Private Project

Indigenous Sorrow

  • Gracia Tobing
  • Gracia Tobing
  • Syarah Meidiana
  • Abram Christopher
  • Navida Suryadilaga
    Key Cast
  • Syarah Meidiana
    Key Cast
  • Arthoviando
    Key Cast
  • Chaidir Karyana
    Key Cast
  • Fajrul Fadhillah
    Director of Photography
  • Nidiya Kusmaya
    Costume Designer
  • Krisna Adipranata
    Line Producer
  • Andhika Hariono
    Art Director
  • Tesla Manaf
    Music Director
  • M. Andi Gafigi
    1st Assistant Director
  • Dini Restyanti
    Assistant Producer
  • Nadia Charista
    Talent Coordinator
  • Yosef Pradipto
    Make up Artist
  • Adhika Dwi Alfonzo
    Sound Man
  • Naufal Darari
  • Irham Swt
    Logistic Manager
  • Project Title (Original Language):
    Rembah Pribumi
  • Project Type:
    Experimental, Short
  • Genres:
  • Runtime:
    46 minutes 36 seconds
  • Completion Date:
    April 30, 2015
  • Production Budget:
    7,888 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
    English, Indonesian
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Director Biography - Gracia Tobing

She was introduced to living nomadic due to her parent's academic endeavors since her early age. Being raised up in multicultural society within a dogmatic family, she started to express the complexity of communicating her feelings by making stories. As she grew older, the form she used are gradually developing, from individual vision through solitude writing into a collective insight by building a performance of filmmaking, that she had experienced not only through her major in Visual Communication Design in Bandung Institute of Technology but also the activities she initiated in directing video self-projects and freelancing in personal and social interest.

She started to grow her interest in site-specific research and responding it by art medium firstly triggered when she had the experience of being an exchange student in Germany before her graduation. She fell in love with the city of Braunschweig and wanted to correlate it with the city where she developed her education in Bandung. Those cities are known for Sister City, where she also learn how to sense something personal and put it into projects to gather the serendipities of those cities.

She tried to combine what she had and what she got into one specific medium that she could combine all the talents in her surroundings. Through rehearsal, research, and different long steps of production, she finds out that film is the right technical medium to learn to find the hidden jewels inside of people she get in touch and collaborate with before went into directing. After graduating, she got the chance of directing a film based on the social phenomenon, the existential problem in generation Y facing the entrance of globalization era, Rembah Pribumi (2015), about the existences of expatriates that has threatened and create a particular hesitation for youths to produce their own artworks.

The method of developing defines her to be as genuine as she could, that was the evidence of consciences still remains. The more she saw wider and larger than her, the more she learning about herself—her name, her background, her interest, and her body of work. Later on, the opportunity of making artwork with fully non-narrative video was a great chance she got last year, in Art in Residence in a culture heritage city, Cappadocia, Turkey, which also where she has tried to sense what was currently happening on the specific sites, by finding her own way to communicate and exhibit with the local communities. That continues her to widen the path further by conducting a community production based on altered humanistic media.

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Director Statement

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).