TGFM interviewed Edwin, the director of “Vengeance Is Mine, All Others Pay Cash”, a project selected for the TGFM2020, via email. He wrote about the significance of participating in the co-production market and his relationships with the Japanese filmmakers.

– Congratulations on winning the Pardo d’Oro at the Locarno Film Festival for “Vengeance Is Mine, All Others Pay Cash”. Please tell us about the encounter with Eka Kurniawan’s novel, the start of the project, and how this project became a co-production in three countries.

At first, I was instantly attracted to the title. The Indonesian one is a bit different, a bit more subtle [“Like Revenge, Longing Must Be Paid in Full”], but both of these phrases have a unique spirit. They’re witty and full of energy, but then again, amusingly poetic. When I finished the book, I found it very visual, as you basically experience it, so there is a lot of entertainment in it. But above all, you can also feel a tribute to popular culture. I guess it’s not only related to Indonesian culture, but also to the crosscurrents from the States or Hong Kong, especially movies. Although it depicts a certain image of the old days, the end of the 1980s in Indonesia, it’s not that kind of piece that revolves around the romanticization of nostalgia. I have a strong feeling the story is so current and relatable to the condition of our country right now, that in fact, through going back to the past, “Vengeance Is Mine, All Others Pay Cash” invites to reflect on the present times of Indonesia. Of course, it’s very playful and funny, but that approach only strengthens the contemporaneity of the tale.

So I pitched the novel to the producing partners at Palari Films and it so happened that they were looking for potential material to adapt. The producers believe that the story can appeal both audiences, local and international. So since the very beginning we were aware to bring this project to co-production markets.

– You have lots of experience in attending co-production/project markets.
What do these markets mean to you and how did TGFM2020 contribute to completing “Vengeance Is Mine, All Others Pay Cash”?

I think co production market for me is always useful to get to know more about the project, especially in the early scriptwriting process. When i pitch the project at co-production market, i learned a lot from the discussion that happens at the co-production market. Always a learning experience, that i can bring home, and use that experience as motivation, to develop the script.

– We suppose today’s situation makes it more difficult to drive a project, could you tell us the key to success under the circumstances?

I think when you believe in the project you will do whatever it takes to make the project happened. And if you can share that believe to other people, you will learn more. When you learn more you will want to share more. Keeping this sharing, and learning spirit, is very important.

– You have a strong relationship with the Tokyo International Film Festival (TIFF). “Postcards from the Zoo” and “Blind Pig Who Wants to Fly” in 2012, “Someone’s Wife in the Boat of Someone’s Husband” in 2016 and “Variable No. 3” which you worked with Akiko Ashizawa for the first time in 2018. You teamed up with Akiko again in “Vengeance Is Mine, All Others Pay Cash”.
What impressed you most in interaction with Japanese filmmakers and local fans?
Please let us know if you have any plans to collaborate with the Japanese film industry.