Antes, ahora y entonces

Before, Now, and Then is a rare gem in Indonesian cinema, an understated yet emotionally rich masterpiece that lingers long after the credits roll. Every frame breathes with authenticity, every moment feels deliberate, and the storytelling balances subtlety with depth. It's a film that understands silence can speak louder than words, and that beauty lies in restraint. Criminally underrated, how this received lower reviews than cringe and shallow Ika Natassa adaptations or the hollow NKCTHI universe is beyond comprehension.

The search of happiness can be an elusive one, especially when confronted by challenges on multiple fronts, even for those who ostensibly appear to be superficially contented and well off. Such is the fate of a seemingly comfortable middle-aged housewife in 1960s Indonesia, whose first husband, a military officer, mysteriously disappeared and whose second spouse, a plantation owner, is having a less-than-veiled affair, all of which is set against the country's political unrest of the period. It's a scenario further complicated by her willingness to capitulate to her circumstances and by the secrets she keeps from virtually everyone. Surprisingly, though, when her husband's mistress moves in with the family, the two strike up an unlikely friendship, one that leads to some difficult but unexpectedly pleasant developments. Writer-director Kamila Andini's latest feature outing tells a slowly unfolding but ever captivating tale with surprises awaiting around every corner. The deeply heartfelt performances of Happy Salma and Laura Basuki reach out and grab viewers throughout, portrayals all the more enlivened by the film's mesmerizing soundtrack, gorgeous cinematography and inventive, revelatory surreal dream sequences. Admittedly, the pacing at times could be a little more up-tempo, but this is a small price to pay for an otherwise thoroughly engaging watch, one of the Chicago Film Festival's surprise charmers.

An Indonesian examination of female independence. A powerful lead performance. The masterful mise-en-scène evoked some emotions, yes, but there is some disconnect with the characters. The surreal environment prevents real connection with the story. I finished this film more frustrated and vexed than before, and that would be the opposite of entertaining in my book.

So she's back with her original husband? Or is she? I am not a fan of surreal films where you never know what is a dream and what is reality. Kudos for the cinematography and atmospheric soundtrack. Unfortunately, that was nowhere near enough to make this viewing experience likeable.

Lush set, empty plot.

Being lyrical, melancholic, and chalked up with moody cello, it's easy to call Nana being heavily influenced by In the Mood For Love. While the sentiment might ring some truth to it, they're different films altogether. There are some parts when the film veers deep within its artistic sensibility yet signifies almost nothing. Despite that, as a subtle melodrama with a subdued tone and lush visual, Nana still resonates well and is enthralling.

Arresting portrayal of Sundanese woman and her midlife crisis during 60s. Kamila Andini carefully photographed every moments though never ceased to intrigue audience. Salma & Basuki gave nuanced performances to underline difficult choices and cultural hurdles.