Download Film The Mirror Never Lies 2011

[Julia Heaslet]

<div>Centered around the Bajo tribe, who lead a nomadic fishing-based lifestyle in the Wakatobi archipelago of southeastern Sulawesi, the film provides much to think about in terms of its anthropological themes, but is just as effective as a well-told coming-of-age story.</div><div></div><div></div><div></div><div></div><div></div><div>download film the mirror never lies 2011</div><div></div><div>Download File: https://urluso.com/2yMX9f </div><div></div><div></div><div>Taking place in a small village that literally sits atop the ocean, The Mirror Never Lies is about a schoolgirl named Pakis (Novalista, in a convincing performance). Tormented by the absence of her father, who never returned from a fishing trip, she carries a mirror he once gave to her, in the stubborn hope that a local fortuneteller can use it to identify his location.</div><div></div><div></div><div>Andini, daughter of well-known director Garin Nugroho (who also produced this film), walks a fine line between creating a story with universal appeal and social relevance, while the same time avoiding preachiness or the exoticism of its protagonists.</div><div></div><div></div><div>Screen International is the essential resource for the international film industry. Subscribe now for monthly editions, awards season weeklies, access to the Screen International archive and supplements including Stars of Tomorrow and World of Locations.</div><div></div><div></div><div></div><div></div><div></div><div></div><div>Twelve-year-old Pakis' father, a Bajo fisherman, is missing at sea. While most presume he is dead, Pakis (Gita Novalista) is hopeful that he will return home. She carries a mirror wherever she goes, hoping that it will reveal a reflection of her father very much alive. Her behaviour upsets her mother Tayung (Atiqah Hasiholan), who is grieving the loss of her husband and is struggling to support herself and her daughter. Pakis cannot forget her father's stories of the sea. Unable to sleep, she lies awake at night, waiting for her father to return.</div><div></div><div></div><div>Tudo (Reza Rahadian) is a marine biologist from Jakarta. He has come to Wakatobi to track dolphins. The village elder insists that he stay with Pakis and her mother. Tudo moves into the hut where Pakis' father once slept. Pakis resents Tudo at first but his knowledge of the ocean shifts her perspective and soon she has a crush on the handsome stranger. Tayung is also attracted to Tudo. Tudo may have come to the Bajo village to work but it is clear that he is also trying to mend a broken heart.</div><div></div><div></div><div>When the mirror breaks, Pakis is distraught. She turns to Sandro the village fortune-teller for support but his advice is of no help. Pakis steals the mirrors from her neighbours' homes and takes the wedding gown that hangs in Tudo's room. She retreats to the hill, where she dons the gown and decorates the tree with mirrors. Then she waits.</div><div></div><div></div><div>Pakis' friend Lumo (Eko) comes in search of her. He understands her grief. His father, a fisherman, has also lost his life at sea. Lumo brings with him a piece of a wooden fishing boat, proof that the waves have taken Pakis' father. She must now accept the fact that her father is dead and find her way in the world just as her father wanted her to.</div><div></div><div></div><div>The Mirror Never Lies (also known by the Indonesian name Laut Bercermin, meaning The Ocean Reflects) is a 2011 Indonesian film directed by Kamila Andini and co-produced by Andini's father, Garin Nugroho, and former Puteri Indonesia Nadine Chandrawinata. Starring Gita Novalista, Atiqah Hasiholan, and Reza Rahadian, it follows a young Bajau girl named Pakis who has lost her father at sea and uses mirrors to unsuccessfully search for him. It has several interpretations, including as a coming-of-age story and as an environmentalist piece.</div><div></div><div></div><div>Filmed over a period of two months after nearly three years of research, The Mirror Never Lies was sponsored in part by the Indonesian branch of the World Wide Fund for Nature and the Wakatobi regency government. The first feature film to star the Bajau, it used their language extensively. Although a commercial failure domestically, it has been screened at many international film festivals and won several awards both inside and outside of Indonesia. Critical reviews have generally been positive, mostly emphasising the film's visuals.</div><div></div><div></div><div>Pakis (Gita Novalista) is a young girl from a fishing community of the Bajau people in Wakatobi, Sulawesi, part of the Coral Triangle. She lives with her mother, Tayung (Atiqah Hasiholan). As Pakis' father has been lost at sea, Tayung works hard to support her daughter. Pakis, however, is determined to search for her father, a quest which brings the two into conflict. Pakis regularly visits a local shaman, who conducts a ritual allowing Pakis to search for her father in a mirror's surface. The ritual never shows Pakis his location but she remains determined to keep trying. Meanwhile, Tudo (Reza Rahadian) has broken up with his fiance. Struggling to cope with the loss, he takes a new job in Wakatobi studying dolphins. There he becomes involved with the Bajau community, staying at Tayung's home. Eventually Pakis is able to realise that her father is dead and continues with her life.</div><div></div><div></div><div>The Mirror Never Lies was a collaboration between the Indonesian branch of the World Wide Fund for Nature, the Wakatobi regency government, and SET Film Workshop,[2] with the former two providing funding.[5] It focused on the Bajau people,[a] also known as "sea gypsies" for their nomadic maritime lifestyle. Little Indonesian-language documentation was available to the crew, and as such production took over two years, most of which was research. Andini later recalled that the crew had to "go directly to Wakatobi back and forth to get to know everything about the [Bajau] tribe".[2][6][7] Originally planned for the second quarter of 2010, shooting was further delayed until September owing to an extended rainy season. Unlike most contemporary Indonesian films, which are often completed in a matter of days, the crew shot on site over a period of two months. They faced poor weather, including typhoons and large waves, and had difficulty manoeuvring over the wooden walkways and bridges used by the Bajau.[2][6][8]</div><div></div><div></div><div>The film cast three Bajau teenagers, Gita Novalista, Eko and Zainal, in their feature film debuts; the three were the first Bajau to play in a feature film.[9] More experienced actors, including Atiqah Hasiholan and Reza Rahadian (who had received two Citra Awards), were also cast.[2] Hasiholan later stated that it had been her most challenging role yet, citing the cultural differences between the Bajau and what she was familiar with as well as her unprecedented need to act as a mother.[10] In preparing for their roles, Hasiholan exercised slicing and dicing fish,[11] while Rahadian went to Ancol in North Jakarta to learn about dolphins.[12]</div><div></div><div></div><div>The Mirror Never Lies uses the Bajau language heavily, with its Indonesian spoken in a Bajau accent[1] and, in domestic screenings, Indonesian-language subtitles when Bajau is spoken.[13] The use of pre-recorded music is minimal. Instead, much of the film's soundtrack consists of "folk songs and chanting" in Bajau.[14] Hasiholan had to undergo tutoring to learn her lines, learning from the Bajau people on location.[7][15]</div><div></div><div></div><div>In a 2012 interview Andini stated that she considered The Mirror Never Lies and the Bajau people symbols of unity; she expressed that the sea should not separate the different ethnic groups in the nation, but serve to connect them.[16] Likewise, in an interview with Antara Nugroho stated that the film was intended to remind Indonesians that theirs is a maritime nation, which has influenced the country's culture.[17] The regent of Wakatobi, Hugua, added in an interview with the Indonesian newspaper Kompas that Indonesian films had historically only presented land based cultures.[9]</div><div></div><div></div><div>Triwik Kurniasari, writing for The Jakarta Post, considered the film a criticism of "destructive fishing practices and climate change" in Wakatobi; she believed that this is shown through the director's "respect for the environment" in the film.[2] Writing for Kompas, Teguh Prayoga Sudarmanto noted that such a theme is representative of realities faced by Bajau fishermen, who must travel ever further as the fish supplies diminish. He further suggested that the film depicts the sea as capable of both friendliness and hostility, a force with which the Bajau must deal every day.[9] The critic Lisabona Rahman, writing for the Indonesian film database filmindonesia.or.id, contrasted The Mirror Never Lies with the plot of "tourist" ("turis") films: unlike in such films, where a city-dweller changes the traditional lifestyle in a village, Tudo is able to adjust himself to village life and follow their ways.[8]</div><div></div><div></div><div>Benny Benke, writing for the Semarang-based Suara Merdeka, drew a parallel between The Mirror Never Lies and Samuel Beckett's play Waiting for Godot. He suggests that they both have the same message: that awaiting somebody who never comes is ultimately futile.[18] Benke further suggests that the film is centred around the conflict between the "utopian" Pakis and her "realistic" mother.[18] Meanwhile, Maggie Lee, reviewing in The Hollywood Reporter, considered the film more of a coming-of-age story, with Pakis "discovering her womanhood just when the most significant man in her life is gone".[14] Lee also noted Pakis' burgeoning sensuality and "nascent physical stirrings" for her friend Tudo.[14] Ultimately, Lee suggested that Andini was expressing her desire to "break away from her father' [sic] artistic influence and swim alone" through the film.[14]</div><div></div><div></div><div>The Mirror Never Lies was premiered at the XXI Cineplex at FX Life Style in Jakarta on 26 April 2011,[17] followed by a wide release on 5 May 2011.[1] According to Lisa Siregar of The Jakarta Globe, the film was one of the first to document the Bajau people, including several of their rituals.[7] It was a commercial failure domestically, seeing little viewership.[16]</div><div></div><div></div><div>Puput Puji Lestari, writing for the Indonesian entertainment website KapanLagi.com, praised The Mirror Never Lies, concluding that it was "highly recomended" [sic] and that, despite some scenes which were out of focus, it "showed its quality from the first minute".[b][19] Kurniasari considered the performances by the Bajau youth well done and praised the visuals as a "sneak peak into the beauty of Wakatobi".[20] She found, however, that the film had several events with unclear motives.[20] Lee likewise praised the film's "breathtaking underwater cinematography" and Novalista's performance, considering the youth's performance "convincingly embodying the uncertainties of a girl on the brink of adolescence".[14] She found some faults in the film, including its ecological message which made "some scenes look rather Discovery Channel" and the "artificial" manner in which traditional songs were included in the film.[14] Siregar also praised the visuals, writing that "every frame of the film is filled with the natural beauty of Wakatobi" and that The Mirror Never Lies would likely attract tourists to the islands.[7]</div><div></div><div> b1e95dc632</div>