“Why do women wear their hair long?,” asks the irrepressible Dais of her mother Nana as she sits in front of the mirror, dressing her hair as if there were nothing more important in life. To all a…
shows two women carrying their goods — including a baby — through the forest on animal tracks to avoid being spotted by “those people.” Nana is being spirited away by her sister, under instructions from their father. The rebels want Nana as a consort for their leader. If not her, then her sister will do.
Nana is still whispering 13 years later, now remarried to a wealthy landowner and with several more children. Her husband Mr Darga is older than she is. We first see her combing his hair for lice and tenderly washing it. He tells her how beautiful she is and praises her talents managing the farm’s business. She knows that, whatever he says, he betrays her constantly, maybe compulsively.
Indonesian politics are unexplained and frustratingly tangential to what we see on screen, even though every aspect of Nana’s life has been ruptured and shaped by the war. Ten years afterdocumented the horror of that era, you may expect more history and a good deal more anger. Not that she sees herself as a conquest; her goal, she tells Nana, is to be a woman who runs her own business, who doesn’t need a man. She is happiest jumping into waterholes or playing tomboy games with Dais. Nana will never be like her, but she is drawn instinctively to this younger woman who flirts with her husband and refuses, as she says, to be judged for that or anything else. Nana has felt guilty all her life. She thought that was a woman’s lot.
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