With Indonesia’s first film market taking place during JAFF, the enthusiasm for the festival was even bigger, in a way that is actually quite contagious, particularly since the overwhelming majority of the audience were in their 20s, with their attitude giving the whole thing a party essence that was quite appealing. The program was also interesting, with the local films taking a rather large part of the program, allowing for new discoveries in an industry that is dominated by horror movies, but actually produces a number of other genres. Also of interest is the fact that the local productions seem to move more towards mainstream paths, something that also dictates the festival’s program, in contrast to European film festivals who usually pick the arthouse path.
Without further ado, take a look at our coverage of JAFF (by clicking on the titles, you can read the full reviews)
Film Review: A Brother and 7 Siblings (2024) by Yandy Laurens

Dimas Bagus Triatma Yoga’s cinematography is somewhat excessive in the close ups, but in general works quite well, particularly in the moments many of the characters are together on screen. Hendra Adhi Susanto’s editing results in a fitting mid-tempo, although as mentioned before, the movie could definitely be briefer. Essentially a soup-for-the-soul type of film, “A Brother of Siblings” is pleasant to watch for the majority of its duration and it could even have been great if Laurens toned down the crowd-pleasing elements and tightened his narrative.
Video Interviews: Reza Rahadian
Film Review: Love and Videotapes (2023) by Ryan Machado

Mark Shun as Andoy is convincing in the role, without particular exaltations though, perhaps with the exception of his excellent chemistry with Bon Andrew Lentejas as Pido, which finds its apogee in the movie-discussing scenes. From the rest of the cast, Serena Magiliw as Ariel definitely stands out, particularly in the comical scenes. There is nothing particularly wrong with “Love and Videotapes”, but there is nothing remarkable either, perhaps with the exception of the retro nostalgia and the whole concept of the awakening. As such, the movie can be described as above average, but that is where the bar stops.
Film Review: The Queen of Witchcraft (2023) by Fajar Nugros

It is not easy to establish if the the sum of pros and cons of “The Queen of Witchcraft” leans towards the one or the other side. I feel, however, that fans of horror movies will have a good time with this one, particularly if they can leave logic out of the cinema, where the movie definitely deserves to be watched.
Video Interviews: Timo Tjahjanto
Film Review: Yukiko A.K.A (2024) by Naoya Kusaba

There have been many movies lately about Japanese people who seem to be stuck in life, with the message usually being that being stuck is not exactly that bad. Naoya Kusaba however, has a completely different approach, since his character actually makes a significant effort to change, which, impressively, though, is not exactly met with surprising success. It is this realism that mostly helps the movie stand out in a rather unique way, along with some other, equally interesting aspects.
Video Interviews: Lutesha
Film Review: The Gesuidouz (2024) by Kenichi Ugana

Granted, “The Gesuidouz” definitely demands some knack for punk music to be appreciated, and also of the Japanese slapstick style as it has been formed by directors like Katsuhito Ishii and Takashi Miike. For those who appreciate both, however, and for those who manage to throw logic out of the window, the film will definitely be a treat for both eyes and ears.
Video Interviews: Sheila Timothy
Film Review: Bride Kidnapping (2023) by Mirlan Abdykalykov

“Bride Kidnapping” is a truly impactful film that highlights a despicable custom in all its appalling glory, while presenting a small society that is tragically doomed to self-sabotage due to poorness, intense patriarchy, lack of education and essentially hope.