1
INT/ext. directing portfolio/Kde domov můj
1
Synopsis
Unit 2 of the StB receive information from their Polish counterparts on a suspicious Indonesian diplomat, Hadi Hartono. He is to be stationed in the Indonesian Embassy in Warsaw but flew early and is headed towards Prague instead. He was seen to be carrying a nondescript box. Agent Tomáš of the StB is assigned to stalk him and find out why he decided to go to Prague.
2
INT/ext. directing portfolio/Kde domov můj Credits
2
HAEKAL MUTHAHARI
Director, Producer, Scriptwriter, Editor, Colorist, Composer
Actor (Tomáš Novak)
Actor (Hadi Hartono)
Actor (Yono), Assistant Director
Voice Actress (Kartika)
Production Assistant, Sound Recordist
Singer
Pianist, Composer
Sound Mixer
3
INT/ext. directing portfolio/Kde domov můj Notes
3
NOTES
Kde Domov Můj exists to fill a gap I saw that Letters from Prague & The Exiles doesn’t quite fill. I saw those films as the story of exiles and what the New Order Government did to them. I wanted to tell the story of exiles and the people around them. How did the people treat Indonesian exiles in their asylum.
While not directly associated, it was made while I was under the Indonesian International Student Awards (IISMA) scholarship in Palacký University Olomouc. I spent 6 months preparing for my studies abroad while also researching what i can on whatever I can make a film about there.
I knew it was going to be about spies and communism since one of the films I watched as a kid was Tinker Tailor, Soldier Spy. My mother also lived in Poland since my grandfather was a deputy diplomat there, so I also grew up with stories about eastern Europe. At the time I wasn’t aware of Letters From Prague & The Exiles (I was a colorist for one of the short films screened in the same festival The Exiles were screened but I didn’t get to watch) So finding out about the history of Indonesian Exiles were a surprise for me. The history in their perspective weren’t taught at schools (as if I paid attention).
I spent the first month adjusting to life in Olomouc, and three months of additional research and the production itself. The interview I did with Soegeng Soejono and my history lecturer in Palacký, Tomáš Somer, was a massive help in creating the story and nods towards 1970s Czechoslovakia. I also watched the film Pelíšky (Cosy Dens) and the series Bez vědomí (The Sleepers) which also helped mainly with the costumes and vibes.
Basically handling post-production alone while handling college and moving a couple of times was quite possibly one of the most stressed I’ve ever been making a film. Even though this film didn’t have deadlines and there were no pressure to finish it, I didn’t want to make the crew & cast to wait a really long time. That being said, if I had the chance to do something like this again,
I’d hesitate, but I will jump the gun again