A Papuan teenager becomes fixated on his first kiss after meeting a woman at the port, unaware that his father's fight for justice has put their family in grave danger.

知名影星 Layar（尼古拉斯·萨普特拉 饰）正处于事业的倦怠期，对浮华的娱乐圈感到厌倦与迷茫。为了寻找新的创作灵感，他决心制作一部将家族历史与印尼电影发展史相结合的音乐剧。Layar 回到了曾祖父留下的老宅，意外在一个旧手提箱中发现了尘封已久的情书与日记，里面记载了曾祖父、祖父以及父亲三代人刻骨铭心的爱情往事。 随着阅读的深入，Layar 仿佛穿越了时空，亲历了那些充满浪漫色彩却又伴随着悲剧宿命的家族记忆。从殖民时代到现代社会，这部电影以歌舞的形式，展现了一段段交织着印尼流行文化变迁与电影历史的动人旋律。

The Indonesian society is seen through a middle-aged lady's eyes in her daily encounters with the street children who work and live off the harsh and sleazy world of adults.

Recruits to a radical Islamic organisation are blindfolded before being taken to a contact address. So starts this look behind the scenes of a phenomenon that cannot be discussed. The filmmaker received a visit from the head of counter terrorism. A sensitive film. In contemporary Indonesia, religious radicalisation is playing an increasingly important role. The banned Indonesian Islamic State (NII) successfully recruits among young people who don’t have any prospects of training or work. Nugroho tells three different stories: that of the girl Rima, who emerges as a valuable staff member of the NII; Jabir, who quits school for lack of money and returns to his parents, and Asimah, the mother of Ainsi, who has been kidnapped by the NII. Rima does so well that she acquires a leading role, but then it soon becomes apparent that there is no room for her ambitions in Islamic conventions. Jabir joins the radical Muslims out of frustration about the lives of his parents, who have no prospects. Asimah walks all over the city looking for her daughter. Nugroho (Leaf on a Pillow, Opera Jawa) made the film on a small budget (less than 100,000 Euros) with primarily non-professional actors.

In 1927 colonial Indonesia, a young woman trapped as a Dutch man's concubine fights for dignity in a world that sees her as nothing more than property.

In 1912, Javanese activist Omar Said Tjokroaminoto co-founds the Sarekat Islam party to fight injustices of the Dutch East Indies' colonial regime.

The drama is described by the lives of three women, a traveler seeking spiritual answer about her relation to her mother played by Marcella Zalianty, a radio broadcaster who faced a dilemma of abortion played by Ayu Laksmi, and an orphan who lose direction of live and trying to find guidance played by Nadia Saphira. All of them in one way are connected to motherhood, either longing for a mother, being a mother, loosing a mother, conflicting with mother, etc. All of them find their roots in Bali, either as resident, descendant or just traveler. The movie doesn't tell a story line, a beginning, a climax, and an ending. It simply brings you to a situation faced by those women. It tells you that being a woman is not a simple business. It lets you think by yourselves, what if you face those dilemma on your own. And the movie doesn't provide any solution. For normal movie viewers, it might look like a very boring movie. There many many symbols in the movie that makes the movie digestible. For instance the Calon Arang plays, that shows a mother's love, that surpass anything even though her offspring is a villain. And also the story of Gandhari of the Kauravas, whose jealousy to Kunti gave birth to the hundred sons of the Kauravas. Not all dilemma are mystical and complicated. One is very simple, a story of a jealous woman, which portrayed brilliantly as well as comically in the movie that bring spontaneous laugh.

Set in and around a mosque in sprawling Jakarta, Indonesia, during the Muslim holiday of Lebaran, the interwoven stories of family, faith and romantic love in this humorous yet poignant film are revealed through the eyes of kids

Literally translated, the title means “The Moon Pierced by Wild Grass,” and the film tells the story of the relationship between an aged traditional song teacher named Waluyo, his folk music disciple Ilalang (who has to cope with memories of his abusive father) and the lovely dancer Bulan, who Ilalang has loved for a long time. The feature is set in Solo, where the vestiges of feudal Javanese culture can still be found, and gamelan music is heard throughout. It is an intensely emotional meditation upon the relationship between the generations and the role of music in the search for recovery from a traumatic past and for identity in an uncertain present. Director Garin Nugroho, who has described himself as “a Javanese living amidst multiculturalism,” and who celebrates Indonesian cultural diversity in such films as A Poet, here explores Javanese culture. He sees this film as “encompassing at the same time refinement and cruelty, softness and tyranny, and a beauty based on feudalism.” Awards/Festivals: Best Director Award, Nantes International Film Festival. Special Jury Prize at the Nantes Three Continent Film Festival.

A true story of the didong (a style of ballad) poet Ibrahim Kadir. He was in prison and was present during the mass killings of an estimated 500,000 suspected communists when Indonesian President Suharto came to power in 1965. His humanistic poems recreate that era.

This is the story about Setyo, Siti and Ludiro, who were the performer of Javanese Ramayana's Wayang Wong. Setyo and Siti are spouse who live in a village by selling earthenware products. In the village, live as well Ludiro, the head of the stockyard, who is very wealthy and secretly in love with Siti. Conflicts arrived as Setyo's earthenware company is going bankrupt and Siti started to took notice in Ludiro's desire to win her love. These triangle love transform into a civil war in the village that brings not only extremity and injustice, but also the death of the loved ones.

This film is about one Indonesian hero, the first bishop in Indonesia named Soegijapranata SJ during the period of Pacific War (1940-1949). The story itself will be focused on the variety of human stories during the war (the Indonesian civilians, Indonesian fighters, and also Dutch and Japanese soldier) with him as the connecting line between each story. Through their stories, Soegija tried to remind us about the true value of independence and humanity.

影片改编自舞者Rianto的真实故事，他跳的是爪哇文化传统双人舞Lengger Lanang，男性扮演男女两种性别的角色。主角从小遭受虐待，探索了阳刚、阴柔与性别认同，“身体通常承载着伤痛”。