Dealova.

once in a while, comes a film worth every single piece of bad comment on the film's lack of good quality. the redundancy you may notice on the previous sentence is intended to create similar effect to the film.

if they think that indonesian film audience still has not gotten enough dose of brainless teen-flick, think again. the situation has reached the effect of feeding-the-beast, in which the audience soon need to be rushed for treatment of OD-ed by flood of nihilistic love story, whereas producers soon have to endure circle effect of being forced to start all over again in creating a new trend.



nevermind the story, you've read or seen it dozens of times before. in fact, spoilers are highly needed to decipher many unbalanced shots not supposedly presented on a big screen as they fit much better on a small screen. what we need to know is why the film seems to lack of direction.

a good director will not have scenes like a girl playing basketball in between three cars circling her moves, or a zoom-in to a packet of tissue, or some 30-second half-lit room where the character utters one single unimportant word.

a good director will think of more coherent logic to make a proper ending. modern literary audience who has consumed contemporary works of arts will not be satisfied with deus-ex-machina concept as it will only show the director's lack of vision and rushing to finish the story as soon as possible.
(if i see rudy soedjarwo laughing about the latter, i can only pity him since 'tentang dia' suffers from the same problem.)

now it is time for indonesian film producers to consider which films they need to show to the press, and which ones are not. after all, how do you expect to comment on this response from one of the reporters upon watching this film:

"oh, the film is awfully fun, i had a good time. seriously! you'd no idea how fun it could be to find many, and i mean many, scenes to bash throughout the entire film!"

it happened.