The blessing in disguise of seeing a wrong film, and some thoughts on Before, Now and Then (2022)
The blessing in disguise of seeing a wrong film, and some thoughts on Before, Now and Then (2022)
Something strange happened...
On November 18, 2022, I was supposed to watch the premiere of Ali Abbasi's Holy Spider (2022) at the Gateway Cineplex. We were finally settled in our seats. The lights finally dimmed and the movie started. The opening scene played and I was puzzled because the language was in Indonesian. The title card came in after (“Before Now and Then”) and I assumed that maybe it was just a part of the film, like a chapter title card, and that the title card will come in soon, like in the films of Gaspar Noe. Then I saw my friend's message when I opened my phone for a bit. My friend, who sat far away from me, told me that they're playing the wrong film and that they're screening Kamila Andidni's 2022 film Before, Now and Then. Several minutes later, we checked in on the staff and they explained to us that they were given a wrong file. They apologized for the inconvenience and gave us the option of getting a refund or staying to watch the rest of the film. My friend and I, finding the film interesting, ought to finish it.
It would've been nice to see Before, Now and Then actually part of the lineup. It is a blessing in disguise that they screened the wrong film for it turned out to be an engrossing film. The film offers rich and captivating storytelling and stunning performances. The last year edition of the festival included Andini's critically-acclaimed film Yuni, which also displayed Andini's prowess as a storyteller. With Before, Now and Then, Andini invites us to take a closer look at Nana (Happy Salama) as she befriends her husband's mistress Ino (Laura Basuki, who won a Silver Bear for Best Supporting Performance for this film). As the film progressed, we saw Nana seeking freedom from all her secrets and guilt.
The theme of female camaraderie is in the background and what was highlighted is the pitfalls women suffer over their quest to find freedom at a time when they were in the tight shackles of patriarchy. While Nana's husband is free to have an affair, the weight of having secrets is taking a toll on Nana's well being, even having nightmares. She longs to be free, but the customs of the time hold her back from ever attaining it. Her friendship with Ino helped her get through it as she serves as a fellow who also yearns for her own freedom as well. By the end of the film, Nana takes the hardest blow, not her husband. The snide remarks she got are much more lethal than what her husband received. But does it matter, when she can finally let her hair down to the world, free of guilt and secrets?
It is a slow-burn, running for 147 minutes and filled with dreamy, intoxicating visuals and dream sequences that contain metaphorical symbolisms. Andini’s screenplay took its time to develop its protagonist. The mood of the film can be likened to the style of Wong Kar Wai and Apichatpong Weerasetahakul. Batara Goempar Siagan's intimate and atmospheric cinematography proves it, further enhancing the mood of the film and transporting you to a time and place where it took place, 1960s post-independence era of Indonesia. Scenes are accompanied with Ricky Lionardi's sumptuous and melancholy score, spurring out emotions akin to In the Mood for Love (1999). All of these creative decisions made are in the service of the story and all executed well.
It is fortunate that I got to witness a great film out of this mess. However, the vexing part of this experience is that the organizers were supposed to perceive this error beforehand. It is impossible that they did not conduct a test screening of the film before the premiere. It’s a good thing that they owned up to it and offered refunds to the audience, but they already wasted so much of other moviegoers' time by not taking preemptive measures to avoid this.
I merely expressed this even after their apology to the people who were present during the incident so it could be prevented from happening again soon. As for Before, Now and Then, hopefully more people would discover and see this gem, with the knowledge of actually seeing this instead of watching this because they projected a wrong film. You can actually stream it now on Amazon Prime Video (check availability in your region) so if you have the time, please give it a watch. This unexpected event is both a blessing and a curse, varying whether you are prepared to consume a slow burn drama set in the backdrop of 1960s Indonesia or not. While it is a strange yet amusing experience I think some cinephiles had and should have once in their lives, I hope this won't happen frequently especially during the premiere of one of the films in the announced lineup.
A free screening of Holy Spider will be shown on November 26, 5:00 PM at Gateway Cineplex theaters.
