The ReelOzInd short film festival brings together Australian and Indonesian filmmakers in the hope of highlighting our friendship and common bilateral struggles. This week we hear from actor, screenwriter and theatremaker Rosie Clynes, whose film Hilang won Best Fiction for 2017!
Can you tell us about the film and how it came about?
The film is a short film called Hilang, or Lost – it’s got two names – and it’s a ten-minute film that I wrote and co-directed with Jonathan Soerjoko, who is a friend of mine.
We’re both Indonesian-Australians (I’m from Melbourne), and so it’s essentially about what it means to feel displaced in your own hometown. I think we came to the subject matter by saying, “Let’s do the film about what this year has been like for us” – because we both moved to Indonesia to, essentially, learn Indonesian.
The film is about two women who meet on a beach and exchange stories about their families and their lives. They talk about the family members they miss, and so on. It turns out that one of the women is the aunt of the other woman, but from another time – so it’s a little mystical and fantastical.
In terms of the message, we specifically made the film for ReelOzInd, so basically wanted to draw on the idea of water as a separator of families, and how more and more these days people are separated from their families by water, by the ocean. It’s all about longing.
What is your background in filmmaking?
I came from my usual headspace of a theatremaker, where I would make my own material and perform in it. But this turns out to be rather hard to film… nevertheless, I was acting in it and I also screenwrote.
I previously graduated from the VCA in theatre practice, which is essentially about acting but also writing for theatre.
Were you influenced by anyone in particular?
Joe was inspired by the Japanese director Akira Kurosawa. We watched a beautiful film of his called Dreams, about a young Japanese boy who meets the spirits of a destroyed peach orchard.
And for me it’s probably David Lynch – just how surreal it is. He works with surrealism really well.
Who else was part of the production team?
It was me and Joe steering the ship, but we also had a lot of really talented Indonesian friends. We had the help of a local sound engineer and cameraman from Yogyakarta; we were friends with him so he was kind enough to help us. There was also a local photographer. So, lots of different friends from Yogya.
Were there any troubles filming on location?
We shot on a beach about two hours away from Yogya. We tried to use the live recordings from the original shoot, but the audio was hazy because of the wind – so we decided we’d have to dub it. I was hoping it wouldn’t be noticeable, but because we were running so short on time… We ended up recreating all the sounds in a studio.
The total process was about a month, so we kind of whacked it together pretty quickly because we knew we had a deadline coming up – at one point we suddenly realised, we have to put this together.
Overall, how would you sum up your ReelOzInd experience?
It’s been cool! It’s just been really nice to delve further into the film community in Indonesia, and then to see the films from Australia being shown and getting noticed in Indonesia. We managed to meet quite a lot of cool filmmakers, new film friends – people who are interested in that sort of stuff.
Any future aspirations?
I’ve been writing a lot of stuff recently, which has made me realise how much I like performing. I think in the future I’d like to stick more with acting for film, and acting for theatre as well. I also would like to be based in Indonesia for now.
Ultimately, I guess the dream would be [making] indie films.
Congratulations to Rosie, and you can read an article she wrote for the Australia-Indonesia Centre here.