Inline Align

The immaterial always haunts my imagination—how something invisible is materialized, then given a body. In Gabriel García Márquez's One Hundred Years of Solitude, the daguerreotype appears as a sign of the fragility of images: it remains on a metal plate, but at the same time harbors a fear of disappearing. From there, I brought this anxiety into the film, transforming it into a formal visual exploration, in line with my journey at Milisifilem. This film places lines as language, medium, and extension of an invisible solidarity. Through two historic buildings in Indonesia, I read how architecture, archives, and objects that fill the space hold layers of relationships and connections. The film’s narrative stems from sentences in One Hundred Years of Solitude (in Indonesian and English translations), which are then projected into a visual essay. In this way, the film opens up the possibility of reading solidarity through lines, space, and cinema itself.