{"id":9073,"date":"2024-10-25T11:59:15","date_gmt":"2024-10-25T03:59:15","guid":{"rendered":"https:\/\/minikino.org\/articles\/?p=9073"},"modified":"2024-11-23T23:15:07","modified_gmt":"2024-11-23T15:15:07","slug":"shorts-connect-us-catatan-retrospektif-toronto-reel-asian-2024-di-mfw10","status":"publish","type":"post","link":"https:\/\/minikino.org\/articles\/shorts-connect-us-catatan-retrospektif-toronto-reel-asian-2024-di-mfw10\/","title":{"rendered":"Shorts Connect Us: Catatan Retrospektif Toronto Reel Asian 2024 di MFW10"},"content":{"rendered":"

Tiga minggu sejak berlangsungnya Minikino Film Week 10 pada pertengahan September silam, namun jejak perjalanan saya di sana masih sulit untuk dilupakan. Minikino Film Week 10 bagi saya bukan sekadar film festival, melainkan sebuah <\/span>melting pot <\/span><\/i>bagi berbagai kalangan, baik untuk para filmmaker, pegiat film pendek, serta mereka yang memiliki antusiasme untuk menyimak kisah apa yang akan disajikan dari seluruh dunia.<\/span><\/p>\n

Minikino selalu berupaya membuka pintu lebar-lebar dalam menjalin jejaring, baik secara lokal maupun internasional. Setidaknya, itu yang saya tangkap dari pengalaman berfestival selama tujuh hari kemarin. Salah satunya melalui adanya program <\/span>Toronto Reel Asian: Unsung Voices 12. Unsung Voices <\/span><\/i>sendiri merupakan lokakarya produksi musim panas gratis yang ditawarkan oleh Toronto Reel Asian International Film Festival untuk yang kedua belas kalinya bagi filmmaker pemula di Kanada. Kelompok ini memulai perjalanan kolaboratif sepanjang musim panas untuk mewujudkan ide film pendek mereka, yang akan ditayangkan perdana di festival Reel Asian pada bulan November.<\/span><\/p>\n

Unsung Voices<\/span><\/i> edisi ke-12 memberikan ruang dengan karakter yang berlapis, beserta kisah-kisahnya yang menawarkan wawasan mengenai berlimpahnya pengalaman komunitas diaspora Asia di Kanada. Program ini ditayangkan untuk pertama kalinya di MFW 10 dalam rangkaian <\/span>community screening <\/span><\/i>di Kedai Kopi deKakiang, Buleleng, Bali.<\/span><\/p>\n

Bersama para filmmaker dari program ini, saya bersemangat melakukan perjalanan berdurasi empat jam dari MASH Denpasar menyusuri jalan yang tinggi dan berkelok. Perjalanan panjang seperti ini tentu akan lebih mengasyikkan dengan obrolan-obrolan yang sekaligus mengakrabkan saya dengan mereka sebelum sesi QnA di deKakiang pada pelaksanaannya dalam malam hari nanti.<\/span><\/p>\n

Merawat Ekosistem: Menonton dan Menanggapi<\/b><\/p>\n

\u201cOh, so you are a film festival writer intern? I might have something that would interest you. Check this out,\u201d<\/span><\/i> ujar Corinne Langmuir, filmmaker dari <\/span>The Official Guidebook to Lying <\/span><\/i>(2023) di program <\/span>Toronto Reel Asian: Unsung Voices 12. <\/span><\/i>Ia mengatakan hal tersebut di mobil sambil merogoh tasnya di tengah perjalanan kami menuju deKakiang. Corinne menyerahkan sebuah zine berjudul <\/span>Review Underway Youth Critics Initiative Editors\u2019 Choice Collection 2019-2024. <\/span><\/i>Saya menganggukan kepala dan berterima kasih sambil membolak-balik zine itu dengan raut terkesima. Corinne kemudian menambahkan, <\/span>\u201cIt\u2019s a part of this program actually. So I thought it fits with what you do right now.\u201d<\/span><\/i><\/p>\n

Kevin Matthew Wong, sutradara dari <\/span>Benevolence <\/span><\/i>(2022) turut menanggapi percakapan, kebetulan kami bertiga duduk di barisan ketiga di mobil ini.<\/span><\/p>\n

\u201cI think the importance of responses and criticism from the audiences that watched our films is interesting. I mean it\u2019s the results of our work but in order to build a sustained engagement of our stories we should listen and then reflect together as a way to develop stories that truly challenge many issues.\u201d<\/span><\/i><\/p>\n

Saya kembali mengangguk. Sambil melanjutkan percakapan, saya berpikir bahwa sebagai filmmaker, ternyata mereka berusaha mempersiapkan diri untuk mendengar respons dari penontonnya. Di sisi lain, saya juga kagum bahwa program serupa Minikino Hybrid Film Festival Writer Internship juga diimplementasikan di Toronto Reel Asian, di mana para penulis, kritikus film muda yang masih merintis diberi kesempatan untuk belajar dan menorehkan wacana yang sama pentingnya demi ekosistem industri, seperti yang dikatakan oleh Kevin.<\/span><\/p>\n

Format zine sebagai output ini juga menarik bagi saya secara pribadi, terutama karena zine adalahmetode publikasi alternatif yang inklusif dan mudah disebar secara sporadis. Hal ini memberikan keleluasaan dalam penyebarannya sehingga dapat diakses dengan mudah.Selain memeberi ruang bagi filmmaker muda, penting juga untuk mempertimbangkan anak muda yang punya aspirasi atau minat terhadap kritik film, bukan?<\/span><\/p>\n

Menanggapi Kritik: Ruang Tumbuh bagi Filmmaker Muda<\/b><\/p>\n

Tibalah saatnya. Jarum jam menunjukkan pukul lima sore saat tiba di kedai deKakiang. Teman-teman dari deKakiang serta Singaraja Menonton menyambut kami dengan hangat. Rasanya perjalanan tidak begitu melelahkan, mengingat ada \u201cperayaan\u201d di tempat ini melalui pemutaran program <\/span>Toronto Reel Asian: Unsung Voices 12. <\/span><\/i>Kami bercengkerama dengan teman-teman dari Singaraja Menonton; Dian, Cotex, dan juga Yusuf tentang bagaimana mereka mengaktifkan budaya menonton dan menulis di Singaraja. Peserta program yang sama tahun lalu juga diputarkan di tempat ini, di mana penonton dapat merespons film-film tersebut secara terbuka. Melalui dialog antara filmmaker dengan audiensnya, diharapkan dapat terbangun diskursus yang lebih kritis.<\/span><\/p>\n

Sama halnya dengan hari itu (14\/09\/2024), Cotex turut memberikan komentarnya seusai pemutaran <\/span>Toronto Reel Asian: Unsung Voices 12<\/span><\/i>. Ia memiliki tanggapan tersendiri mengenai film <\/span>Cul-de-Sac <\/span><\/i>(2023), khususnya tentang <\/span>soundtrack <\/span><\/i>yang digunakan, mendeskripsikannya sebagai generik. Satryo, sutradara dari film tersebut, merespons tanggapan tersebut dengan menerima kritik itu dan juga menjelaskan latar belakangnya dalam membuat film tersebut.<\/span><\/p>\n

\u201cIya, jadi pertimbangannya dari music director begitu. Sementara itu, ide untuk film ini tercipta karena merefleksikan kehidupan saya dan kakak selama di apartemen. Ada sekat-sekat, dinding. Cahaya yang masuk juga jadi cara buat aku untuk eksperimen di blocking para pemerannya. Mendefinisikan ulang tentang relasi, kesendirian, kehangatan, kedekatan.\u201d<\/span><\/p>\n

Representasi sebagai Alat: Upaya Subversif terhadap Narasi yang Itu-Itu saja<\/b><\/p>\n

Program ini dibuka dengan <\/span>Gire <\/span><\/i>(2023) yang mengisahkan tentang dua jalur sepasang saudari di kamarnya. Sayangnya <\/span>filmmaker <\/span><\/i>dari program ini berhalangan hadir di MFW10. Padahal saya tertarik untuk membahassignifikansi buah delima dalamfilm tersebut menurut budaya Kurdi. Simbolisasi buah dalam narasi film selalu menarik perhatian saya,sepertikepercayaan bahwa jeruk membawa keberuntungan\u2013setidaknya itu yang dikatakan teman saya yang merayakan Imlek. Hal-hal seperti ini tentu tidak akan bisa kita temui di balik kreasi para pelaku film di industri pada umumnya, para laki-laki kaya berkulit putih, <\/span>hehehe<\/span><\/i>.\u00a0<\/span><\/p>\n

Begitu pula dengan nostalgia yang dituangkan oleh Carthy Ngo tentang ayahnya di <\/span>Dua (Coconut) <\/span><\/i>(2023). Buah kelapa, senantiasa dipercaya memilikikhasiat tinggi dan manjur untuk mengobati serta mengurangi racun, seringkali dijadikan sebagai pertolongan pertama saat tubuh merasa lemas dan tak berdaya\u2014setidaknya itu yang dipercaya keluarga saya. Setelah menonton film ini, saya merasakan simpati yang besar.<\/span><\/p>\n

Carthy menceritakan kesan saat memproduksi film pendek perdananya ini, \u201c<\/span>The story was inspired by my own father. Now he is gone. But in the past<\/span><\/i>,<\/span> he asked me to bring him a drink of coconut water when he was lying sick. When I think about it, oh how difficult it is to find this fruit. The rest is fiction. However, I dedicate this to my late father, I intend that anyone who watches this will smile, remembering the warmth that I tried to convey in Dua. That’s why I’m very grateful for this opportunity, actually, I don’t study film formally. I’m a medical worker.<\/span><\/i>\u201d<\/span><\/p>\n

Selama ini, kita disuguhi tayangan yang meletakkan figur-figur orang Asia sebagai tokoh sampingan dari protagonis kulit putih, dengan masalah-masalah yang hanyadialami oleh warga negara global utara. Sekalinya ada <\/span>screentime <\/span><\/i>tokoh Asia, mereka kerap kali dikotak-kotakkan dengan stereotip yang memojokkan\u2013seperti perfeksionis, submisif, kutu buku, pendiam, dan memiliki orang tua yang galak sertaotoriter.<\/span><\/p>\n

Betapa menyedihkanketika kita mengulik siapa para penulis narasi dengan arketipe karakter ini,\u2013yang ternyata adalah\u00a0 orang-orang kulit putih yang jelas tidak merepresentasikan mereka. Mereka pernah menjadi penentu nasib tokoh-tokoh Asia melaluikacamata mereka yang masih mengeksotiskan tokoh-tokoh dengan etnis Asia, menjadikannya sekadar <\/span>sidekick <\/span><\/i>belaka yang merendahkan posisi diaspora Asia, sehingga menjaditarget ujaran kebencian rasial atau diskriminasi.<\/span><\/p>\n

Film seperti <\/span>Pyramid Head <\/span><\/i>(2023) misalnya, mencoba menawarkan perspektif berbeda. Film ini menyajikan sisi magis yang menegangkan dari minat Melvin Daligdig kepada franchise <\/span>game Silent Hill, <\/span><\/i>menggambarkan kehidupan urban dan makhluk-makhluk yang terkesan alienatik di era sekarang.<\/span><\/p>\n

Corinne Langmuir juga menyajikan semacam<\/span> coming-of-age romantic comedy<\/span><\/i> yang, untungnya, tidak dibintangi oleh pria kurus berkulit putih yang menaksir perempuan dengan <\/span>wispy bangs <\/span><\/i>sebagai objek <\/span>manic pixie dream girl <\/span><\/i>belaka. <\/span>The Official Guidebook to Lying <\/span><\/i>(2023) menceritakan perjalanan jati diri seorang pemuda dengan kebiasaan berbohongnya. Film ini menghadirkan dinamika yang cuma bisa dipahami oleh remaja-remaja Asia dengan ibunya, berbeda dengan apa yang biasa ditampilkan oleh film-film arus utama.<\/span><\/p>\n

Munculnya Kesadaran Kolektif untuk Bersolidaritas<\/b><\/p>\n

Sebelum QnA ditutup, Cotex kembali mengutarakan pendapatnya\u00a0 mengenai film dokumenter arahan Kevin, <\/span>Benevolence<\/span><\/i>. \u201cTempat yang ditampilkan di <\/span>Benevolence <\/span><\/i>itu juga banyak kan ya di Indonesia. Ini menunjukkan bahwa diaspora Cina memang ada di mana-mana\u201d ujarnya.\u00a0<\/span><\/p>\n

\"\"
Suasana Pemutaran pada Community Screening Kedai Kopi deKakiang, Buleleng (dok. Faiza)<\/figcaption><\/figure>\n

Saya berpikir, minimnya representasi kelompok, khususnya orang-orang Asia di media, dapat menciptakan kesan yang mengerdilkan, seakan-akan nihil eksistensinya saking jarangnya eksposur akan eksistensi Asia yang tulus, tidak sekadar mengandalkan stereotip. Usaha yang dilakukan oleh para filmmaker muda dari program ini merupakan jalinan dari upaya untuk merebut kembali posisi yang dapatmendorong mereka untuk mendefinisikan ulang arti sebenarnya menjadi orang Asia.<\/span><\/p>\n

Kevin menanggapi sekaligus mengoreksinya.<\/span><\/p>\n

\u201c<\/span>Well, actually it\u2019s different. Not Chinese to be specific but Hakka. Yeah, we are actually everywhere! It\u2019s great to know that such sacred buildings also exist in Indonesia. So while I was making this, I found this essay about colonization. It was intriguing because you know, the writer argues that to create a colonized culture, the area should be hospitable to host their own land while Canada is also a state where colonization happens right? (re: to the Indigenous) while we come here as guests! I personally think it\u2019s mindblowing, how it\u2019s tied to colonization and stuff\u2026<\/span><\/i>\u201d<\/span><\/p>\n

Koreksi dari Kevin juga menjadi edukasi bahwa komunitas Tionghoa tidak direpresentasikan oleh kalangan yang monolitik. Seperti Kevin yang merepresentasikan dirinya sebagai Hakka, mengangkat <\/span>cultural confidence <\/span><\/i>melalui kisah tentang Kuil Tam Kung menyadarkan bahwa di luar sana, <\/span>collective care <\/span><\/i>merupakan upaya gandeng menggandeng yang memberdayakan komunitas terdampak secara berkelanjutan dan substantif. Proses kreatif yang dialami Kevin soal kolonisasi juga membangkitkan diskursus menarik, bahwa kolonisasi belum berakhir hingga saat ini, dampaknya masih dirasakan karena praktik-praktik kolonialisasi itu sendiri masih dilanggengkan, bahkan di industri film dan media sekalipun.<\/span><\/p>\n

Pada akhirnya, jalinan yang timbul dengan hadirnya <\/span>Toronto Reel Asian: Unsung Voices 12 <\/span><\/i>di MFW10 tidak hanya sebagai ajang berkenalan dan bertukar <\/span>username <\/span><\/i>media sosial saja. Secara pribadi, kisah-kisah yang diceritakan melaluiprogram ini mendorong kita untuk lebih aktif mendengarkan dan mengamplifikasi isu-isu yang dialami oleh para diaspora Asia. Solidaritas akan timbul dengan empati yang bertumbuh, salah satunya dengan menonton film-film dari para pegiat kreatif di industri film dan media dari Asia, diikutidengan tanggapan yang kritis. Ini menyadarkan tentang apa yang harus dibenahi dan apa yang harusnya disudahi.<\/span><\/p>\n

Editor:\u00a0Bintang Panglima<\/a><\/em><\/p>\n

Penulis merupakan salah satu dari empat peserta terpilih Minikino Hybrid Internship for Film Festival Writers (April-September 2024). Program Toronto Reel Asian: Unsung Voices 12 disaksikan di Minikino Film Week 10 pada hari Sabtu, 14 September 2024 di Kedai Kopi Dekakiang, Buleleng pada jam 18:45 WITA dan Selasa, 17 September 2024 di Puri Ayu Hotel jam 12:00 WITA, selengkapnya kunjungi https:\/\/minikino.org\/filmweek\/2024-guest-programs<\/a><\/h5>\n","protected":false},"excerpt":{"rendered":"

Tiga minggu sejak berlangsungnya Minikino Film Week 10 pada pertengahan September silam, namun jejak perjalanan saya di sana masih sulit untuk dilupakan. 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