Indigenous Sorrow

According to my preference to create a story based on reality and current issues and took the fiction version of it; creating new characters, environment, and mood freely without any border. The excitement comes from contemplating an issue and reflect it personally, it could be any issues that really touch, need to be solved or urgently has to be known but they are in the state of being unknown.

Personally, on the way of struggling with our own dream, I am toward these three character’s sides assuming by being settled is the hardest way to move forward, sometimes denying the path I am occupied, sometimes over-prioritizing the self-actualization and taking the authority of myself. I suppose, getting those three characters together within one person could create a perfect balance naturally. But what if we separate it into three exact entities with three different personalities? What makes them strong as an individual and what kind of relationship they have occurred to each other?

I introduce Kanaya, as a native urban traveler being skeptic about the growth in her motherland; Maya as a former theater dancer for any longer yet afraid to ask herself to; and the graceful Simka, who seems unorthodox yet suicidal.

Being in the state of a similar situation with the characters, I feel relatable in an open mind then turn the story into an open ending; as a hesitation to act, to stay, to create. Something personal as you consider it honesty that secretly like a riddle you must figure out and carry it carefully, served it to a certain person you hope for an attention.

I tried to expand my sight by using Expatriates and the background setting as metaphors to any kind of border for the act of creation. It could be anything in general, ie. family, financial matters, companionship with surroundings, government support, or even the closest relationship that held. In such positive way, to think three kinds of possibilities rather than hesitation, then I tried to illustrate those characters in the way where they could probably think.

The set is taken also from the act of hesitation, Parafana and Ufuk Timur present the construction of the dualism of the state; the image of the city and the village from years ahead while there are so many expats who make a living working in the country while the globalization really matters. So there comes the polemic of the identity and self-thoughts that illustrated between reality and surreal approach, something that is in between, being misplaced, stiff and quirky, an unusual approach for responding the theme.

The background settings introduce the near future minimalist modern city which dominated with black and white almost bringing the mood of dullness at the half of movie, and when it is the time for Simka to appear, the set was mainly full of green trees, forest, it set on the village called Ufuk Timur, which could also means the East Sunrise—the analogical name for a village of invention. Though this village was full of junk and wasteland, the people who wears comical costumes shown the paradoxical meaning of a poor village.

I conceived poetic dialogs almost in every scene since it was a narrative film based on dialogue, I took each character to personate them self with delusions and their own realm. Thus, there is an addition to the set, this film includes of three kinds of background; the city (Parafana), the village (Ufuk Timur) and the realms (the delusions of each character).