Riri Riza | Revolvy
3 Hari Untuk Selamanya (Three Days to Forever) is a Indonesian comedy- drama film directed by  During the trip they discover many things and discuss sex, marriage and religion. .. The shooting began in the end of March In the latest film on marriage, CUAK, its protagonist, Adam, has no time for Which they do at the end but the stylistics indicate that there are still problems ahead. In UNTUK 3 HARI (Only for 3 Days, ), Afdlin Shauki presented a TIGA HARI UNTUK SELAMANYA (Three Days are for a Lifetime, Indonesia, ). With 'Three Days To Forever', Writer-Director Riri Riza ('Eliana Eliana','Gie') delves into these weighty issues with the lighter touch 3-hari-untuk-selamanya- 2.
In the film Ada Apa Dengan Cinta, the bedroom of Cinta, the bright, popular and rich high school student played by Indonesian superstar Dian Sastrowardoyo, is dominated by references to Western popular culture. In Ada Apa Dengan Cinta, the repeated image of an empty, windswept schoolyard subtly conveys a sense of dread amidst the otherwise bright, carefree aura of upscale Jakarta in In this film was considered a coup against the strong national censorship board that seemed to bode well.
The sad, but romantic and hopeful ending of Ada Apa Dengan Cinta featured the first onscreen kiss in a modern Indonesian film rated for teenage audiences. However, current filmmakers continue to struggle with unpredictable and staunchly conservative censors.
By placing two of the same iconic actors, now visibly older than fifteen, in roles with similar geographic Jakarta and class backgrounds, Tiga Hari Untuk Selamanya effects a local sense of continuity that is potentially troubling in its response to the passing of time: The modified poster, then, and the altered lifestyles and mind-states of the protagonists in Tiga Hari on one level announce the erosion of a previously-heady sense of confidence in the young to become true agents of political and social development.
Thus, what had appeared to be a map it turns out to be a map of sorts: To this end, I engage the mostly literal interpretations of Tiga Hari Untuk Selamanya road trip; teen romance; the transformative escapade of two, privileged, stoned, Javanese, Westernized, Muslim cousins who inevitably end up sleeping together as a valid point of departure for a closer reading that excavates the symbolic and allegorical meanings which give the film its potential political force.
My reading of the film will entail placing it at the intersection of a number of sociocultural, economic, and historical currents, many of them reaching far beyond the geographical limits of island or nation.
As both a filmmaker and critic, I am inspired by the ability of Riza and certain other local directors and production teams to engage with sensitive, delicate, and controversial themes in films that toe the line, in provocative ways, between populism and high art, commercial success and political activism.
To begin with, however, in light of the little-known status of Indonesian film history among most audiences outside of Indonesia, I will provide some contextual background. The same year, the small group of young, wealthy, and idealistic film school graduates loosely based around the production of Kuldesak began turning out films that both sought to challenge the dominance of Hollywood imports at the local box office, and to inspire frank, populist discussion of the state of the nation after its much-heralded turn to more representative government.
In the best cases, such as the afore-mentioned Ada Apa Dengan Cinta, the expanding New Wave has produced well-crafted, mainstream genre films that have won the attention of larger audiences while simultaneously offering glimpses into the darker legacies of the recent past. Released inTiga Hari Untuk Selamanya can thus be seen as a product of the current moment in Indonesia, a time particularly haunted by the continuing illusiveness of promised change and by the unfinished task of examining — and exorcising — the complex demons of national history and their myriad, ongoing links to the broader sphere of geopolitics.
Drawing on popular modes of expression, like romance and travelogue, that echo their ubiquitous deployment in the present — and in more overtly state-glorifying ways during the Suharto past — Tiga Hari ultimately works to unravel the naturalized authority of such mainstream genres.
Through a series of subsequent stumbles, hesitations, and apparently chance encounters, it finally comes to a stop in the middle of its own narrative trajectory, alienating itself from the expectations associated with its initial, promissory deployment of form. Mimicking contemporary political and aesthetic stasis in order to challenge it, director Riri Riza with screenwriter Sinar Ayu Massie essentially place their protagonists in a worn-out, re-hashed and stalled genre pic that they must find their way out of.
Re-entering this discourse, or rather showing that Indonesia continues to be immersed in it, Tiga Hari gradually chips away at the ubiquitous, reified conceptions of tradition and modernity in which it initially appears to traffic. As a number of critics and historians have demonstrated , many of the failures of reformasi are intimately, if for the most part unspokenly, tied to the historical events of the latter half of the twentieth century. The accusation has since been shown to be a gross oversimplification: The journey of the Mat Salleh and his future father-in-law to do just that transforms both of them.
His Chinese-looking son constantly exclaims: In CUAK, race and religion is hardly an issue. Friends of various races play, fight and enjoy things together without it descending into friction or animosity.
One of the friends marries outside his race. The only problem arising from this is that the couple does not seem to be as outgoing as it was before. It is only towards the end of the film that, during an argument, the issue of religion creeps in. Brenda discovers that Adam appears not to be following the tenets of his own religion. Brenda, who has to convert, asks Adam why she has to adhere to Islamic tenets when he himself seems to be carefree about it.
It appears illogical to her and she questions why she has to even convert. Adam has no answer but if the situation had been calmer, perhaps he may have smilingly said: His non-Malay characters were part of the overall narrative rather than being used as comedy relief as had frequently been done before that. And talk about coincidences! More than three decades later, his daughter Shamaine, continues the tradition that he had set by directing one of the segments of CUAK.
Yasmin Ahmad had earlier seen the changing Malaysian social and political landscape and depicted it in her films. For her, when two people fell in love, all they saw was the person they were in love with and not what race they were.
Though she was calling for change, she was also conservative in the sense of believing in the sanctity of marriage and believing that the family unit was important to create a better generation. For Yasmin, race and religion were not problems but she did articulate aspects of it through some of her characters.
For Arivind Abraham, it was definitely a problem. One of the friends, a Malay, is in love with a troubled friend, an Indian girl who ultimately dies. Some decades earlier, the obstacles that lovers faced were mostly in the form of a conservative or prejudiced parent. But now, new obstacles have appeared, taking on a darker and more malevolent form.
Issues of race and religion had now come to the fore as never before - and fanned by those with nefarious plans. He finally gathers up courage and makes it out of the toilet and is driven to the marriage ceremony by a friend. And now begins his ordeal. As a result, doubts start to grow in his mind about getting hitched which may probably be seen as subtexts for what is happening socially and politically in the country.
In a series of cleverly-constructed flashbacks which go backwards and forwards in time, Adam and Brenda confront all the elements which were proving to be a drawback for their ultimate coming together: A bachelor party is planned complete with strippers for the occasion.
But the evening of playing pool soon sows the seeds of doubt in him. His friends share their opinions with him on how much things change when one gets married. One of their friends a Malayhad married a Chinese girl who used to be their pool partner. Though they still come for pool, there is a noticeable change in their demeanour.
The girl is now dressed much more conservatively compared to her previous sexy outfit.
History and Reformasi in Indonesian film, notes
It is unclear if this is her decision or that of her husband an aspect of the Islamic tenet of tutup aurat but she seems to have calmly accepted it as part of her decision to tie the knot with a Muslim. We do not know her opinions about it. Interestingly, the bachelor party is brought forward to end the film. Here there is an unspoken question: It becomes a turning point in his life and perhaps a positive one for him.
It is a signifier that Nurul was probably not the right partner for him. Interestingly, this is depicted in the stylistics. Nurul is still sleeping and it is Brenda who greets him. She opens the gate to let him into the house a positive sign, meaning acceptance, and a foreshadowing of their eventual union. Later Nurul closes the door to the toilet to shut out his filming a negative index, i.
Appropriately for this segment, he is thrown into a situation that is nothing short of the gothic. He first has to undergo the preliminary tests set for him by the weird prospective mother-in-law Dong Chae Lian and auntie-in-law Bernie Chan. This was to ensure that he: Only then does he confront the even weirder prospective father-in-law Patrick Teoh who is steeped in divining and fortune-telling.
However, the grotesqueness of the situation and characters is diluted and to the credit of the in-laws when later we find that the family insists on the marriage rites being conducted in their house this probably would never happen in reality as they are not Muslims!
3 Hari Untuk Selamanya - Wikipedia
Kudos to the filmmakers for having high hopes that things will change. This is the spectre that Brenda has to face after she marries Adam though it is unspoken in the movie. A noir treatment that perfectly denotes the character of Mikail and his feelings of alienation, this segment is a welcome break from the other segments and has been excellently articulated through the visuals and performance.
Adam and Brenda find this out when Brenda decides to make something for them to eat. They are now living together, a prelude to their eventual living together as husband and wife. They have transcended the tensions brought about by friends and in-laws.
Now it is just the two of them. It is then that issues of religion start to intervene. For Brenda, it is a confused state of affairs. She has to convert to marry Adam and then strictly follow Islamic tenets while Adam is lackadaisical about it and even gives the impression that he has no faith in it.
This is a dilemma for all converts. This segment begins to intercut scenes from the previous segments. Nurul tends to Brenda while she is waiting for the hour of the akad nikah. Affection images of Brenda guide us to read the doubts in her mind. And in a final end to the segment, we see her going to the window, a slight smile of anticipation on her face.
She sees Adam getting out of the car to enter her home. Their only proximity is in the juxtaposition of images through the editing. Their separation within the frame as well as the binary opposites of her being inside while he is outside, function as signifiers that perhaps spell trouble ahead. The scene also does not provide a closure. Only the two of them are seen. No one else is in the frame. A question is perhaps posed here: Will they make it? The adults cannot become their mentors.
They have their own unsolved problems.