Director: Angga Dwimas Sasongko
Scriptwriter: Angga Dwimas Sasongko, Jenny Jusuf
Runtime: 2 hours 1 minute
‘Nanti Kita Cerita Tentang Hari Ini’ shows what it seems to be a warm and loving family could turn into a callous place, dramatically imprisons everyone (feeling) inside.
Why It’s Worth Watching
Nanti Kita Cerita Tentang Hari Ini takes the different approach of a family drama by introducing the storyline through the complexity of three children who as well share unique, distinctive personalities and obstacles.
It is also quite delightful how the film takes its cinematography and scoring with great attention as they cleverly match the storytelling as well as the soothing dialog taken from the original book written by Marchella FP.
Enter the Family Tragedy
Debuted on January 2nd 2020, Nanti Kita Cerita Tentang Hari Ini (NKCTHI) offers an interesting tale that is quite different compared to previous Indonesian films. While most of the themes are dominated by comedy, romance, or religion or even the combination of them, NKCTHI splendidly brings a fresh vibe for cinema-goers at the beginning of the year.
Though the film is brought from the book with the same title, the whole story created in it is freshly made, only borrowing one character named Awan and a plethora of quotes from the book, which in fact a quote book.
Focusing on a family that consists of parents and three kids, NKCTHI presents these characters with emotional, heartbreaking depictions. Every single one of the members holds various struggles, which they solidly keep from time to time. To make it even worse, you will find the three children, especially the firstborn and the second-born, clench to the burden tenaciously even from their childhood.
You will be brought to the confusion of what actually happens within the family. Why the father, Narendra (Oka Antara/Donny Damara) hardly pushes his son in taking care of his sisters and why the mother, Ajeng (Niken Anjani/Susan Bachtiar), was crying in the bathroom on the one specific scene in the first quarter of the film.
It is reasonable since the secret, the reason why the parents behave in that way, is told later near the end of the story. It also concludes the mental burden that haunts them for years. And it’s not just the parents that suffer from it, but also their children.
The Children, The Feels
The first-born Angkasa (Rio Dewanto), middle child Aurora (Sheila Dara Aisha), and the youngest Awan (Rachel Amanda) are, needless to say, who define the film. Even though it’s clear how the show mainly focuses on Awan, it gradually embarks on telling the tale of her older siblings. Each one of them has its own moment that intertwines others and draws its conclusion at the right time, for when you might prepare a pack of tissue to sweep the stream of your tears.
You will be shown by the first round of the film that Angkasa has to endure the task his father instills, which is looking after his sisters, most importantly Awan. What’s a seemingly simple saying that is normally told to every first-born is changed to a herculean mission due to the father’s overprotective trait toward Awan.
The sole rule really makes the best of it. It happens even twenty years later. The burden to always keep the youngest safe eventually drains the life of Angkasa and Aurora. Angkasa must sustain the undying responsibility that is still needed to be obeyed, resulting in sacrificing his own life.
Aurora, pretty much the same, has to bear the irony behind all of it by tolerating and receiving the absence of his father’s love. Although she is the brightest among others, the lack of his father’s appreciation, as well as his brother’s closeness to Awan are enough to bring her to the state of loneliness.
Awan, on the other hand, as the one becoming the center of attention, eventually becomes aware of the family that supporting her has apparently turn into a decision-maker for every problem she faces, nullifying her own judgment. Her afterward encounter with Kale, the man from the music crew, makes her disenchanted with it. She then starts to confront her father’s perpetual behavior and things are going nasty from this point.
Despite the three have their personal issue, not to mention their parents having something kept in secret, you will be astounded on how the director Angga Dwimas Sasongko gives each member of the family the moment to shine. They share the same amount of spotlight as they come naturally to resolve their problem and none of them are going to the oblivion.
Added to that, it may interest you how the film company Visinema before this show debut introduces the children through three separate trailers. Each of these trailers is narrated by either the youngest or the older and accompanied by amazing soundtracks.
One thing that feels off about this film is rotated around the settlement of the conflict. Although it is quite adequate to finish the problem in such a way, it is pretty much like being rushed for the sake of providing to the conclusion (and that one scene when the mother picks up the key is kinda cheesy). Nevertheless, the ending is wholly satisfying.
“Hidup itu lucu ya. Yang dicari, hilang. Yang dikejar, lari. Sampai kita lelah dan berserah, saat itu semesta bekerja.”
“Life is funny, isn’t? What being search, gone. What being chase, leave. Till the time we’re tired and accept it, that’s when the universe works.”
A tender family drama like no other, wrapped in decent dialogs and filled with suited soundtracks, which are sufficient to make the audiences breaking down in tears.
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