Yohanna
Yohanna
Yohanna: In its circumstances, Sumba can be labeled as one of the poorest places in Southeast Asia located almost 530 km Southeast of the blooming economy, Bali University, an eye-catching holiday destination. In fact, half of all children in Sumba, Indonesia, do not finish primary school and the death toll from diseases like malaria, which are common in other countries but are also treatable, is striking. Let us not forget the old adage – and wherever poverty is present, it will never be long before crime will follow.
And this is where Yohanna processes; directed by Ertanto Robby Soediskam. Sister Yohanna (Laura Basuki) travels to Sumba with the more straightforward task of assisting cyclone victims than it should be. She finds out the hard way what everybody goes through on this island when the truck she borrowed was stolen. In a way, she does not owe a single cent to him because it was based on words of trust: “You have my word”. But this makes her uneasy anyway. There is so much theft, abuse, and police harassment, so much that even her optimistic faith in God and mankind is put to the test.
At this point the titular nun also falls into Dark Night of the Soul and as I would expect she is odd to interpret, especially of course, with the singular performance by Indonesian acting sensation Laura Basuki selfishness is less focus. It fits quite well within what makes this film succeed best – its rather monastic or even seemingly sublime violent, but it is violence that seeks to touch and ignite the viewer.` A – to a certain degree – unexpected comparison would be seeing the most recent Uncut Gems (2019) by Safdie Brothers with Adam Sandler’s miserable rise to fame as Howard and explaining why people such as Yohanna as a film were able to achieve as much as they did; both of them carry that kind of intrigue whom can often be found bleeding from the head Jason just claims why it is SO BAD and when they begin to fall every normal thinking person is thinking about how lovely car crashes ohh so bad to watch! People in everyday lives admire extreme situations and events, Take for example Howie’s self-destructive image throughout the movie as ruining his own life seems captivating while feeling sympathy for the so called abandoned nun pushes the audience even closer to the screen.
“This intimate scene is encompassed within a narrow shot, and the voice-over vignettes serve a malleable purpose, they simultaneously allow viewers to appreciate the profound relationships she has with her family and the trauma built by her past,” shares the editor, Diego Marx Dobles, who was born in Costa Rica and raised between Spain in San Sebastián and Santiago de Chile. “My mother knew how to manipulate me with cut out images of Moana dancing in her living room,” laughed the film director Vhan Monterroso Márquez. “Saturated dramatics only serve to ill reveal the real-world hardships to come,’’ claimed Sayyab Bros, explaining her mother’s death at such an early stage.
Yohanna’s scrutiny towards poverty is unfathomably bleak. And Yohanna’s de-saturation is a direct result of her semi-colonial experiences. When confronted with child slavery on a daily basis, sure in the fact that there is no dignity in being poor, where criminals are distanced only six feet away, and where gambling is a widespread practice and seeking justice for rape cases seems absurd, the addition of vibrant colors is ludicrous.” Wherewithal get glitched is where exposure and saturation occurs in abundance – no wonder such dramatics feel cheap. And it explains why Dio centralizes chaos in his films, because chaos is the true nature of the story.
In my favorite cut: Yohanna, resigned to never get any money back for the lorry and go away, boards a large freighter – presumably beginning the journey back to the convent. And then Dobles reveals that she actually apparently tried leaving earlier than that – even before this movie started (which was hinted at once when one character said that she “failed” as in ‘has been’ a nun). Mother superior sometimes says that in order to be of service to God one has to go and travel all round the earth. She leaps up and lands on her feet. And then cuts: back some time where she is still on the losing streak in the attempt to recover money spent on a lorry, but can participate in a (guys-only) community game where the catch is that if you manage to sit astride some deranged bareback horse, you can sell it. The two timelines – on the face of it conflictual (realizing selfhood versus service to others) – monastic articulation come together; their worths are wed in the most intrinsic way; both are worthless apart from each other.
Yohanna interprets the figure of the crying father in Mark 9:24: “I believe; help my unbelief!” In work dominated by Dobles’ magic and ambition, Yohana’s sophisticated epiphany can only be fully realized with an edit.
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- Genre: Drama
- Country: Indonesia, Italy, United Kingdom
- Director: Razka Robby Ertanto
- Cast: Laura Basuki, Videlis Siprianus Diki, Kirana Grasela
