From drama, comedy, to horror, every genre has become a space for expressions of love for film, fashion and photography artists. Three short films in three different genres that show the character and characteristics of their respective aesthetic views, are a form of respect for various styles of storytelling from different perspectives.
Horror pierces Vivian's life when her husband, Burhan, decides to marry Angel, an avaricious young woman who uses witchcraft to terrorize her family.
It starts with Rana and his best friend Janu who are climbing a mountain in bad weather. In the middle of a dense forest, they got separated and lost. Janu is lucky to be back home at last. But not with Rana. An extensive search was carried out. Rana not found. A week has passed. Rana's extended family decided to hold a tahlilan. Rana is considered unlikely to have survived and will surely die there. Dini can't accept that. As a mother, Dini doesn't want to just give up and still believes that her daughter Rana is still alive. Sure enough. After the tahlilan, Rana came home in the pouring rain.
Three children Ayu, Agus and Laras share something in common - their struggles and living on the fringes of society unite them. Ayu dances so she can get money to pay for her school fees, while Agus is a pickpocket and practices his trade at the stadium. They dream of leaving their lives of poverty but through the passage of time, they have drifted apart. Now many years later as adults, they meet at the pre-appointed time that they had set for themselves many years before - each one eager to see if their friends have managed to change their fates.
Years after his teen romance with Milea, a now-adult Dilan tells his version of their love story when a high school reunion brings them back together.
Dilan's involvement in the motorbike gang imperils his relationship with Milea, whose distant relative returns from Belgium.
After being trained in the art of silat, a disciple gets sent on a journey by his mentor to take down a treacherous e-pupil with a villainous plan.
Betrayed by the Dutch colonial forces, Arana manages to escape along with his nephews Jamar and Suwo, the newborn sons of Hamza, one of the last Indonesian sultans fighting against foreign tyranny. In 1860, after wandering for years on the plains of the American Wild West, Arana and the two brothers return to Indonesia to avenge their dead loved ones and punish the evil man who caused their misfortune.
Tantra and Tantri are inseparable. When they secretly steal eggs from the family’s sacrificial offering, Tantri always gets the whites and Tantra the yolks. One day, however, the yolk is missing, as is Tantra. Her brother gravely ill and in hospital, Tantri starts slipping into magical parallel worlds, approaching the inevitable farewell through costumes, body paint and dance. When at one point Tantri’s mother washes the paint from her face, it is as if tenderly to expel the illusion that things can remain as they are. In long dream sequences and against the background of the Balinese philosophy of sekala – the seen – and niskala – the unseen – Andini relates how one ten-year-old girl deals with parting and grief.
At a Bandung high school, charming and rebellious Dilan vies for the affections of shy new student Milea.
Five friends embark on a mission to climb the highest peak in Java, overcoming obstacles on the way and discovering the true meaning of friendship.
Orphaned by a tragedy that took the lives of her parents, Srintil grows up in a poor Indonesian village aspiring to be a sacred dancer.