Lewat djam malam

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Eye Filmmuseum

7 February Eye is closed

Eye Filmmuseum seen across the river IJ © Marcus Koppen

Eye Filmmuseum, © Marcus Koppen

still from Lewat Djam Malam (After the Curfew) (Usmar Ismail, ID 1954)

still Lewat Djam Malam (After the Curfew) (Usmar Ismail, ID 1954)

poster Lewat Djam Malam (After the Curfew) (Usmar Ismail, ID 1954)

still from Tjoet Nja' Dhien (Eros Djarot, ID 1988)

still Tjoet Nja' Dhien (Eros Djarot, ID 1988)

still from Soegija (Garin Nugroho, ID 2012)

still Soegija (Garin Nugroho, ID 2012)

campaign image Revolusi! (still from Merah Putih (Red and White) (Yadi Sugandi, ID 2009))

campaign image Revolusi!

logo Cineteca Bologna

logo World Cinema Project

logo The Film Foundation

still from Now is the Past - My Father, Java & the Phantom Films (Shin-ichi Ise, JP 2021)

still Now is the Past - My Father, Java & the Phantom Films (Shin-ichi Ise, JP 2021)

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Epic anti-colonial film about the long, bloody struggle against colonial Dutch repression in the Sultanate of Aceh centring on the female guerrilla Tjoet Nja' Dhien. When her husband and rebel leader Teuku Umar dies in an ambush, Dhien decides to fight the Dutch colonial army herself and assembles the countless guerrillas of Aceh under her command.

In 2006, Indonesian film critic Ade Irwansyah called this film the "peak achievement of [Indonesia's] film industry up till now." With its gripping story, true heroes and convincing villains, beautiful camera work, and the hugely popular Christine Hakim in the title role, his assessment seems right on the mark. Aceh's independence came to an end in 1871, when the Dutch placed the sultanate in northern Sumatra under colonial rule. The Acehnese, however, put up a strong resistance, which two years later led to a bloody war. In 1880, Teuku Umar, one of the main guerrilla leaders, married Tjoet Nja' Dhien, who had also joined the resistance movement. When Umar died, Dhien emerged as the new, charismatic and fearless leader, a position she held for ten years. Her actions became legendary; in 1964 she was declared a national heroine. Director Eros Djarot tells her story.

Tjoet Nja' Dhien can be seen in a fully restored version, done in 2017 by Eye Film Museum and the Indonesian Film Centre Foundation, in close collaboration with director Eros Djarot and producer Alwin Abdullah.
 Eros Djarot (1950, Indonesia) is an Indonesian songwriter, director and politician who studied at the London International Film School. Having
composed soundtracks for many films, including the successful Badai Pasti Berlalu, he made his directing debut in 1988 with the multiaward-winning Tjoet Nja' Dhien, a Caméra d'Or nominee at Cannes 1989.

Tjoet Nja' Dhien

The intriguing story of Indonesia’s multicultural society, told through various people whose lives have intersected and been influenced by the ideas of Soegija, the first Javanese bishop.

Albertus Soegijapranata – or Soegija as he was known – was the first Javanese bishop to be ordained in the Dutch East Indies. This was in 1942, the year in which Japanese troops occupied Indonesia. Director Garin Nugroho tells the story of this complex multicultural society through the people inspired by him, up to Indonesia’s post-War of Independence period. "It's incredible that sixty years after the country's independence there is no film yet that expresses a non-Islamic point of view." Indonesia is still a very radical country which needs to "mature in its sense of religion."
"This is why I wanted to explore a figure who was a determining factor in the creation of the concept of Indonesian multiculturalism," the director explains.Unfortunately the quality of the digital file of Soegija is not optimal. Therefore there will be a reduction on the ticket price.

Soegija

exclusiveScreeningsInEye

An idealistic soldier returns from the front after the war of independence, but has trouble reintegrating into the new Indonesian society. With Lewat Djam Malam (After the Curfew), Usmar Ismail set out an artistic milestone in Indonesian film history, candidly depicting the aftershocks of the revolution and the first steps of post-colonial Indonesia.

Director, screenwriter and producer Usmar Ismail is often seen as one of the fathers of Indonesian cinema. Originally a theatre-maker, he became interested in film early on, realising during the Japanese occupation that film can be more than just entertainment. He started making films in the late 1940s and in 1950 set up his own production company, Perfini (Perusahaan Film Nasional Indonesia).
Restored in 2012 by the National Museum of Singapore and the World Cinema Foundation in association with Konfiden Foundation, Kineforum of the Jakarta Arts Council and family of Usmar Ismail Estate. Restoration work was carried out at Cineteca di Bologna/L’Immagine Ritrovata laboratory. Restoration funding provided by Doha Film Institute.

Revolusi! depicts the Indonesian people’s political struggle and the legacy of colonialism from multiple perspectives. Alongside the freedom films from Indonesia, Eye will also screen films by Dutch directors and artists with a critical view of history.

Revolusi!

After the Curfew

During World War II, Japanese film editor Chounosuke Ise made countless propaganda films in Japanese-occupied Indonesia. His son, Shinichi Ise, followed in his father’s footsteps; the latter seldom referring to the war in Indonesia and his work there.

Editor Chounosuke Ise made countless propaganda films in Japanese-occupied Indonesia. Their objective was to justify Japan’s hegemony in Asia: Japan claimed to have freed the region from colonialism. His son, filmmaker Shin-ichi Ise, follows in his father’s footsteps; the latter almost never speaking of the past. His journey leads him to the forced-labour constructed film studios in Jakarta, to eyewitnesses who can remember the Japanese military police’s atrocities and women who, at the time, fled from rapists. In the meantime, the propaganda films, some 130 in total, proved to have been preserved in the Netherlands. There Ise can finally watch his father’s propaganda films – about Japan’s malaria-abatement programme and the work of railway workers, for instance. The digitised versions can currently be found at Beeld en Geluid. ‘Why did he make them?’ he wonders. And what would he have done had he been in his father’s position?

Now is the Past - My Father, Java & the Phantom Films

Restored & Unseen

show for: 644334 2022-03-15 16:00:00

Introduction by Arnoud Arps (University of Amsterdam)

show for: 646637 2022-03-13 16:00:00

show for: 646645 2022-03-14 19:00:00

Introduced by historian Gerda Jansen Hendriks

After the Curfew

Usmar Ismail / ID, 1954 / 101 min.

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