The Women of Indonesia’s Film Religi: Part II

Last updated on: June 10, 2010 at 12:00 am by alicia

The Women of Indonesia’s Film Religi: Part II 2010-06-10T00:00:37-04:00 alicia

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Yesterday, we examined “the convert” and “the reformer,” two types of female characters in film religi. Today, we’ll examine three more:

The ideal

Image via Wikipedia.

Who: Aisha, the niqabi with beautiful eyes in Ayat-ayat cinta (2008) and Anna Althafunnisa, the studious Al-Azhar graduate in Ketika cinta bertasbih (When love is an act of devotion, 2009).

In most romantic dramas, we have the impossibly perfect female lead, which I will designate as “the ideal.” She is fresh in her twenties, conventionally beautiful, highly educated, adored by everyone, but rather boring. They are also the object of affection of equally religious and educated men. There is nothing to suggest that “the ideal” lacks in any way, although they briefly encounter conflict and anguish (polygamy in Ayat-ayat cinta, and AIDS in Ketika cinta bertasbih), which they will triumph over with the convenient help of their love interest.

The divorcee

Who: Anissa in Perempuan berkalung sorban (The woman in the headscarf, 2008) and Anna Althafunnisa in Ketika cinta bertasbih (2009)

Divorce is treated with sensitivity in film religi, but the implicit message that it is far from desirable, and only necessary under very extreme circumstances—like domestic abuse in Perempuan berkalung sorban, or a husband suffering from AIDS in Ketika cinta bertasbih. Although AIDS is treated as a marital disaster of gargantuan proportions, what is striking about the issue of divorce in film religi is it is initiated by the female lead, who successfully sets the terms in the relationship—particularly Anna in Ketika cinta bertasbih, who imposes a ban on her husband-to-be from taking another wife during their marriage.

The tease

Who: Dona Satelit in 3 Doa 3 Cinta (3 prayers 3 loves, 2008) and Eliana in Ketika cinta bertasbih (2009)

The “tease” in film religi does not serve much of a purpose, except as cinematic eye-candy or the object of temptation that the male lead uses to prove his religiosity and moral restraint. Prime examples of “the tease” appear in 3 doa 3 cinta and Ketika cinta bertasbih. They are never contenders in the competition for the male lead’s heart and are often sidelined when the “real” romance between the religious couple develops. Sometimes they “see the light” and don the jilbab, as in Ketika cinta bertasbih. Or, as in 3 Doa 3 cinta, “the tease” continues unreprimanded and bumps and grinds on stage to the hugely popular dangdut music.

Image via Wikipedia.

The recurring patterns of female roles in these films are unlikely to be scripted by accident. These films deliver specific messages about what counts as an idealistic representation of Islamic youth—Muslim women in particular. The women serve as markers of cultural boundaries of what is good and bad about Indonesian faith politics today. For example, Christian women are portrayed as a sympathetic bridge in Christian-Islamic relations: they can marry Muslim men without too much of a fuss, as long as they are pious and show a positive attitude towards Islam. “The tease” is the perfect foil for “the ideal” to demonstrate the contrast between what is acceptable femininity (and thus what is marriageable) from what is undesirable femininity (that somehow needs to be reformed). The heroic but sensitive tribulations of “the divorcee” personify Indonesian society’s changing attitudes toward divorce in that it is necessary and un-stigmatising. Though being divorced is seen as an unfavorable state of affairs, this is quickly ameliorated by a second, much happier marriage in film religi.

Indonesian cinema is an exciting discursive space that reflects and engages with the public’s current political and religious hopes and fears. What makes it particularly compelling and often daring is the artistic and political freedom that film-makers are given to tell stories about Islam in Indonesia today. Despite their “functionistic” roles in these films, the female characters effectively embody the dynamism of Muslim women who rarely feature in global discourses on Islam. My hope as a Southeast Asian Muslim woman is that we have a bigger space and better represented in this discourse, and I think film religi is a great medium for attaining this goal.

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June 9, 2010

The Women of Indonesia's Film Religi: Part I

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June 11, 2010 G. Willow Wilson: On Women, the Media, and Islam

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