Where My Home Is
Rookie agent Tomáš Novak of the StB Counter-Intelligence is tasked to stalk an Indonesian diplomat for Warsaw, Hadi Hartono, who without any known reason flew early and is headed towards Prague instead, carrying a nondescript box
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Haekal Abrar Muthahari HasyimDirectorF.E.L.L.A (2023), Ribu Ranting (2023)
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Haekal Abrar Muthahari HasyimWriterF.E.L.L.A (2022), Ribu Ranting (2023)
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Haekal Abrar Muthahari HasyimProducerF.E.L.L.A (2022), Ribu Ranting (2023)
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Myre Cagri UzunkopruKey Cast"Tomáš Novak"Specialisté (2017 - 2024), Foundation (2021- 2024), The Wheel Of Time (2021 - 2024), Carnival Row (2019 - 2023), Last Light (2023)
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Satrio WidodoKey Cast"Hadi Hartono"
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Nuel Rustanto Sitompul1st Assistant DirectorKartika (2022), Akedah (2023)
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Ronak DesaiProduction Assistant
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Ronak DesaiSound Recordist
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Haekal Abrar Muthahari HasyimComposer
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Felipe MontanaroComposer
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Raka RafliSound Mixer
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Project Title (Original Language):Kde Domov Můj
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Project Type:Short, Student
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Genres:Drama, History, Spy
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Runtime:13 minutes 13 seconds
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Completion Date:January 5, 2025
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Production Budget:810 USD
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Country of Origin:Indonesia
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Country of Filming:Czech Republic
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Language:Czech, English, Indonesian
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Shooting Format:Digital
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Aspect Ratio:4:3
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:No
Haekal Muthahari is a filmmaker based in Jakarta, Indonesia, and a student film student at Universitas Multimedia Nusantara. He recently completed a semester abroad at Palacky University in Czechia through the Indonesian International Student Mobility Awards (IISMA) program.
Haekal started as an Editor, both offline and online, and a 3D Animator before focusing on DI Colorist work. As a Director, he has made three short films (F.E.L.L.A, Ribu Ranting, Kde Domov Můj) and two 360° experiences. His work experience spans fiction films, non-fiction films, animations, music videos, and more.
His works as a Colorist have screened at notable festivals such as Jogja-NETPAC Asian Film Festival, Student World Impact Film Festival, Lift-Off Global Network Sessions, Ganesha Film Festival, and UMN Animation & Film Festival.
Beyond filmmaking, Haekal was an Assistant Lecturer for Assistant Director and Producer classes at Universitas Multimedia Nusantara. He has also managed documentation for various organizations, most recently for Palacky University's chapter of the IISMA program.
Kde Domov Můj is deeply personal to me. My grandfather, an Indonesian diplomat stationed in Warsaw during the 1980s, lived through the tensions of Cold War Europe. I grew up hearing stories from my mother about their experiences during that time—stories of being shadowed by secret police, subtle acts of defiance, and the weight of carrying one’s identity in a foreign land. These tales, combined with my fascination with spy films and Cold War history, inspired me to create this film.
This story also draws from interviews I conducted with Soegeng Soejono, an Indonesian exile, and my research into the thesis Indonesian Exiles in the Czech Republic by Aziiz (2020). These resources shed light on the lives of exiles who were cut off from their homeland and families, often forced to rely on dangerous or alternative means to stay connected with their loved ones.
While Indonesia’s 30th September Movement (G30S) and its aftermath have garnered more attention recently, the narratives often focus on the conflict between exiles and the New Order regime. What remains overlooked are the relationships between these exiles and the local communities in their asylum countries. Through this film, I wanted to bridge that gap and offer a glimpse into their lives, using the lens of a Czechoslovak state police agent—a perspective that felt unfamiliar yet relatable to European audiences.
Much like today’s political climates in Europe, the U.S., and beyond, fear and xenophobia are often fueled by state narratives and systemic structures. By centering the narrative on suspicion, surveillance, and human connection, I aimed to challenge these preconceived notions. The wide compositions and deliberate framing in the film reflect my desire to show “the bigger picture”—a reminder that these stories are part of a larger historical and social context.
With Kde Domov Můj, I hope to spark curiosity and dialogue about Indonesian exiles, a history that remains censored or forgotten by many. Perhaps, through this film, audiences will begin to see the human stories behind the political narratives and recognize the echoes of history in our present day.