Autobiography

This is my first indonesian film and I think I am going to explore more of its art house stuff to get a deeper understanding about their politics and revolution. Thematically this film didn't say anything that wasn't said before. But the character dynamics were very familiar and spoke of a certain Indian or a South Asian sensibility. I thought the film would experiment with the aspect of Stockholm syndrome and I thought I saw it going in that direction in the karoke scene but it could just be me. It would have been a much more interesting watch for me if that had happened. But again that's just me. That's obviously not what was intended. But playing on a familiar ground with a familiar narrative the direction couldn't have demanded anything more.

The "Autobiography" shines in the indonesian cinema with its depiction of power, ambition and determination, but also submission and ruthlessness. The story about a general and his loyal young servant with its unexpected twists and turns grips you and doesn't let you go untill the very last minute. What is special about "Autobiography" is the tense yet intimate atmosphere which is present thanks to the rainy obtrusive climate of indonesian rainforests combined with the interior of the general's house in which most of the film takes place. This gloomy yet exciting setting contributes very much to the intense moments of the story and kept me on the edge of my seat. Also I must especially highlight the performance of Arswendy Bening Swara in the role of general Purnawinata, whose acting was chilling and breathtaking and you, as a viewer, are truly terrified of him. I have only good things to say about this picture.

Rakib handles cleaning and other odd jobs in the home of Purna, a rich and influential former army general turned politician. Purna takes the young man under his wing, but the kindness comes with a price. Absolute obeisance is expected. Purna treats the surrounding locality and its people in the same manner as he does Rakib, as objects to be possessed rather than human beings. His concern for others extends only so far as they do his bidding.

Enraged over a defaced poster with his image on it, Purna turns to Rakib. With his connections among the working class, Rakib may be able to find the perpetrator. Rakib does as he is told and the repercussions of this act, along with warnings about Purna from Rakib's relatives, come back to haunt him in the worst way.

Autobiography employs natural light, odd camera angles, reflections, and close-ups to tell a compelling story about the seductive power that the wealthy have over innocence. There are, unfortunately, many parallels in the Indonesian experience as well as our own. Autobiography is the first feature film by Makbul Mubarak. I saw it at the Toronto International Film Festival.

Written and directed by Makbul Mubarak, The movie follows Rakib (Kevin Ardilova) who serves as a housekeeper and assistant to a retired general Purnawinata (Arswendy Bening Swara). When Purna returns home to start his mayoral election campaign, Rakib bonds with him and defends him when his campaign is vandalized, setting off a chain of violence.

Autobiography is Makbul Mubarak's debut as a writer/director for a feature film, his previous works are mostly short films. This movie caught my attention when it premiered at the Venice Film Festival and got a standing ovation for almost 5 minutes. I don't think I remember having this weird feeling after watching a drama movie that's actually straightforward yet slaps you with an issue within our very society in the past and present, and possibly happened in other countries as well. Which are an abuse of power from powerful people who commonly have the highest occupation in certain fields of work. The performances of the two leading actors Kevin Ardilova and Arswendy Bening Swara are the true highlights of the movie. I am always terrified by Purna's onscreen presence even when he's not talking, that just shows you how one's reputation preceded himself and can suddenly affect other man's perception even after knowing him for a long period.

The cinematography is solid and modest, the visual tone is gloomy and they use close-ups and gritty handheld camerawork to help keep the suspense throughout the movie, especially in that one scene when Rakib is trying to flee from Purna and the house.

The suspense crafted from every element elevates Arswendi Nasution and Kevin Ardilova's performance. The plot is straightforward, but the nuance that creeps in as the film progressed is what makes this eerie; how close to reality it is to have a powerful figure from a certain institution abuse their power in order to collect more power or simply stay relevant, how perceivably normal it is that a son is so much sought after in the patriarchal misguided interpretation of "legacy", how more of often than not people keep being blinded by the possibility of gaining power no matter how low they can humanely be, and how capitalism agenda has always cruelly successful in putting public interest aside. The story may be a work of fiction, but the title very much reflects its true meaning in our real lives.