Top Films of 2010: Introduction

Let's get this out of our chest: it wasn't a great year to remember to start this posting with.

The last year of the first decade in the 21st century has given us, at best, average cinematic outputs.

Add that with constant distraction from rampant pirated DVDs, checking out BlackBerry on very annoying too-often basis during film screenings, and other events, 2010 will not go down as the year I will remember fondly in terms of filmgoing experience.

However, being an optimist as I am and having worked for the past few years trying to get people to cinema, I find that despite the above occurrences, cinema remains attractive.

Watching films on big screen is still the best way to enjoy make-believe stories, an escapade of our mundane daily chores, a place to collectively gather our attention to one singular story in silence, and sitting in a darkened hall throughout an hour or two may be something nostalgic in the future.

Thus, I'd like to hang on to it as long as I can.

Living in a country where variety of world cinema other than the realms of Hollywood, Bollywood, and Mandarin is something of a rarity, we often have to deal and make use the best of what's present.

Turning to illegal products is unavoidable, yet one needs not to look far from the above paragraph that the communal activity of religiously going to cinema completes ourselves as a person. Too much? I just can't live in a city without cinema, that's all.  :)

With the above words in mind, I present to you my selection of Top Films of 2010 in the following categories:

1. Top Filmgoing Experience
There are 6 (six) films I saw in local cinemas this year that gave me purely aesthetic and ecstatic experiences that stay with me long after I left the cinema.

2. Top Disappointing Films
I restrict myself to 7 (seven) films with theatrical releases in local cinema this year, of which all of these films fail to live up to their potential. Thus, they may not be necessarily "bad" or "worst" films commonly featured in the year-end lists. A few may be familiar, though.

3. The Worth-Second-Chance Films
Not less than 8 (eight) films that I would give a second chance in viewing/observing/analyzing again. When I watched them for the first time in cinema, I wasn't quite sure how to make of them. But overtime, the thoughts of these films occasionally popped up in my mind, ensuring myself that they might be worth revisiting.

4. The Honor Rolls
You may call this as runner-up lists of 9 (nine) films that are too close to call with the next category.

5. The Top 10 Films of 2010
Pretty self-explanatory. Can't resist the idea of 10 (films) in the year of 2010. Will there be 11 films next year? We'll see.

But what you already can see from the lists above are films only released in Indonesian cinemas in 2010. Definitely some 2009 releases will be included, and sadly, I'll have to leave out some films released at the end of 2010 that already mentioned in this year's award season's accolades.
There will always be next year.

Also, I intentionally leave out DVDs and screeners, as it would not be fair to the idea of filmgoing experience in cinema.

Until then, enjoy!

For Aan

Today, I lost a childhood friend to the hands of God.

At least, that's what I'd like to believe, for it is beyond my knowledge if God embraces those who come to see Him by hands, arms, or perhaps by other means of power I am not capable in knowing of.

What I am sure of is that my friend is on his way to meet God.

At least that's what I'd like to believe.

It springs from the moment we started being friends when we were new kids in elementary school.
We moved in to the new school when we were in fourth grade, and being the two new kids in the class, we became close.

Closer, in fact, that we found out our homes were merely five-minute apart from each other.
Thus began our long walks we shared after school ended, which extended to exploring uncharted routes in small villages, finding out new places to play, kept walking and running until it was not only the school sessions that ended, but also the whole elementary school period.

We went to the same junior high school, yet temptations to find new friends were hard to resist.

We continued our encounters in the same senior high school, yet this is the time when cliques matter, of which we differ quite greatly.

Acknowledgment is enough to make us aware that each of us is present, albeit in different place, different time, and with occasional gathering under the pretense of reunion and holiday visit, we catch up.

Until now.

Today, I lost my childhood friend.

But today, I also found out that, despite the absence of many unbelievable years and missed chances, I discovered his sweet innocence as a kid who, at the tender age of a boy about to become a teenager, already possessed calm and charming persona.

Thus, I will hang on to that particular memory.

I believe, what became of him in his later years,  they were mirrors of his childhood. The moment which I am proud to be close to.

Today, I found you again.

Now, rest in peace, An.

It's Good to be Back

After a very long hiatus, I've decided to come back blog again.



Having made writing one of possible means to support myself financially, I didn't realize how far I was removed from the joy of writing nonsense about things I like most, without the burden of pleasing editors and meeting deadlines.

However, the said experience will reflect nonetheless in future entries.
That is another way of saying how age has been catching up on me :)

First things first: before I post new entries, I have to do some sort of cleaning up to this long-neglected home.

Some changes I have planned/thought about:
- No more shoutbox.
Any greetings should be directed to comment section.

- Catching up with the latest features on Blogger dashboard.
This will take some time.

- Keeping the same template, or more or less the same color scheme with a new template, while accommodating the changes.
Whew.

And, since blogwalking has been considered a thing of the past, I hope any wanderers out there who stumble or come across unintentionally to this blog would be kind enough to offer me advise or tips-and-tricks in re-designing blog.

Anyone who offer me Viagra or 1 billion Nigerian dollars is also welcome to my grandma's dinner. She's been dead for decades.

Hope to see some familiar names, be them the returning or the new ones.

Love you all!


Nauval.

PS: In the meantime, enjoy one of my favorite songs sung by one of the greatest legendary singers ever graced the Earth. Been stored long enough in my Favorites tab on Youtube, little did I realize that the title alone reflects the on-and-off pause of the page.

3 Idiots

As much as I have enjoyed watching Bollywood films all my life, never before that the enjoyment is brought to a new height like what 3 Idiots has brought.

The biggest Bollywood hit of all time, so far, turns out to be a pleasing work with the right dose of heart, and firm assurance of its own standpoint. The issue of education being a stepping stone to wealth and prosperity rather than characters building hits home to audiences everywhere, making this easily a critical and commercial cross over success.

As shown in his previous film Lage Raho Munna Bhai, director Rajkumar Hirani believes that as long as the content is able to stand on its own, he can take care of the rest of a film's production values. While many contemporary Indian films try hard to win over foreign markets by slowly distancing themselves from Bollywood fun roots, 3 Idiots does a fair share to make it distinctively Bollywood.

Yet Hirani pumps the film with sleeker and slicker look than Munna Bhai, which viewers everywhere can be lured easily with gorgeously photographed panoramic views. 

It may not challenge the convention of typical Bollywood film in its cinematic look, with song-and-dancing breakout scenes are still kept intact to which one number will please any musical fans with reference to Ginger Rogers and Fred Astaire 1930s MGM style.
Still, the film manages to bring that to lesser dominance, with the educational content that surely hits the pang of many who have gone through such rigorous educational experience reigns above. 

The indicator of a good film is simplified by this film: it shall never bore its audiences to yawn. Throughout the entire 3-hour plus duration, not a single sleepy moment.

Add that with the usual strong, believable performance by Aamir Khan, and the ever pitch-perfect comic timing of Boman Irani, in particular when he sees his daughter being taken away, we see a Bollywood commercial, mainstream film that manages to achieve what many films aim to: be inspiring.

A film like this does not come every year.

(courtesy of Filmicafe.com)

(Watched in Blitzmegaplex Grand Indonesia, Tuesday, January 12, 2010. With Edwin, Iskandar, Kenny, and their friends.)

Not Quite Hollywood

The last time I connected Australia and genre film was a few years ago, when I watched Picnic at Hanging Rock, an eerie coming-of-age horror that brought Peter Weir to global fame.
Little did I know that there had been many exploitation films happening in Down Under way before that, and even Picnic did not actually start the revolution. It came on the last remaining years of the genre's popularity in Australia, at the time when the country started to concern about its exported film and started paying attention to literary classics or period pieces.
Thus came Picnic and subsequent films, including My Brilliant Career if we'd like to expand our common brief knowledge of Australian film.

With that preconception of not many people in the world are aware of the country's illustrious film output, Not Quite Hollywood sets itself as a highly informative documentary that never forgets the root of its subject: being unpretentious, gory and fun.

Director Mark Hartley clearly shows his passion in the subject, as evidenced by his no-holds-barred methods in getting direct, many political-incorrect statements from the interviewees.
You cannot get better explanatory work of a country's cinema than from the people who lived the heydays of the industry and the sparks in their eyes still tell how much they care about the film.

It is indeed a labor of love, which in the case of documentary film can be self-indulgent. Yet, extensive research and galore of clips showing excessive force-for-fun and envelope-pushing sex are enough as reminders to keep Hartley on track.
His tight, focused script makes viewing the film like flipping through a well-designed magazine: each chapter is given a clear-cut category, and inevitable crossing-over is presented with determined degrees of importance easy for one to differentiate.

If the sentence tries to outsmart the film, believe me, nothing can.
What else can beat boobs, pubes, kung-fu kicks, buckets of blood, all presented in a sassy style with brain and getting the endorsement from Quentin Tarantino himself? There!

(photo courtesy of Outnow)

(Watched on DVD, Region 4, Sunday, January 3, 2010. Bonus features include a press conference of the film's premiere in Melbourne International Film Festival.)

Sherlock Holmes

Is there anything that Robert Downey, Jr. cannot pull off with his mischievous smile and gorgeous stare? (Even before I finished the question, my mind immediately thought of Chaplin and Gingerbread Man. And to some extent, Tropic Thunder.)


This is a man whose career built from his charisma. Put him together with George Clooney, the world will melt immediately. 
It does not take us that far though, to prove the theory in the grey-ish Sherlock Holmes, where Downey dons his charm to a great degree that we cannot help but thinking: where is the old, pipe-cracking Englishman we've come to know of all these centuries?


It remains there, slightly buried within the screen persona.

At ease with a newly equipped accent, Downey's Holmes is a fresh characterization that balances the words and actions. Helmed by Guy Ritchie, the film is surely filled with fists and elaborate fighting elements with angles that often border Chinese martial art cinema.


Yet the wisdom and wits are left intact, with Downey in equal partnership with Jude Law's Dr. Watson to deliver those convincingly. Alright, wits here may refer to tongue-in-cheek humor instead, which clearly is the product of modern rework on otherwise Victorian-style puns.

Much can be said about the strange inclusion of Rachel McAdams as love interest/damsel-in-distress/supposedly equal kick that turns out to be the weakest link (so weak that I manage to remember Kelly Reilly more, albeit she only appears very few and far in between), however, the film still works as a pure enjoyable entertainment nonetheless.

Footnote: I watched this in Senayan City XXI on a Sunday night, with unbelievable crowd that includes a toddler who cried occasionally, terribly latecomers, and irresponsible audiences who forgot to close the exit door. It was absolutely a devastating filmgoing experience in years. Enough to make the cinema as one of my lower film-outing venue priorities. Truly, inside-the-mall cinemas are defined by the crowd of the mall itself.


(Watched at Senayan City XXI, Sunday, January 3, 2010. With Fahrul. Photo is courtesy of Outnow.)

The Princess and The Frog

One enters the cinema to watch the first hand-drawn animation from Disney in years with caution: will it be as enchanting as Disney's old classics?

After all, the past few years we have seen Disney relenting itself to Pixar, the master of both storytelling and envelope-pushing state-of-the-art visual sophistication.

Thus, the reason why we anxiously anticipate The Princess and the Frog is mostly derived from the nostalgic feeling, longing of the good old days of the old-school animation.

Alas, audiences of my age (25-35) who grew up watching the glory days of Beauty and the Beast, Aladdin, The Lion King, before questioning the subsequent fiascos Hercules, The Hunchback of Notre Dame, are likely those who dwell and highly enjoy the New Orleans-set fairytale.

The expectation came true: we did enjoy the film.

After all, Disney knows how to make its charm works in spinning a classic tale. This time, "The Frog Prince" is transported to 1920s New Orleans, complete with Mardi Grass, old-school street jazz and mythical allegories that serve as the classic battle of good versus evil.

Watching the film now, we cannot help thinking that we see a homage to the glory past works, especially when animals start talking and chanting in dazzling well-choreographed movements. Colors do burst and Randy Newman's familiar yet still marvelous work in scoring is still greatly felt throughout. His numbers are classic of "I am ready to do all it takes to make my dreams come true" that has been told many times before, yet we continue to love them.

This is the first time African-American characters take the center stage in Disney animation. While being confined to practically harmless stereotypes (domestic helpers, voodoo practices to some extent, among many others), The Princess simply aims to please everyone longing for pure entertainment at face value. It shall not leave you thinking. It will leave you grinning and smiling, hardly laughing.

(Watched at Plaza Senayan XXI, Saturday, January 2, 2010. With Dody. Photo is courtesy of Outnow.)

How to Lose Friends & Alienate People

While the title reads like a self-help book for depressed souls, the film barely scratched the core of its intended nail-biting satire.
Based on a memoir of the same title by Toby Young, the film points out the price of an underground journalism soul in becoming a part of exclusive show business elites. Albeit the cover-ups, we can easily point out real-life references to the media, the people portrayed, the kind of award shows depicted in the film, and the heartbreaking anguish.


The reason why it is easy to do such is simply because the film fails to engage. Not even Simon Pegg, playing the hopeless journalist Sydney Young, with his curious look served well in his comedic staples, could bring up the film to have fun on its own.


It all goes downhill when we are forced to buy his kooky characters to fall head over heels in the tradition of average romantic comedy to Kirsten Dunst, otherwise semi-pro in the genre. While Dunst bears no burden and struts her presence easily, Pegg has to catch up with her, as his uncomfortable performance grows more noticeable by the minutes.


The film cannot decide whether it aims to be fully social satire, or a romantic comedy. The nail-biting story of media manipulation is enough to stand on its own without having to be forced to a dopey love story. How to Lose Friends & Alienate People makes The Devil Wears Prada a worthy Best Picture nominee, indeed.


If anything worth remembering from the film, it is Gillian Anderson's scene-stealing presence rather than Megan Fox's forced insertion that in the end made us wonder: even in her debut, she manages to bring down the whole film.

(Watched in DVD, Saturday, January 2, 2010. Source: Lia's. Picture is courtesy of Outnow.)

A Jubilant Decade of Indonesian Film

Around ten years ago, the words “Indonesian film awakening” served merely as a jargon with no clear horizon on the sights.

Cut to the present time, the seemingly larger-than-life statement above has turned into reality.

(3 Hari Untuk Selamanya, photo courtesy of Kineforum)

Seeing one Indonesian film title played in two cinema halls (or what we have known as Cineplex) out of five or six halls has become a common view, and hardly a week goes by without a new Indonesian film released.

What once was a rarity now has become a staple that every cinema vies for a share of local film. 

Once shut with full force, with almost two-decade of history recollection when the local film scene was reduced to miniscule as then-New Order government made a certain trade arrangement with the US, now local film dominates the local cinema with common assumption of 55%-60% market share.

The glorifying numbers prove as magnets for many, as many new players have tried to venture to filmmaking business.

Some fail, some have been hailed as champions. 

Some old players expand their businesses making the so-called second-line companies, focusing on either lower-budget production scales or making much more commercial-friendly products, and some even excelled at both.

Yet, some reigning problems remain intact.

The word ‘assumption’ is still used to prelude the numbers above, as on other numbers of box-office receipts, total audiences per film, and many other much-needed data that common filmgoers like we all find it hard to access. 

We are still miles away from gaining transparent information at the tip of our fingers when it comes to local film, as simple as release dates and what’s coming ahead next years. 

Playing by ears, getting personal contacts to exhibitors, producers and filmmakers are still the rules of thumbs to gain access of such basic information, which explain why coverage of local film has become a scarce commodity, against the overflowing of such in local cinemas.

Still, we flock to watch those films in big screens.

At least, some of us who still care and are willing to set aside the fatigue feeling of cramming and watching many local films that, admit it, some of them replicate one another from a similar formula, be it the successful genre or stars.

Be it pride or for some necessity, it does actually feel good to live in a time when local flavors rule above the imported ones. 

The excitement may be reduced slightly, as number of local films grows, unlike the early years when a local film could still be performing strongly. 

Now, as the competition grows stiff, two films in a week could easily kill off another if the box-office results in the first three days are not satisfying.

For filmgoers, though, satisfaction is a very personalized matter, and so is the experience of watching the film itself. 

As such, the following list of film is a highly subjective film-going experience that ranges from cringe to applause. 

It is not the list of the best films of the decade, but these are the films that have shaped the overall course of Indonesian cinema for the past decade.

Recalling memory of what has happened in the past decade is not an easy feat. 

Temptations were bound to correct and revise, yet, what matters most are the films themselves. 
These are the films that stick stronger to the writer’s memory, as I gladly recall the experiences of watching those in big cinemas, and reacted to the films in various manners. 

All of those eventually lead to one feeling of proud and certainty that Indonesian film will do better in many years to come.

In alphabetical order, the 10 defining Indonesian films of the decade are:

1.  ADA APA DENGAN CINTA?

(courtesy of this blog)

Simply put, every high school era should have its own definitive film that is worth remembering and has been standing to the test of time because of the good remembrance. 

Those high schoolers of 1980s had Rano Karno and Yessy Gusman in Gita Cinta Dari SMA, while the 1990s generations were pretty much left with big void of no local films at all, and the 2000s batches should be proud of having this well-made teenage film as, simply put, their own.

The film has given us a staple of young actors with above-average star qualities that are still productive to date, and the poster remains one of the most outstanding artworks of local film posters up to now. 

The minor downside is that we are introduced to Melly Goeslaw, the composer with formulaic soundtracks that get tiresome after a while.

2. ARISAN!

(courtesy of this blog)

The biggest Muslim country in the world could actually produce a nail-biting comedy that features two prominently gay characters in leading roles. 

Beyond that, the film gave a vivid caricature of well-educated and upper-level people in Jakarta that has been almost unparalleled in subsequent years. 

Through this film, a new star named Tora Sudiro is born, a director named Nia Dinata was at her best, and a scriptwriter named Joko Anwar started showing off his witty claws.

3. AYAT-AYAT CINTA

(courtesy of this blog)

Love it, hate it, there is no in-between, mixed-up feeling towards the film.

Seeing the film on a midnight screening on Saturday night, in a plush cinema of downtown Jakarta, where some audiences actually chanted “God is Great” in some scenes have led me to believe that the film managed to do the impossible: tapping the biggest market of Muslim audiences who flock to watch religious-themed drama. 

We were forced to think again how once drama series with ‘religious’ stamps coup big ratings on TV, and the box-office success of the film has spawned followers (including this year’s Ketika Cinta Bertasbih) with no signs of going down yet.

4. GARUDA DI DADAKU & KING

(courtesy of this blog)

(courtesy of this blog)

It’s hard to separate the two, given their close release dates from one another. 

It is no coincidence that the two films, albeit differences in balancing dramatic elements, share the same focuses on sport, sense of nationalism and patriotism, and children. 

Playing to both critical and commercial successes, the two films have given audiences a sense of unabashed romantic pride to the country, and more reason to believe that against big Hollywood summer blockbusters this year, given the right materials that tapped to tireless market of family and children, local films could still perform strongly.

5. JELANGKUNG

(courtesy of 21 Cineplex)

The mother of true modern Indonesian horror of the decade in many years to come, the film still sets the bar high for the genre.  The eeriness has become some sort of Mecca for contemporary chillers.

The two directors, Jose Poernomo & Rizal Mantovani, may have gone on separate ways to make some great horror films, notably Rizal with Kuntilanak series, but it is not the same with the excitement of finding it the first time. 

The word of mouth of watching the film has sparked many mythical urban legends that were given big screen treatments of their own. 

Suster Ngesot (crawling nurse), anyone?

6. LASKAR PELANGI

(courtesy of this blog)

The biggest box-office hit (4.8 million audiences) of all-time is a literary adaptation of the biggest selling Indonesian novel. 

Let’s hope that this is the beginning of a healthy, productive and commercial-friendly affair between big screen and literary sources. 

Also, I shall hope for the beginning of long lists of undiscovered Indonesian tourism spots other than usual portrayals of Bali and Java.

Governments of Bangka and Belitong where the film is set will be forever thankful for the film.

7. MENDADAK DANGDUT

(courtesy of Indosiar)

Rudi Soedjarwo’s career as director has gone high and low, and both each pinnacle and low points often happen very fast that we often lose track of his too-productive outputs. 

The film Mendadak Dangdut was made at the height of his collaborative effort with screenwriter Monty Tiwa.

The result could not be more fruitful: Monty showed his best in delivering punchlines and enjoyable dangdut songs, Rudi brought out the best in all the cast members, and introduced Dwi Sasono as one of the better actors around. 

Rudy and Monty continued to be a dream combo, until their last film together (Mengejar Mas-Mas) before they went separate ways. 

Yet, the unique title goes down well in history as being unusual and often mocked or used in many different creative outlets, and never again in the decade the dangdut music is given the front spotlight like this.

8. MERANTAU

(courtesy of this blog)

Unpretentious, going straight-down-the-line to the core of kicking-and-busting with excellent quality of filmmaking, the film works as a proof that entertainment means not sacrificing production values that come as a package. 

The film gives the  utmost fun experience in local film this year.

9. OPERA JAWA

(courtesy of this blog)

Maybe common Indonesian filmgoers, inclusive of yours truly, are not supposed to ‘get’ Garin Nugroho’s films. 
Maybe he never makes one for them.  

Yet when the two roads collide, the result is actually explosive and, we don’t think we’ll ever use this word to describe an Indonesian film before: magnificent. 

The gorgeous displays of Javanese rituals, dances and costumes come vividly on big screen, and maybe we just need to get that.

10. PETUALANGAN SHERINA

(courtesy of this blog)

The first breakthrough of commercially successful Indonesian film in the past decade, it also combined two rare genres most directors would be scare to death to doing: children and musical.

Forever shaped Sherina’s image, the film also gave bloodline to Miles Films in many years to come, and no other musical attempts came close to the film’s commercial and critical raves.

Alongside of these films, there were some other notable Indonesian films in recent years that, upon seeing them in cinema, we cannot help but marveling at their distinctive visions. These are, in no particular order: 

- Eliana, Eliana, (a very personal favorite) -- still the most heart-tugging film about mother-and-daughter, and about urbanization;  

- Janji Joni, a knowledge on film needs not alienating audiences;

 

- Berbagi Suami, the start of Nia Dinata’s affair on stories about marginalized women; 

- Pocong, the scariest lot of Indonesian horror after Jelangkung; and, 

- 3 Hari Untuk Selamanya, a road trip that actually does feel like one, in a good way.

For more decades to come, cheers!

No Year-End Review ... not in a newspaper, at least.

Traditionally, as a few of you may have noticed, I write about year-end review of Indonesian film in The Jakarta Post.

At least I have done that for the past three years in a row: 2006, 2007, 2008.

Little did I realize that we actually were on the end of the first decade of a new millennium (still baffled me: shouldn't it end at the end of 2010?), thus the angle for the usual year-end review article would be changed to something like "a decade in review". 

Next, I submitted my write-up.
 

I thought the spot had been reserved, yet the editor had assigned the paper's full-time journalist to do the same. I was completely unaware of this.
 

My submission was rejected immediately.
 

Not wanting to leave it to a waste, I decided to put it here.

Some of you may be able to tell that this is not my personal writing style. Pretty much it has been suited to cater the paper's needs, as what I have usually done. 

Alas, too bad that it would go to waste without being read to any concerned beings.
I will upload the article once I finish collecting all the necessary images.

In the meantime, season's greetings for everyone!

(UPDATE: Check the full article here.)

Eagle Awards 2008

Eagle Awards is an annual documentary film competition held by Metro TV.
Targeting amateur to semi-pro documentary filmmakers, I find the program interesting as it aims to bring up the unseen lives of Indonesia and its residents.
Each year selected projects were chosen to be developed under guidance of professional documentary/feature filmmakers, and the projects, usually the chosen ones are up to 10 or sometimes less, will then be screened on Metro TV.

A panel of judges will choose the winner, while audiences at home can choose the winner of the most favorite film. A rule of thumb these days: you cannot make any event without our involvement with text messages.

In its early years, it was co-organized by In-Docs, a documentary film community aims to provide documentary film-making coach, documentary film public screening and distribution to film communities throughout Indonesia. It happens that In-Docs is a sister organization of my present workplace, JIFFest, which allows me gaining easy access to the outputs of what In-Docs has made in the past few years.

The year 2008 marked the last year of partnership with Metro TV. It remains to be seen how the films will turn out this year.

Even at the last year of the joined forces, I was a little disappointed with the select projects. Perhaps I was riding on a very high expectations after successive winning films for the past two years: Suster Apung (The Floating Nurse), about a nurse facing the high seas everyday on a small boat while serving her patients in remote areas of Sulawesi, and Kepala Sekolahku Pemulung (My Headmaster The Waste-Taker), a slap-on-the-face look at the failure of education system in Jakarta.

The finalists of 2008 were either walking on a safe, comfortable side, or simply digging the research materials with less efforts. The eventual winner is Prahara Tsunami Bertabur Bakau (Raising Mangroves After the Tsunami), the most compelling of the lot.

Read the full article here, while queries about watching the films can be directed to In-Docs.

The photo was taken during the public preview of the 2008 Eagle Awards finalists at Erasmus Huis, Jakarta, September 16, 2008.