Where We Left Off
A sister tries to convince her reluctant brother to join her on a journey to explore Vietnam and Indonesia by getting him to try the cuisine of these countries.
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Ephraim Ryan PranataDirectorTorn, The Art of Death, Between Days
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Mai Anh NguyenDirector
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Ephraim Ryan PranataWriterTorn, The Art of Death, Between Days
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Ephraim Ryan PranataProducer
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Seo In-HaeKey Cast"The Sister"
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Son Jong-BeomKey Cast"The Brother"
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Project Title (Original Language):두번째 식사
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Project Type:Short, Student
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Genres:Drama
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Runtime:5 minutes 34 seconds
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Completion Date:July 17, 2023
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Production Budget:50 USD
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Country of Origin:Korea, Republic of, Viet Nam
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Country of Filming:Indonesia, Korea, Republic of, Viet Nam
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Language:Korean
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Shooting Format:Digital
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Aspect Ratio:16:9, 4:3
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Film Color:Black & White and Color
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First-time Filmmaker:No
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Student Project:Yes - BINUS University
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3rd Daesang Eat and Travel Film FestivalSeoul
Korea, Democratic People's Republic of
July 18, 2023
In Competition
Best Picture -
MINIKINO Indonesia Raja: Jakarta MetropolitanJakarta
Indonesia
September 17, 2024
Indonesian Premiere
Official Selection -
Area Estetika Film & Animation FestivalJakarta
Indonesia
June 22, 2024
Official Selection -
Purbalingga Film Festival
Indonesia
Official Selection -
Bahari Sea and Coastal Film Festival
October 25, 2024
Official Selection
Ephraim Ryan Pranata is an aspiring and creative-minded film director and video producer with a background in directing fictional films & producing short videos for various companies and organizations.
Beyond his work in film, Ephraim is deeply committed to creating a positive social impact. He is actively involved in social organizations and prioritizes projects that align with his values of social awareness and community engagement.
As writer, director, and producer, this film, to me, represents both an achievement in filmmaking and a celebration of values I hold dearest to my heart. As the former, 'Where We Left Off' was shot over the course of 18 days in Vietnam, Indonesia, and Korea, without proper equipment or a proper crew and only a single iPhone 14. It stands as a reminder to me that good filmmaking is never about production value but about the strength of the film's narrative and the extent of said film's innovation. As the latter, this film is a celebration of Southeast Asian culture, the value of cultural knowledge, and — most universally — the importance of family. It is my deepest hope that this film may resonate with many people.