Kamila Andini’s ‘Four Seasons in Java’ Explores Power and Trauma

Indonesian filmmaker Kamila Andini is poised to unveil her latest project, “Four Seasons in Java,” a magical realist drama that delves into the complexities of power and trauma in contemporary Indonesia. Currently in post-production and featured at the Venice Gap-Financing Market, the film follows the story of Pertiwi, a woman who returns to her village after spending over a decade in prison for killing a man in self-defense. Her homecoming coincides with the arrival of electricity in her remote community, symbolizing the clash between modernity and the scars of personal trauma that Andini believes are prevalent in daily life.

Andini describes “Four Seasons in Java” as “the hardest story I’ve ever created.” The film addresses the high costs of development in Indonesia, stating, “We pay it with our body, tears, blood and life. And yet, we are still very far behind.” She emphasizes that much of the development serves political interests rather than benefiting the populace, resulting in lasting trauma.

This project marks the third collaboration between Andini and her producer and life partner, Ifa Isfansyah, through their company Forka Films. Their previous works, “Yuni,” which won the Platform Prize at the 2021 Toronto International Film Festival, and “Before, Now & Then,” which received the Silver Bear at the 2022 Berlinale, have garnered international acclaim. Isfansyah notes that this film pushes their creative boundaries, both logistically and thematically.

Pertiwi, whose name translates to “mother Earth,” serves as a metaphor for Indonesia itself. Andini explains, “In Indonesia, we see land as the mother Earth, because in Java, ‘mother’ is the source of life.” Pertiwi’s return to her village places her in confrontation with the four men responsible for her imprisonment, who now hold power over the community. The narrative weaves together themes of magical realism, local mythology, and social critique, reflecting the complexities of feminism in the global south.

The film’s visuals are infused with symbolism, as abandoned objects and forgotten individuals serve as metaphors for resilience. Used electronics that unexpectedly illuminate represent renewal amidst societal challenges. Andini highlights the relevance of these themes, noting that issues such as blackouts and sexual harassment continue to plague contemporary Indonesia.

She recounts recent events that underscore the urgency of her narrative, mentioning a news story about a girl subjected to sexual harassment by multiple individuals in positions of power and another case involving a girl found raped and murdered in a palm plantation. Andini states, “To be honest, it’s not easy even for me to create this kind of story since it breaks my heart every time, but I think it really is the time to talk about this.”

The production benefits from a diverse range of international partners, including the Netherlands Film Fund, Hubert Bals Fund, and co-production companies from various countries, such as Lemming Film in the Netherlands, Storm Films in Norway, Ici et Là Prods. in France, One Two Films in Germany, and Giraffe Pictures in Singapore. Isfansyah explains the importance of their collaboration, stating, “Throughout every stage, from development to production, post-production and promotion, I needed their perspectives.”

In addition to international partners, the team has collaborated with Indonesian companies, including newcomer Imajinari, known for its digital promotion capabilities, and Miles Films, a key player in the Indonesian film revival. As the project progresses at the Venice Gap-Financing Market, the team is seeking final funding for post-production, particularly for visual effects, and the right sales agent.

For Andini, participating in this prestigious market represents more than just securing financial support. “Meeting people that believed in the story, and support on this voice to raise, is sort of a collective power that I am looking for,” she remarks. Isfansyah anticipates that the finished film will ignite critical discussions, particularly among those in positions of authority. He observes, “In every region, there are those in power. They often feel they are helping the weak in their own way, but that only makes the dominance increasingly imbalanced.”

As “Four Seasons in Java” nears completion, its exploration of societal issues in Indonesia remains timely and significant, promising to resonate with audiences both locally and internationally.