#MovieGlasses - Exhuma (2024)

 

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I promise you, this blogpost will fast and straight to the point.

Long Story Short

One day, Two Shamans, Geomancer (Feng-Shui Master) and President's Gravedigger had their life intertwined by a baby who got cursed by their grandparents via their parents. Long story short, four of them exhumed the coffin of the grandparents AND thanks to greedy morgue attendant, the evil spirit of the Grandpa running loose, claiming all of his line of blood until the last one - the Baby. The spirit goes wild, killing all his line, right before he killed the baby, the administration was done and approved regarding to cremation of the grandpa's coffin. As the coffin burned, the spirit goes bye bye, the baby is save and someone killed a scary-humanized-faced-and-haired snakes from the grandpa's graveyard.

And then, like a fine wine, they bridge the Spirit Grandpa Arc into another story that involving the same graveyard - lets call it Shogun Arc. For me this is when the film getting interesting. The Oni Shogun is real, eating live pigs and some people head off, and can transform into a ball of fire when need to flee. And then filled with historical and negative sentiment with Japanese, the three character (you'll see what happen) face to face with the Shogun, D&D style - the Shaman rolled Charisma check below the Shogun, but thank God she had a backup.

Badabing, badaboom, the Shogun's dead and the movie ended with a such happy ending. Hana dul set.

For Me..

This movie will be pleasant for those who enjoy horror with jumpscares (yes, there are several jump scares that literally makes me chills and made my wife hand grasp harder (I believe she dug her nails into my arm)) while also enjoying a korean movie whatever it was from drama or any other genre. But don't expect any horror trope on the second arc - despite I enjoyed the second part, but frankly it was more like monster movie where we know who the monster, where will the monster be, and how powerful they are. But for the first arc, I nailed down my eyes.

The convos was great, the cinematography was superb, and the capabilities on creating such nuance and mood and tense was top notch - both for arc I and II. The thing that bothered me was just it was so explicit, so raw that the woman-headed-snake scene was purely a bridge between the arcs. It was so obvious and it ended up way to quickly and abrupt. I want to know what happen with the woman-headed-snake, why it's exist in Exhuma's universe and will it expand the world itself. It was short and literally brief scarry moment, it hold such potential.

And once again, I grateful for the Shogun's arc.

Hence the Verdict..

I'll give 7,5 of 10 and 8,5 of 10 only for the Shogun arc. I love it so much.

#RetroLenses - Kafka on the Shore: Crows and Adolescent Phase

Back then, I want to have a friend like Crow.

He pushes you into your limit, urge you into and do something, makes you realize, what you really want. He is a good friend. And also, a great influence.

I wanted to be like Kafka Tamura: running away from home, wander aimlessly on small city, went to the public library, digging my face into those pages of words and expression, stayed in a small cabin near the woods, reading books while only wear briefs. All hopes are lost - no money, no rules. Only waiting to be engulfed by time, books and darkness.

That was me, around five years ago, when I read this book for the first time. Also the first time I encounter one of Murakami's works. I did some research, which books of his that pleasurable to be read in the first time. I'm still in college back then, with very limited money, still sleeping under the same roof of my parents. Living alone was a wish-to-be-true. At least, I could read books with brief and bare chested without any interruptions on Sunday.

Until this moment, I've read it thrice. But yet, still a lot of things I just did discover. And every time I reread it, my visualization will always change. One time Kafka is a bush-haired kid with lean body, one time another he just a blank representation of a person - all white, no details. Once when Tanaka - a senior citizen who able to talk with cats - got caught in the Fish Rain, I visualized it on a bus stop, alienated on the top of a mountain, glimmered with neon lights and such; at another time, it was just happening on the bus terminal near my current office building. I pictured Ms. Saeki differently every time I reread it - but one thing always there: glasses and red haired woman.

While Crow, will be and always be the Crow.

---

I was very grateful I read Kafka when I'm still on the adolescent years. I read it right after I arrived home, and put it down seconds I wanted to sleep. There's something in this book that could reach me out, sometimes it slaps my face to make me realizing something.

I remembered these words that Crow said to Kafka, as he finished packing his things up. He closed his eyes, and Crow said to him:

"Sometimes fate is like a small sandstorm that keeps changing directions. You change direction but the sandstorm chases you. You turn again, but the storm adjusts. Over and over you play this out, like some ominous dance with death just before dawn. Why? Because this storm isn't something that blew in from far away, something that has nothing to do with you. This storm is you. Something inside of you. So all you can do is give in to it, step right inside the storm, closing your eyes and plugging up your ears so the sand doesn't get in, and walk through it, step by step. There's no sun there, no moon, no direction, no sense of time. Just fine white sand swirling up into the sky like pulverized bones. That's the kind of sandstorm you need to imagine.

And you really will have to make it through that violent, metaphysical, symbolic storm. No matter how metaphysical or symbolic it might be, make no mistake about it: it will cut through flesh like a thousand razor blades. People will bleed there, and you will bleed too. Hot, red blood. You'll catch that blood in your hands, your own blood and the blood of others.

And once the storm is over you won't remember how you made it through, how you managed to survive. You won't even be sure, in fact, whether the storm is really over. But one thing is certain. When you come out of the storm you won't be the same person who walked in. That's what this storm's all about."

All the hardships and the problems I had back then, was meant nothing if I compare with what I met recently as I stride along the adulthood. Back then, I was living constantly in the future, very far future. All what-ifs were coming like typhoon, wrecking my mind and souls in single swept. Always thinking about "if and then" but never enjoyed the current moment - the present. Thinking way too far, never truly ever set my foot right underneath.

The adolescent was truly a scary phase of life. But also a one thrilling roller-coaster ride if you really try to enjoy it. Friends came and went, also with lovers and significant others. Fit in, blend in, trying to be perfect - a sole survival skill to be required in order to get almost everything you needed. Sometimes, we met wrong friends or someone that made the relationship feel like a sinking boat. But the other times, as like God Itself dragged the person out of nowhere to lead us into somewhere or maybe some point in your life, and decided to drag them away.

Some people had friends, some were a lot, some were none.

Some still struggling looking for their premature true love, some already losing their virginity, some still believe there is no such things as true love.

I believe what Crow said to Kafka is some kind of telling him what he might endure. Things he couldn't handle will meet his path, people who didn't like him will emerge, love will or will not spread in the sky. It might hurt him badly - emotionally, mentally and physically. The Holy Trifecta of Human Being might be scattered or maybe it just become a flesh wound that could only heal by time.

The existence of Crow - I perceived - was meant to prepare Kafka's mind, body and soul for anything that will lay ahead with his life. As similar as a mental note that sometimes need to be told early in the morning right after waking up; mantras that should be chanted while brushing teeth or tidying clothes before went to school or work; an amulet hidden deep inside a wallet. Crow is something that made Kafka aware about his situation, something he always kept in mind - something to grasp on when he got unbalanced.

---

Writing this essay while remembering those memories is a quite nostalgic activity. I remember how back then I was petrified about my future, withholding all those uncertainties inside my head, growing wild like tumors. Even right now, I still haven't figure it out all of it. What lies upon the horizon, waiting for me to discover.

I made my own Crow. And he said the same thing as the original Crow said to Kafka. Over, and over, and over, and over.

It was just the matter of time my own Crow will be dead like the original ones.

But until that time, I'll keep hanging on his beak and listen to all he said to me.

A distraction while I hurdled inside the sandstorm. 

#MovieGlasses: Dian Sastro, Kuliner dan Film - Aruna dan Lidahnya (2018)

Hari ini, kegiatan kuliner gue sedikit basic. Dimulai dari sarapan dengan bandeng presto hangatan kemarin dan nasi putih, makan siang Nasi Goreng Sambel Terasi Es Teler 77 dan ditutup dengan tiga slice Pizza. Sebenernya tidak basic sih, namun berlemak lebih tepatnya. 

Kuliner gue hari ini berlemak. 

Namun, diantara makan siang dan makan malam barusan, sempat gue jajal sebuah konsumsi yang cukup baik. Gak untuk perut sih, tapi untuk mata dan juga... well, mata sih lebih tepatnya.

Bumbu Utama

Cast "Aruna dan Lidahnya" - source: Twitter.com

Aruna dan Lidahnya pada dasarnya adalah sebuah novel garapan Laksmi Pamuntjak (which I never read it before) yang diangkat menjadi sebuah film yang disutradarai oleh Edwin (which I never saw a movie directed by him before). Dan seperti yang dapat dilihat dari gambar diatas, film ini dibintangi oleh Nicholas Saputra, Hannah Al Rashid, Oka Antara daaannn MBAK Dian Sastro.

Premis utamanya pada dasarnya adalah Mbak Dian aka Aruna ini pengin kulineran sembari dinas keluar kota (empat kota) yang berakhir memecahkan konspirasi dan juga menemukan cinta sejati (dang, it rhymes..). Selama Dinas/Kuliner ini, Aruna ga jalan sendirian. Layaknya pekerja kantoran di Ibukota, sebuah circle kecil merupakan sesuatu yang tidak dapat dihindari dan ditolak. Dan pada dasarnya, circle Aruna ini sedikit wah dibandingkan circle-circle basic kalian semuanya.

Bayangkan.

Lo adalah Aruna, seorang epidemiologist di perusahaan yang mumpuni dan memiliki selera makan yang tinggi. Lo juga punya temen namanya Bono yang adalah seorang chef dan mempunyai restoran yang sophisticated dan sering mengajak lo untuk nyobain makanan buatan dia yang notabene adalah mahal secara gratis gitu aja sob! Dan lo punya temen penulis guide dan kritikus makanan terkenal yang bahkan sudah melanglang buana ke negara mana gitu bernama Nad.

Menurut gue, ini adalah circle pertemanan yang sangat sehat dan juga baik bagi kesehatan. Karena ya berorientasi panganan tentu saja. Yang satu doyan makan, yang satu doyan masak, yang satu indra perasanya baik dalam mentukan makanan mana yang enak mana yang enggak.

Ok, jadi Aruna fix Kulineran/Dinas Luar Kota untuk meneliti suatu kasus Flu Burung dan sebagai seorang epide.... ok, sebagai seorang pakar wabah penyakit, adalah tugasnya untuk melakukan investigasi terkait hal ini. Dan cabutlah Aruna dan Bono ke spot pertama mereka - Surabaya. Disitu Nad akhirnya nyamperin mereka dan lengkaplah circle sehat bugar ini.

Namun tidak disangka tidak dinyana, datanglah ex-supervisor Aruna yang namanya Farish - yang notabene sudah pindah ke perusahaan lain - buat nemenin doski hanya karena perusahaan dialah yang meminta perusahaan Aruna buat melakukan investigasi ini.

Dan, mulailah perjalanan Kulineran/Dinas Luar Kota/Pencarian Cinta/Penyelesaian Konspirasi ini.

Mecin alias Penyedap

Menurut gue, secara umum ini adalah film cinta-cintaan. A girl and a guy, some way some how, it will happen. 

Namun yang menjadi nilai plus bagi gue adalah, bagaimana sang sutradara mengemas film cinta-cintaan ini tidak cheesy dan ketebak. Dari awal scene sampai dengan credit title nongol, walaupun sempat pesimis, namun hal tersebut tercerai berai dengan paparan wajah MBAK Dian Sastro tersebut. Oh dan tentunya alur ceritanya juga.

Banyak scene yang menurut gue random, kaya pas Nad dan Bono pengen balik ke arah Tunjungan Plaza tapi end up dugem di sebuah kapal pesiar dengan arak seadanya dan lagu sedangdut-dangdutnya. Atau berantemnya Aruna dan Farish diantara Barongsai (untung ga kesikut tuh pada bedua). Namun, ya, ke randoman itu akan menjadi tutupan biar cinta-cintaanya ga begitu kelihatan.

Dan tentu saja yang tidak kalah penting adalah SUPERCUT dari makanan-makanan yang menjadi khas di tempat mereka berada. Itu sumpah parah enak bener gue ngeliatnya. Jadi pengen makan right that moment. Ga usah lama-lama, film dibuka dengan Aruna memasak Sop Buntut yaNG DAGINGNYA AJA TINGGAL DI TOEL DIKIT LANGSUNG LEPAS DARI TULANGNYA. GIMANA GA PENGEN BOY!!

Dan in the end, adalah eksistensi MBAK Dian Sastro ini sendiri. Yang selama ini gue tau adalah, Dian Sastro adalah mbak-mbak yang sekarang sudah menjadi ibu-ibu yang menjadi idola di masa lalu dan juga masa kini. Apalagi dengan kemunculannya di film ini, gue yakin akan banyak karyawati-karyawati yang nantinya pas dapat surat dinas keluar kota, jadinya malah kulineran. Just want to be like Dian Sastro in this movie. Tapi gue gak memasalahkan itu.

Yang menjadi mecinnya adalah, kenapa di film ini, MBAK Dian terlihat sangat muda, dan kuyu, dan simple dan membuatku demen. Gue merasa melihat Dian Sastro di film ini, seperti melihat seorang wanita yang telah memasuki masa-masa kerja dimana rambut gerai adalah panas, rambut iket adalah point utama, baju blus Uniqlo adalah kunci jawaban dan makanan adalah ganjaran yang setimpal. Mata gue tidak lepas darinya, mulai dari bagaimana ia canggung, bagaimana dia jalan, dan tentu saja bagaimana ia pas melakukan breaking the fourth wall. Ini sih yang paling kampret. Hehehehe.. serasa mbak Dian tersenyum kepadaku.

DAN JANGAN LUPAKAN DIAN SASTRO DENGAN RAMBUT SEDIKIT BASAH KARENA HUJAN DAN KETAWA KETIWI ADALAH PEMANDANGAN YANG MELEGAKAN HATI!!!!11!!!!1

After Taste dari Sebuah Aruna

After all, Aruna dan Lidahnya ini, mampu memberikan gue pengalaman mengenai film cinta-cintaan Indonesia. Tidak semua film seperti itu akan menye. Buktinya dapat dilihat disini. Tidak gue lihat ada adegan tangis-tangisan. Tidak ada adegan yang overly dramatic. Tidak ada adegan yang dibuat sedemikian rupa sehingga kesannya magical atau coincidental. Semua terkesan natural. Semua terkesan riil. Seperti melihat sebuah dokumenter kuliner yang dibuat oleh sebuah karyawati sembari ia menceritakan perjalanan dinasnya beserta teman-temannya. Sebuah dokumenter yang ringan dan menggugah selera.

Hanya saja bagi gue ada sedikit mengganjal dimana masih ada terasa banget scene yang pake suara di dubbing lagi dan mana yang enggak. Mungkin ini karena faktor eksternal pas lagi shooting, tapi hal tersebut sangat sangat membuat adanya sesuatu yang signifikan. But it's an OK. I enjoyed it afterall.

Aruna dan Lidahnya pada akhirnya menjadi sebuah film yang ringan namun juga cantik, baik segi cerita dan juga cinematografi. Namun pada akhirnya tidak ada yang dapat menandingi tatapan mata Dian Sastro dan juga mohon bantuannya untuk dapat membantu gue melupakan bahwa Dian Sastro memiliki tahi lalat di bibir dalamnya.

Y U SO KYUT, MBAK DIAN???!!!!