Jakarta
In Indonesia, where ethnic and religious relations can be contentious, The Photograph is a breath of fresh air. The film, directed by Nan Achnas, depicts the tender friendship between Johan, an elderly itinerant photographer of Chinese descent, and Sita, a Javanese prostitute trying to escape from her abusive pimp.
'Being brought up in Singapore and Malaysia, I was always surrounded by the many cultures in these countries - the Chinese, Indian and Malay,' says the 44-year-old Indonesian director. 'The relationship between Johan and Sita is based on mutual trust and need. I deliberately tried to show their respect for each other's beliefs. I wanted to show the colour blindness of the two cultures.'
The Photograph, released in Indonesia in July, represents a phenomenon in Indonesian cinema that has emerged since the fall of authoritarian president Suharto in 1998. Reflecting the growing acceptance of Chinese culture, a series of films exploring Chinese themes and characters have been made in recent years. More significantly, they were made by non-Chinese women.
Ca Bau Kan (The Courtesan), the debut work of director Nia Dinata, was the first to break such ground when it was released in 2002. Based on a best-selling novel, the period drama revolves around a romance between a Chinese merchant and his Javanese lover during the first half of the 20th century.
The Chinese protagonist is an ambiguous character. He's true to his love, but he's also a scoundrel who's ruthless and scheming in dealing with rivals. But Ca Bau Kan was a big step forward, especially when compared with the negative, caricatured portrayal of the Chinese during Suharto's so-called New Order era.
'Ethnic Chinese were largely absent from Indonesian films, except in very peripheral and stereotyped roles - and even those were few and far between,' says Australia-based academic Krishna Sen, who writes extensively about Indonesian media.
