Political drama The Sea Speaks His Name, playing in Busan’s Competition section, is set during Indonesia’s dictatorship in the early 1990s. It follows a student, played by Reza Rahadian, who chooses resistance and watches as his comrades begin to disappear. Director Yosep Anggi Noen speaks to Screen International about making the film accessible to the mainstream, his friendship with star Rahadian and becoming an Asian Film Academy mentor.
Like your previous films – Solo, Solitude (2016) and The Science Of Fictions (2019) – you are tackling politics. How is this different from your previous features?
The Sea Speaks His Name employs a more accessible, mainstream style to reach a wider audience because – given the contemporary domestic climate – there is a need for a film that engages and encourages young people to delve into a history that has been obscured.
As it is set in the 1990s, how does it relate to contemporary politics?
Stories about youth movements fighting injustice and championing democracy happen in different eras and around the world. I believe it is important for a film to foster awareness about global struggles against state violence and the fight for justice.
Nowadays, politicians amplify authoritarian ideas through new media. This must be countered with films that champion freedom of expression and pay tribute to the struggles and resilience of ordinary people.
You reunited with your 24 Hours With Gaspar star Reza Rahadian. Has your working relationship changed since his directorial debut, On Your Lap, which played at Busan last year?
After working together on Gaspar, Reza and I became close friends. He even showed me the rough cut of On Your Lap. I believe we share a strong connection, making it easy for me to trust his process.
Whether as an actor or director, Reza possesses a keen sensitivity toward stories of marginalised communities. His strong political stance also allows us to have deep conversations not only about film but also about societal evolution and the artistic challenges of living in a country with constant potential for authoritarianism.
You are a graduate of the Asian Film Academy, and nearly all your films have screened at Busan. How does it feel to return to the AFA this year as a mentor?
AFA 2007 marked my first experience traveling abroad to connect with the international film community. The encouragement offered to emerging filmmakers there instilled a sense of confidence in a profession fraught with uncertainty. I am truly happy to be participating as a mentor this year, as it allows me to relive the youthful spirit that I felt when I first started making films.
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