You all don't know
what you're getting into.

If you guys get caught,

all of you will die.

And if you guys die,

all your struggles will be in vain.

Our land is splendid
Food growing from the trees and the cattle

The sea is colorful

The soil is red
Red from the blood of its people

With no work and no school

And their rights were taken from them

And their homes were snatched from them

And their food was stolen from them

Dear mother

Let us fight for them

For them

Okay.

I'll go into hiding.

But I must see my friends first.

No, you can't.

We don't have much time.

We have to hide immediately.

It's a matter of life and death, Adam.

It's not possible.

The military is already on its way.

That's why we must get there faster
to save them.

You must choose your safety

and your friends.

Or it's death for all of us.

My friends' lives matter too!

Even if it's just one life.

It's on our way too.

CEMPAKA KUNING VILLAGE, DREAMCATCHER,
THREE DRIED FLOWERPOTS

Good afternoon, sir.

Yes, how can I help you?

-Can you--
-We're just refilling our gas.

I see.

Don't take too long.

We don't have much time.

Pungkas.

How is it, Satriya?

Guys.

We're already
on the military's capture list.

We don't have much time.

We must tell the others
to speed things up.

Where did you get this?

The notes belong to my brother.

So your brother is in the military?

Is he?

Crap, what a mess!

Hey, assholes,

when did you meet him?

Shit, it's crazy.

You're crazy!

What does your brother know about us?

Where is he now?

Guys, calm down.

Let him speak.

Satriya, please explain.

Yes, my brother is in the military.

Guys, calm down.

Hear him out first,

then you can talk.

Okay then, go on.

Please explain it to us.

He is indeed in the military.

He was supposed to arrest me,

but this morning, he decided to save me.

Therefore, the military
is also going after him.

He deserted.

So that's why we must
immediately tell the others.

So they'll be quick

and the demands for reform
can be fulfilled.

Be quiet.

Ladies and gentlemen.

VICE GENERAL COMMANDER,
GENERAL COMMANDER, INSPECTOR

Recently, there has been
some movement of activists and students…

in various cities

that is actually starting to be worrying.

This clearly disrupts political, economic,
and security stability.

People are starting to get scared.

Even at the grassroots level,

people…

barely dare

to carry out

economic activities.

We appreciate all forms of aspirations.

You can

hold demonstrations.

But of course,
our valued activists and students,

do it in an orderly manner.

Do not violate the law

and of course,

do not ever

violate the regulations.

Please remember

this is a state of law.

And we also need to remind you,

our valued activists and students,

do not want to be overtaken
by special interests

that can divide the unity
and integrity of the country.

Therefore, ladies and gentlemen,

we will firmly follow up
on all forms of movement

that threaten the stability
of the economy, politics,

and security of our country.

Sir.

What about the news of the activists
and students who went missing?

Please answer, sir.

For that matter,

of course we have formed
a fact-finding team.

We'll make sure

that in less than 14 days,

we'll have gathered facts,
both empirically and factually,

that can be held accountable
by the public.

Right.

I guess it's enough for now,
our fellow journalists.

That's all that we can say.

Thank you.

Sir! One more question, sir!

We are just like prey that are meant
to be hunted and annihilated.

How many of our friends
have been the victims?

They vanished into thin air!

It's all about silencing our voices!

Things are getting tougher.

Prices are getting higher!

Corruption,

collusion,

and nepotism are more common!

Brothers and sisters.

We shall not be afraid!

We shall be united!

We must fight!

As hard as we can!

Fight!

Fight!

-Fight!
-Fight!

There is only one way.

Reform!

-Reform!
-Reform!

Whom does this land belong to?

-It belongs to me and you
-It belongs to me and you

-They say it's a prosperous nation
-They say it's a prosperous nation

-Just in imagination
-Just in imagination

The people live miserably

-The ruler lives in luxury
-The ruler lives in luxury

So let us use our voices

-Use our voices
-Use our voices

-Let's fight
-Let's fight

-Fight for Reform
-Fight for Reform

CHAPTER 2: THE JOURNEY

The clear message helped me

to play Satriya's character more deeply.

SURYA JATITAMA AS SATRIYA

Well…

He's playing a more active role

and…

being more responsive
about what happens around him.

And…

Well, he's the agent of change.

Well, for example,
this Adam character that I played.

BRAM SANJAYA AS ADAM

This Adam is a complex character.

He's full of mystery.

He carries a heavy burden

and the dilemmatic
and complicated relationship

with his brother, Satriya.

And this role is different
from any other role that I've played.

When they first contacted me to play it,

I accepted it immediately

because it was challenging.

We'll start soon, okay?

Guys, this is Paul Whiteberg.

He's an American journalist.

He's going to document
our whole movie production process.

Calm down.

Trust me.

He's on our side.

Okay, let's just begin.
Everyone has read the script, right?

-Yes.
-Well, Linda…

I just want to make sure
before we go further.

Are you really sure

that you want to make this movie?

Yes, I'm 100% sure.

We're all already here anyway.

But I'm given the freedom
to do it my way, right?

Sure. The important thing
is that the message is conveyed.

I have to read the script first
and if I think it needs revision,

then I'll revise it.

What matters is that this movie's purpose
is to convince people

that the reform needs to happen.

And I'm asking all of you
to keep our production process a secret.

You can do it, right?

Yes, we can.

Okay, this is the camera.

I borrowed it from my relatives
who are currently abroad.

So we can use it for a while.
We don't have to worry about it.

We just need to take good care of it.

Yes, please take a look.

Excuse me.

So we don't use the usual camera?

No, we don't.

It will attract too much attention.

And we don't have much time anyway.

So let's just use this.

It's not complicated and way simpler.

Anwar, what do you think?

It's no problem for me.

It's simpler than the camera
we usually use.

Have you ever used
this type of camera before?

Yes, several times.

How about the quality?

Well, we can maximize it
as much as we can.

How about the sound?

Don't worry about it.
I can just grab the mic from my campus.

I have talked to the lab keeper.

Okay.

Yes, but you know that
we can't add the number of days, right?

If we return it late,
the campus will know about our project.

And it's dangerous.

Give me a minute.

Malik.

The scene is quite a lot.

Yes, I'll think about it later.

Paul.

Because you're too conspicuous.

Panca.

Did you hear that?

No.

You can express your opinion.

It's legal.

PANCA KUSUMA NEGARA, DIRECTOR

But don't harm others.

I noticed

many of these students' ideas
were imaginative.

Imagination is only good in movies.

But…

if we look closely,

we're actually in big trouble.

Yes, indeed,

it has been 30 years
since our freedom has been silenced.

LINDA SALIM, PRODUCER

But let's ask ourselves.

Do we still want to be silent?

Do we really?

It takes a clear conscience
to respond to today's situation.

I think this is the right time

for all of us to urge people to understand

that freedom can only be achieved
through reform.

The reform is against
all forms of corruption,

collusion,

and nepotism.

It all hurts people.

People have the right to prosper.

But it's not easy.
So many things must be done.

Anwar, how is it?

It's fine.

I'm sorry. Hey.

We have to shoot
this chase scene in the alley later.

We'll have someone
to watch my back, right?

No, we don't have anyone.

-You know we don't have many crew members.
-What? Hey, Ms. Linda…

What if he falls?

-What should he do if…
-The alley looks dangerous.

-Then you should be careful.
-Fall down.

Really?

So in the scene, Satriya is running
from that end to this end

and you both just give it a little pause.

-Panca? Is it good?
-Then run…

Yes.

You stop there, confused,
looking for Satriya…

Hey, Linda.

Give me a monitor
to check the picture, all right?

We don't have a monitor.

When the scene is cut,
you can just check it from the LCD. Okay?

The moment you stop there
and Satriya arrives here,

you panic and start yelling,

"Hey, where are you going?

-Don't run!"
-Panca!

Don't yell.

Think of a way
to make a convincing chasing scene

without involving screaming
and yelling, okay?

Don't attract too much attention.

It's dangerous.

Where were we?

-There.
-There.

There? Okay, here,

just give a gesture wondering where he is
and Satriya is hiding there.

Anwar.

Shit!

Help me.

The camera.

That hurts.

Watch out.

I'm sorry.

How?

Where have you been?

Hey!

Panca.

I just finished preparing the Jeep
for the next scene--

Your friends have already been here
since morning.

You should have gotten
the Jeep ready yesterday.

-Yesterday, we had a meeting.
-What have you been doing yesterday?

Why you…

If you came earlier,
you could have helped Anwar and Soni.

I know, that's why I came here to help.

That's right.
You have to get the expression.

-Panca.
-Zoom in on Adam and Satriya, tight zoom.

-Get the expression.
-It's good, right?

It's good.

Makeup, come here!

Why is it like this?

Panca, don't yell.

He's supposed to look like
he has just been hit.

The bruise should also have
a bluish color, not just red.

Have you ever been hit?

No, I haven't.

Okay, so you guys got it, right?

-Got it?
-Got it.

Follow the actor.

Adam, Satriya.

So here's the scene.

You both haven't seen each other
for a long time, right?

So there's this awkward tension
between brothers.

You should get that awkwardness.

Moreover, once you meet each other,
Adam immediately punches Satriya.

Miss, what event is this?

It's just for a college assignment, sir.

Is this for the television?

No, sir.

It's just a college assignment.

After it's done, where can I watch it?

It's still not done.

So I don't know yet
where it will be aired.

I'm sorry, sir.

We have to continue.

-Okay.
-Excuse me.

Go on.

Miss, once it's done,

please let me know.

Panca, are you done yet?
Can you speed things up?

-People have started asking questions.
-Yes, sir.

Hey, don't joke around.

-Yes, sir.
-You got it, right? All clear, yes?

Yes.

Art!

Art.

Yes, sir.

Why did you change it?

-The other one was ruined.
-That's exactly the concept.

I already told you at the briefing.

I deliberately ruined it.

The American symbol must be seen.

Okay, I get it.

Are you guys really capable or not?

Fix it quickly. Come on.

Okay. So, are we clear?

Let there be tension, be awkward,
don't get chummy immediately

even though your intention is to save him.

Satriya, you too.
All right, are you guys ready?

Let's make it quick.

Let's go.

Okay.

What exactly are we waiting for?

Hey, crap.

Why is he always blaming me?

I didn't do anything wrong.

Calm down.

Hey, I got it worse.

Remember when
I got into an accident at the flat?

Look at my bruises here and here.

Screw you!

You were not careful,
so you tripped over my cable.

And no one immediately helped me,
you just stood there whining.

And he instantly disappeared
when the lights went out.

Hey, but did you guys notice
Panca and Linda?

I've noticed it since yesterday

-that they don't really get along well.
-Yes, that's right.

You still don't get it?

Linda is very headstrong,

while Panca is an idealist.

Of course they don't get along well.

-Yes, that's right.
-We've said things we shouldn't have.

And it's only the first day.

What's going to happen tomorrow?

-I get scared just thinking about it.
-We're screwed.

-We're screwed for sure.
-Yes.

Hey!

Don't record us.

Damn it, he got us on tape.

Please delete it!

Damn it. Delete it.

Hey.

-Are you talking behind my back
-No, sir.

instead of working?

-Get up, let's get to work.
-Come on. Time is up. Quick.

So please remember,
this is an important scene.

It's all right if there's so much silence.

Just enjoy it.

And cooperate

because if one actor does badly,

it's not going to work.

Okay? So…

-Complement.
-You have to complement each other.

Help each other.

I want to ask you
about this part when I say,

"I just want you to be safe."

Should I look ahead coldly
or should I turn my head at Satriya?

Hold on, let me take a look at the script.

Or can I just try it out?

-Okay, just try it out.
-Just try it?

"I just want you to be safe."

Or something like this.

"I just want you to be safe."

-Wait.
-How?

Which one is better?

I think the first one.

It's more consistent
with Adam's character.

All right.

Satriya, do you have any questions?

-No, I don't.
-All right then.

Is everything clear?

-Please cooperate, okay?
-Okay.

-He got it.
-Okay.

Anwar, one more thing.

For Adam, just take a static shot,
corresponding to his feelings.

Okay.

You have to feel it.

So he looks authoritative?

Why authoritative?

I mean cool.

-Just let it flow.
-Okay.

-You've read the script, right?
-Yes, I have.

Right, so just follow Adam's perspective
to represent the audience.

And for Satriya,

it's more dynamic.

If you need to zoom, then zoom.

Okay.

-Got it?
-Okay.

So let's start.

-Let's start.
-Yes.

Anwar.

Yes.

-Come here, listen.
-I think it's already good.

-What's the matter?
-Listen. The picture…

This picture is static,

but…

it's in…

Inconsistent.

What? But I just did
what you asked me to do.

Yes, but…

-That's what you told him to do.
-Right…

One is static and one is dynamic
according to the character's feelings.

-It's true.
-So what's wrong?

But I'm not

done talking.

The problem is that
your picture is too soulful.

It's too soulful.

So the audience can't feel the emotions.

It's too pretty.

-Let's just look at the preview.
-Do you get it? It's too…

Here, take a look at this.

It's all according
to Mr. Panca's instructions.

Look.

-See?
-It's good, right?

You asked for the static one
and he got it.

The scene is also full of emotions,
it's really good.

See? That's exactly what's wrong with it,
it's just too beautiful.

It's too lifelike.

See, Satriya can take a look at this.

You can be optimistic,

but don't be too passionate.

It's exaggerated.

The emotions end with you.

The audience won't feel represented.

Sorry, but at the rehearsal,
didn't you tell me

that when I'm talking about the fight,

-I have to be passionate?
-That's the thing.

That's the most important part.

So it's okay to be passionate,
but don't get too passionate

because it will end with you.

So the audience will feel nothing because
all the emotions are sucked by you.

What I want is for the audience
to feel the emotions through the picture.

So for the next scene, what is it?

"We have to hide."

"We have to hide."

So I want you

to know that it is contradictory
with your character, right?

Your principle.

So "Why did he ask me to hide?"

"No, I don't want to," but there's also
an underestimation of Adam.

"Do you think I'm a scaredy-cat?"

So…

here's what you must do, be optimistic

but flat.

Optimistic, flat.

Like this.

"I have to continue the fight
with my friends."

Just like that
and the audience can get carried away.

So I have to do it flat?

Optimistic but flat.

-Optimistic…
-Yes.

Hold on.

In this part, Satriya has to explain

how important
and significant their fight is.

So it must be clear, crystal clear.

Right, so that the audience can empathize.

But if it's too beautiful and passionate,

the audience cannot relate to it
and that's it.

They can't feel it.

-That's what I mean.
-No, in fact, the clearer it is,

the easier they can perceive it.

Linda, this is a director's job.

Your job is to manage things
to accommodate the creative team.

Okay?

Let me do my job.

So is it clear?

Don't be too soulful.

Don't be too beautiful.

We have to take a break.
It's already lunchtime.

Thank you, Linda.

It looks delicious.

Let's eat.

Thank you, Ms. Linda.

Let's eat.

Thank you, Ms. Linda.

Let's eat first.

Thank you.

Panca.

We have to speed things up.
We don't have much time.

Sir, the extra meatballs.

Sorry, sir.

Maybe next time.

We have to continue.

Panca.

Forget about reform,
I can't even eat peacefully.

Here you go, sir.

Thank you.

See you later.

Yes, it's quite hard.

The director often criticizes me,

saying that my acting isn't good enough

and not like what he expected.

He says

that my understanding
of Satriya's character

isn't deep enough.

That's the challenge.

As…

As professional actors,

we should be able to go in and out

of the characters we play smoothly.

But…

in my defense,
Satriya is a pro-reform activist, right?

Well, to me, there is only one command.

And my only commander is the director.

SARDI HARTANTO AS ARDIMAN WICAKSONO
GENERAL COMMANDER, BLACK SKULL CORPS

If the director says, "Do this,"
then I'll do this.

And if the director says, "Do that,"

then I'll do that.

I'm just an actor.

It's very unfortunate given that I joined
this project because of the message.

The story.

Not because of the fee.

A good actor is an actor
that follows the director's direction.

Not only the actor but the crew as well.

This movie is not a one-man show.

It is collaborative work.

So there's definitely
a lot of vested interests there.

A director is like a general on the field.

I know what I'm doing.

I know precisely what this film
is trying to say.

Don't underestimate my ability.

If we want this movie to work,

we must have the same vision.

But if the movie turns out bad,

who will be blamed?

So that's the gist of it.

Yes, I got it.

It doesn't have to be obvious, right?

Okay.

So this is him?

Yes.

Are you ready?

In sha'Allah.

Can we try?

Go on.

Okay, let's try.

Our land is splendid

Food growing from the trees and the cattle

The sea

Is colorful

The soil is red

Red from the blood of its people

With no work

And no school

So how is it?

It's good, but…

You're still too…

You're still too emotional.

Do you remember what I said?

Don't be too passionate.

Just hold it.

Let the audience feel it.

Don't suck all the emotions up.

How about the lyrics?

Can we change it a bit?

Are you sure?

But we have to ask Linda first.

So after he sang the first
and the second verse,

it will be followed
with the theme song, right?

Yes, that's how I pictured it.

I think for the theme song,
it will be more suitable

if it only uses acoustic guitar.

Let me try.

-Okay.
-Let me try.

-Our land is splendid
-Our land is splendid

Food growing from the trees and the cattle

-The sea is colorful
-The sea is colorful

The soil is red
Red from the blood of its people

With no work

And no school

How is it?

It's too quiet.

It's too heart-wrenching.

It sounds…

It still sounds too emotional.

I don't want that.

Try something else.

We won't take much time, sir.

And we won't bother other visitors.

But you have to promise me, miss.

Don't let it be a commotion.

My boss will scold me.

Yes, sir.

One moment.

Please accept it, sir.

-What is this?
-It's just some tips.

It doesn't have to be like this, miss.

It's okay, sir. Please accept it

so that it will run smoothly and safely.

Don't worry about it.

If my boss

asks me what's going on,

I'll take care of it.

-Thank you so much, sir.
-Yes.

Why do you just sit there doing nothing?

Why don't you help your friends?

So after this, how do I do the next shot?

Just wait until the tiger turns its head.

So this is how I want, this tiger…

TIGER'S PEN, BEWARE OF WILD ANIMALS,
PLEASE DO NOT FEED THE ANIMALS

Shoot the picture like this.

If the tiger opens its mouth and roar,

you have to zoom in on the tiger's mouth

so that it will look like the audience
goes into its mouth.

-You have to get the roar.
-Okay.

Roar!

Hey, Malik!

Sir, but our camera is small
and the lens is small.

The tiger is so far away.

There's a zoom feature, just zoom it.

-Yes, I've zoomed. But it's still too far.
-Just zoom it.

-Hey, Malik.
-Yes.

-Come on, help your friends.
-Okay.

Malik, please help

-by making the tiger stand still.
-Well, I'm doing it now.

Why are the other animals so noisy?

Malik, please help.

Sorry, sir. Can you please sit over there?

We are doing our college assignment.

Look at this, I got a great shot.

What great shot?

It's not what I wanted.

What I want is for when the tiger
opens its mouth, you zoom in.

Did you listen to me?

The picture is not focused anyway.

And what about the other shot?

What did you get?

It's a sleeping tiger.

Anwar!

Damn, you missed it!

Why is it so difficult?

I'll try it again.

What are you doing here?

Well…

Do you want to do the tiger's makeup?

Roar!

What's with all this noise?

It's caught on camera.

We're trying to catch a moment here.

It's just a miscommunication, right?

You said you could help us
so that it can run smoothly.

Isn't that right, sir?

It's okay, right?

Ms. Linda.

-Yes?
-I apologize.

It's just a little misunderstanding.

So I happen to be the guard
on the next shift.

I didn't know that the guard on this shift
was a new employee, so…

It's okay. So it's all right now?

Yes, it's all right, miss.

Thank you, sir. Can we continue?

Yes, you can.

-Thank you.
-Right.

Dear tiger,

please roar for us.

Why are you so quiet?

What if it has a toothache?

Dear tiger,

please just roar.

My friends have already gone home.

I just need you to roar.

Please just roar once.

I want to go home too.

My gosh.

Thank God!

Why? What happened? Did the tiger escape?

No, it roared. It fucking roared!

It roared!

Thank you, Lord, it roared!

-I'm going home!
-Calm down, sir.

Calm down.

-From here, right?
-Right.

-From here, just a static shot.
-Okay.

From the lamp and then to the actor.

Leave the table here. The set is here.

-Okay?
-Thank you, sir.

So listen to me,
this one is a thrilling scene.

Camera, can you scoot over there, please?
I'm briefing the actors.

So I want this to be suspenseful but flat.

Okay?

Because my movie right here

is dialectical cinema.

So no need to exaggerate.

You got it, right?

-Understood?
-Yes.

Okay, so your character is…

You play Lani, right?

Lani is a character who…

She's a rational character, composed,
and calm among her friends.

So when the situation gets heated,

the others are starting to panic
and get tense,

you shouldn't get carried away.

You must be different.

You have to calm them down.

Okay, so if it's not good enough,

we can repeat it until we have
a good enough take, right?

-For sure.
-Right.

Why are you sleeping?

-I'm sorry.
-Why isn't it done?

Panca.

Look at this.

Why are you lazing around?

When we work,
you guys are supposed to work too.

-Yes, sir.
-You shouldn't be sleeping.

I'm sorry.

Do you think
I was reading a bedtime story?

Yes, sir.

All right, just like that, okay?
So Pungkas…

Okay, it's safe now.

How about

we don't shoot this scene?

But it's an important scene.

It's an important scene,
but the situation is not conducive.

How can we film a raid scene

if you're going to shush me
when I'm directing my actors?

But it's safe now.

Pungkas, stand by.

The activists and Lani,
take your position.

We should be brave enough to dream,

as big as it could be.

Even though it's hard to achieve

and full of sacrifices.

Just like it's hard making films

in times like these.

Especially if it's political.

But one of the most persuasive methods
to influence people is through films.

We have to make it clear visually
and audio-wise

so that the message can be well conveyed

to all kinds of audiences.

Wait.

How can we control
the audience's perception?

Just as the films reach the audiences,

it's all their rights.

Isn't it?

How they perceive it,

how they use their vivid imagination

to understand and enjoy it.

Well, if all the audiences have
the same understanding of those symbols,

then it's okay, no problem.

But what if they have
different interpretations?

Then the message will be vague.

Because those symbols make
the audience's imaginations run wild.

On the other hand,

it will indirectly bring the audience
to their subconscious.

Emotionally and rationally.

To put it simply, aesthetically pleasing.

Let the conscience do the talking.

Let's check.

Get this, okay?

Is something wrong?

Of course there is.

Look, show me what you did earlier.

Hey, Malik, get out of there.

Okay.

I'm briefing them now.

I'm sorry, sir.

You have to know the light source.

Okay.

Hey, I'm talking right now.

You all should be quiet.

I'm sorry, sir.

Here.

Okay, let's repeat it.
So the dancing is all right, but…

You should move in closer. Let's try.

Okay, good.

Move in closer now,
but don't touch each other.

Okay, so remember the situation.

It's about two people
that want to be together but can't.

Satriya, you're lacking emotion,
please just let the emotions flow.

Okay. The movement is already good,
but the emotions are lacking.

-Okay.
-Get it?

So let's try it again.

It's good enough.

What's the matter?

The sound is leaking.

We don't need sound here.

-Not even room tone?
-No, we don't!

Got it.

"Recently, there has been
some movement of activists

and students in various cities."

Camera?

Ladies and gentlemen.

Recently, there has been
some movement of activists

and students in various cities

that is actually starting to be…

-I'm sorry!
-Gosong!

I'm sorry!

It's all right, I got it.

It's all right.

Camera, what are you doing? Scram.

How is this?

Come here.

Listen, don't let it happen again.

Understood?

-Understood, sir.
-Come on, let's pack it up! Quick!

Come on. Start.

Follow Adam when he washes his hands,

then up to his face, tilt up.

Get his expression.

-Got it?
-Got it.

Adam, do you remember

the scene before…

No, after you are with Satriya in the car

where you raised your hand.

Okay.

You remember, right?
We're going to cut to this scene.

So in this scene,
I want it to be very symbolic.

How you're regretful,

how you don't want to do it anymore,

but you have no choice.

I have no choice.

You have no choice.

-Got it?
-Yes.

Right, cut.

It's good, right?

Okay, let's move, hurry up!

Art!

Where's Malik?

Wait a minute.

-Yes?
-Where's the mask?

Let me get it.

Here are the masks.

There. Give it to them.

-I'm not the one who will wear it.
-Okay.

Hey, why are you shooting me?
The scene is right there.

Sir, do you want a close-up
or medium shot?

Who's the cameraman here? Me or you?

Gosh, they can't do anything right.

Art.

Yes?

What kind of mask is that?

Tiger masks.

Change it.

That one wasn't good?

Is it okay for you
to wait for a bit longer?

I have to go to Alun-alun
to get the masks.

I'm coming with you.

No, you don't need to come,
just wait here.

Let me go by myself.

Sir?

Sir?

Mr. Panca.

How about this?

No.

Find another.

Gosh, which one is it?

Hey, Malik. Bring me that one.
Let me take a look.

Is it a tiger or not?

Kind of.

Try it out.

No, find another.

How about this one?

Remember, it is an important symbolism.

Every movement has to be clear.

Right? The wrath.

Solid move. Okay?

Okay.

So show the camera your solid move and…

Hey, Anwar!

Listen to me when I'm talking.

I'm listening.

So when the tiger moves here, zoom in

and get the roar.

Okay.

Ms. Linda.

Are you sure about using those masks?

It's absurd.

Okay.

One more time.

Got it! Cut!

It's good.

-Okay?
-Okay. Quick, let's move.

Continue?

-Yes, come on. Hurry up!
-Come on.

We don't have much time left!

Things are getting tougher.

Prices are getting higher!

Corruption,

collusion,

and nepotism are more common!

Brothers and sisters.

We shall not be afraid!

We shall be united!

We must fight!

As hard as we can!

-Fight!
-Fight!

-Fight!
-Fight!

-Fight!
-Fight!

There is only one way.

Reform!

-Reform!
-Reform!

Whom does this land belong to?

-It belongs to me and you
-It belongs to me and you

They say it's a prosperous nation

-Just in imagination
-Just in imagination

The people live miserably!

-The ruler lives in luxury
-The ruler lives in luxury

So let us use our voices

-Use our voices
-Use our voices

-Let's fight
-Let's fight

-Let's fight
-Let's fight

-Fight for Reform
-Fight for Reform

Why did you cut it?

It's a good take.

That's not how I wanted it.

What do you mean?

It's all according to the script
that I gave you!

I said it from the start,

as a director,
I asked to be given creative freedom!

I gave you freedom!

What freedom?

-You have to know that--
-What?

You don't give me any freedom!

You dictate the equipment!

I can't even direct the cast!
I'm frustrated with your crew!

Every time I decide on something,
you interfere!

I have given you enough freedom!

No, you have not.

I let you bring in those stupid,
nonsensical things into this movie!

You cut out that tiger scene
without my knowledge!

Because it's absurd!

That's cinema!

It's aesthetic!

It's utterly ridiculous!

Do you remember?

From the start, I only asked you
to focus on one thing!

Just one thing!

The purpose of this movie!

Tell me! What's the purpose of this movie?

What?

Reform!

What else do you want?

Just bear the consequences

Bear the consequences

-Sir.
-Panca.

Hey, where are you going?

-Panca.
-Mr. Panca.

Panca?

All right then. Cast and crew, get ready.

-We're moving on to the last scene.
-What?

-Let's continue.
-Wait, hold on.

This is serious.

Do you think I'm not being serious?

I only want it to be done
according to my plan!

My plan!

Wait, Ms. Linda,
we can't just change it like that.

From the start,
we already did it according to Mr. Panca.

To hell with Panca.

Let's finish the last scene.

But Ms. Linda, it's…

What else?

Ms. Linda, your time is up.

There are other people
who want to use this building.

-Pack your things up.
-Sir, I…

-Sir, just a moment. We'll be done soon.
-Pack everything up.

Your time is already up, miss.

Excuse us.

Mr. Panca, excuse us.

Excuse us.

Is he sleeping?

Let's just wait.

He might be sleeping.

Hey, put the camera down.

What do you want?

We want to interview you.

For what?

Is the project still on?

Just a little interview, sir.

Did Linda tell you to do it?

She never learns.

I just want it to be done
as soon as possible.

So that reform can really happen.

I'm optimistic
that this film can turn out well.

I'm not satisfied

and I'm not sure
that this film can turn out well.

It's not purely my work.

There's no place here
for stubborn and selfish people.

Okay, suit yourself, Ms. Producer.

I'll just do what you want.

We're done with the interview, okay?

One thing is for sure,
this movie has to be done.

It must be watched by a lot of people.

And it must make them know
that it's important

-for the--
-Ms. Linda.

What's the matter?

Someone is looking for you.

Panca, what's with all this?

What do you want?

Run!

Hey, stop right there!

Don't move! Stop!

Hey, stop right there!

Don't move!

Hey!

Don't run!

Don't stop until you get them.

Subtitle translation by: Litani Tesalonika