by Reza Mardian
Adapted from the novel of the same title, “Home Sweet Loan” is one of the top 10 Indonesian films, and managed to sell over 1.7 million tickets. Having been distributed in the neighboring country Malaysia, the film finally hits Netflix globally on January 30th, 2024.
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The story follows Kaluna, a middle-class worker still living with her parents and her two married siblings under one roof. Despite being the youngest, she bears the greatest responsibility for maintaining the household, fueling her dream of owning her own home. When an opportunity arises, she takes out a loan and embarks on a house-hunting journey with the help of her three friends.
However, her family’s problems continue to burden her. After discovering that her older brother has misused their father’s retirement savings, taken online loans, mortgaged their home, and expects her to bail him out, she reaches a breaking point. She runs away and moves into Danan’s empty apartment—who, coincidentally, is also her love interest. As she learns to live independently, she navigates her relationship with Danan while trying to secure her dream home.
This marks Kalangie’s third directorial feature. Her debut, “Too Handsome to Handle” (2019), was a comical adaptation of a Webtoon series, showcasing her talent in lighthearted storytelling. However, it was “The Red Point of Marriage” (2022) that earned her critical recognition among Indonesian film critics and cinephiles.
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“Home Sweet Loan” solidifies Kalangie as an emerging female director adept at capturing the complexities of Jakarta’s middle-class workers. Much like Payal Kapadia refrains from overly romanticizing Mumbai in Cannes’ Grand Prix winner “All We Imagine as Light”, Kalangie presents Jakarta in its rawest form: the traffic, the packed commuter trains and the cramped living spaces. Like Mumbai, Jakarta is a city of economic opportunity, drawing people from across Indonesia in pursuit of a better life. While the city can be beautiful, it is also overcrowded and can be suffocating. One other Indonesian film that attempted to explore this is “Love in the Flats” (1987) directed by Nya Abbas Akup. Yet, it was produced in 1987. While house ownership in Jakarta was challenging back then, it becomes more challenging in 2024 when a middle-class worker like Kaluna has to take loans and buy a small house that is so far from Jakarta itself.
Yunita Siregar delivers a standout performance as Kaluna. Her subtle facial expressions depict what it means to be a middle-class worker. For example, in scenes where she silently walks home after work, the weight of her struggles is palpable without the need for dialogue. As a context, Jakartan middle-class workers using public transportation to commute from work have to either go home early and be stuck in the traffic for hours or wait in the office till the traffic gets better. Either way, both options are exhausting and that is what the audience might relate to Kaluna the first time.
Kaluna is also a character who is often pressured in her household. The realistic portrayal of how Asian families rarely talk about their feelings makes the way she suppresses her anger and sadness even more believable. One of the film’s most pivotal moments—Kaluna’s decision to leave home—is executed with restraint, avoiding melodrama while still conveying deep emotional impact. This subtlety sets “Home Sweet Loan” apart from typical Indonesian dramas, which often rely on exaggerated theatrics. Under Kalangie’s direction, the actors deliver strong performances without overshadowing one another, maintaining an organic, ensemble-driven dynamic.
While many departments excel in this production, two deserve special recognition. First, production designer Haris Huda. He masterfully designs small, cramped spaces for Kaluna, allowing the audience to feel the suffocating reality of her life. From her tiny cubicle to the various bedrooms she occupies in the first act, each space reflects her struggle. Ironically, when Kaluna finally moves into a larger space, the overwhelming emptiness emphasizes what she truly misses: her family.
Second, cinematographer Ivan Anwal Pane, whose visual storytelling enhances the film’s emotional depth. Despite the crowded environment, Kaluna’s home exudes warmth. In contrast, whenever she returns from work or lives alone, the film adopts a cooler tone, reinforcing her sense of isolation. This subtle shift in color and lighting makes her eventual realization—that home is about the people, not just the space—even more poignant. Through a careful balance of close-ups and wide shots, Pane ensures that the audience remains connected to Kaluna’s inner thoughts
“Home Sweet Loan” is one of Indonesia’s best films of 2024 and is now available for global streaming on Netflix. With its strong storytelling, nuanced performances, and authentic portrayal of Jakarta, the film will appeal to any moviegoer who ever dared to dream of owning a house in Jakarta.
