Ondeng (Didi Mulya) is the student with the biggest body, the most senior compared to his friends. He should have been in middle school, or maybe he had entered high school. It's just that he is a student who is hard to catch a lesson, has a disabled person.
Ondeng and his friends like Inal, Nia, Aska and Yanti continue to struggle to get education in a free primary school built by the teacher. Every day they have to go a long way to get to school. Cross the bridge of "death".
The ability of Ondeng to draw sketches becomes a busy day, both in class and outside the home. He often 'recorded' everything that became his interest in sketch drawings, including the life of his father, a fisherman - who loved him so much after his mother died. Also the bridge of "death" is always passed by his friends. The "small" ideal of Ondeng is to build a bridge that every day his friends pass.
The biggest fear of Ondeng is losing his father. He did not know what his father had gone for ever. Another fear is that he is worried that he cannot realize his dream of building a bridge.
On a hilltop, when his friends were asked to write but did not have stationery, Ondeng did something unexpected. He cut his pencil into five parts. A moment that later turned the pencil pieces into bridges.
The film made by director Hasto Broto and produced by Visual Grahandika with the title "Pencil Bridge" reminded us of the Laskar Pelangi film. Are equally telling about the difficulty and disheveled access to education in remote areas in the corner of Indonesia.
A rickety school building, teachers who don't accept voluntary aliases, steep and distant roads that must be taken by students, a picture of Laskar Pelangi which is also on the Pencil Bridge. Whether we realize it or not, this film calls for a lot of inequality in access to education in this country. Justice in education is still on paper and discourses. Not as beautiful as a property advertisement that invites all rich people "I want to move to that city".
The figure of the teacher (Andi Bersama) and his daughter, Mrs. Aida (Alisia Rininta) reminded us also of the figure of Mr. Harfan and Mrs. Muslimah. They are both serving even though there is no rupiah waiting. This similarity is cured by the purity of the selection of film settings, which illustrates the true potential of the Muna Regency. An enchanting line of horizon, a clear sea landscape with Tosca green in Maleura, as if to say how rich Indonesia is. Hasto seemed to seduce the audience to set foot on the land of Sulawesi after watching the variety of scenes presented.
Unfortunately a thousand times dear, behind a paradise called natural beauty there is still a wave of turbulent poverty. Like the five friends who live very poorly and below the poverty line.
Interestingly, this film dares to display the issue of children who have special needs. In the five friends, besides Ondeng, there was Inal who was a blind person with disabilities. The presence of two diffables seemed to announce that all Indonesian children were entitled to education. Although shielding at school is unavoidable.
The second attraction, the two diffable figures turned out to be not someone who has special needs in the real world. Both Angger Bayu (Inal) and Didi Mulya, are really all out in acting and that looks very much from their gestures along the frame of the film.
Some actors seem to impose an Sulawesi accent. It is not easy to use a regional accent, this illustrates as if the players are interacting for a long time with local residents. Fortunately, it is helped by local residents who are able to speak with accent naturally - the difference is very obvious.
The presence of famous players such as Kevin Julio as Ivory, Meriam Bellina as the wife of the Teacher and Deden Bagaskara as Ondeng's father, added to the drama's aspect of the film. The fragment of the romance story there, which sparked a romance conflict, became a part of inviting teenagers. A family film that is rich in meaning like a bridge and a pencil.
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