Chasing Dreams in the Heart of Hidden Papua

A film review of “Orpa”, Theogracia Rumansara’s debut in filmmaking is a remarkable force to be acknowledged.

With a powerful opening statement,

“That night became a turning point for Orpa to chase her dreams.”

“Orpa” takes the audience on a remarkable journey of a young Papua girl Orpa (Orsila Murib) striving to pursue her dreams, shattering stereotypes along the way and unveiling a heart-wrenching reality.

The film originates from Jendela Papua, a competition to find the four best filmmakers from Papua who collectively produce one feature film. The four winners of Jendela Papua then underwent intensive film production training in Jakarta for one week. Out of the four stories, Theogracia Rumansara’s story was selected for filming. For his first feature film, Theo chose a story that touches on education in Papua, as it is based on real-life circumstances in his region.

The story revolves around Orpa, a young girl who has just graduated from Elementary School (SD) in Papua. When she learns about her impending marriage to a man chosen by her father’s friend who has come to their home, Orpa makes a courageous decision: to run away to Wamena to continue her education and avoid a marriage seen as a solution to economic problems.

The film aptly portrays the patriarchal culture that prevails, with gender roles dominating and women having little say in their lives. All decisions are made at the behest of men, in the case of the film — primarily Orpa’s father, who serves as the head of the family. The film sharply depicts the harsh reality that prevails in Papua, where child marriages are still distressingly common. Parents often view child marriages as an escape from economic responsibilities, and this is well-reflected in “Orpa.”

When her father discovers Orpa’s escape from home, he and several villagers embark on a citywide search to find her. His primary objective is to persuade Orpa to return home and proceed with her arranged marriage.

Throughout her journey in escaping home and chasing after the main character’s dream of earning proper right to education, “Orpa” also challenges preconceived notions to remind us that wisdom and capabilities are not solely confined to the boundaries of modernity but can be found too within traditional knowledge and instincts.

This transformation is vividly showcased in my personal favorite scenes involving Orpa and Ryan (played by Michael Kho), a musician hailing from Jakarta, as they navigate their way through the dense jungles of Papua. In this particular part of the movie, the two engage in a spirited debate concerning the use of modern technology, specifically the global positioning system (GPS) on Ryan’s smartphone versus Orpa’s instinctual approach. Ryan staunchly advocates for the reliability of GPS, firmly believing that technology is the superior choice. However, as night descends, the GPS system unexpectedly leads them astray, resulting in confusion and frustration. It is at this moment that Ryan begins to place his trust in Orpa’s seemingly antiquated instincts, which ultimately guide them to safety.

Additionally, the film challenges stereotypes regarding the knowledge possessed by the children of Papua. Often depicted as lacking intellectual capabilities, “Orpa” defies this narrative. Orpa herself becomes the embodiment of this defiance as she proves that what is commonly perceived as primitiveness is, in fact, a unique asset. This asset becomes invaluable, especially in situations where modern technology falters and cannot be relied upon. “Orpa” effectively breaks down the barriers of these stereotypes, highlighting the Papuan people’s resilience and adaptability in the face of challenges.

The film doesn’t only portray child marriages; it also exposes the narrow perspectives of some regarding female education. There is still an understanding that women do not need an education because eventually, they will become their husbands’ homemakers. Orpa, despite her young age, stands out as a girl who is aware of her rights and is unafraid to empower herself. She boldly confronts her parents with questions about why women should be limited to household matters.

“Must I still cook when I’m already exhausted from work (too)?”

Orpa questioned.

She appeared reluctant to accept the dual burden that society often imposes on women. Despite being in her teens, Orpa’s character shines as a young girl who understands her rights and aspires to empower herself. Orpa boldly expresses her desires to her parents — a move seen as defiance against their wishes. She challenges the societal norms that confine women to domestic roles.

Moreover, as a woman myself, what resonated most deeply with me was Orpa’s intrinsic motivation to further her education. Her inspiration may have stemmed from the books she encountered, but her determination to grow sprang from her own yearning for freedom and her insatiable thirst for knowledge, nurtured over years of fleeting curiosity. This conveys a compelling message that every individual should have the chance to pursue their aspirations in accordance with their capabilities and passions.

There was a fleeting moment, though it lingered in my mind for quite some time. Blink, and you might have missed it. Deep within the jungle, Orpa and Ryan engaged in a conversation. Orpa shared her dream of journeying to Wamena in pursuit of better education rights. In response, Ryan conveyed that many city dwellers yearn to learn from nature, emphasizing that education is sometimes overly glorified. As straightforward as it may seem, this statement resonates profoundly with the concept of privilege. It underscores how we, as humans, often desire what lies beyond our reach, perpetuating the notion that the grass is almost always greener on the other side.

What truly distinguishes “Orpa” for me is its remarkable exploration and transformation of stereotypes associated with Papuans. Consider preceding films like “Denias, Senandung di Atas Awan” (2006) and “Cinta dari Wamena” (2013). These films often revolve around young Papuans striving to pursue their dreams. While many prior films have tackled similar narratives, they frequently adopted a perspective centered on big cities, emphasizing issues like racism and the aspiration for better opportunities and a brighter future beyond Papua. “Orpa,” on the other hand, is a creation of a writer and director native to Papua, and in my opinion, the film approaches this similar subject matter but taking into considerations the many distinctive angle and viewpoints, fearlessly challenging these existing stereotypes.

Personally, I find “Orpa” to be a refreshing addition to the Indonesian film industry. The film is not without flaws, though. Several questions lingered in my mind, like how Ryan, despite being an urban person and asthmatic, could venture deep into the jungle by carrying only two inhalers in his backpack (how even?), among other minor details. Nevertheless, I believe that while these moments might sometimes elicit humor, they do not diminish the film’s overall entertainment value.

In conclusion, “Orpa” is not only enlightening but also offers profound insights into enduring social issues that remain relevant in certain regions. It educates without being overt, instead opting for clarity and magnetism. Orpa’s journey encapsulates qualities of resilience, courage, and determination, while at the same time dispelling long-standing stereotypes that have plagued the portrayal of Papuans in the world of cinema thus far.

Go watch it in cinemas while it is still around, I think this movie is definitely worth your time and dime!

My personal rating : 4.1/5.0