The Photograph

A Sintesa Group presentation of a Triximages (Indonesia)/Salto Films (Indonesia)/Les Petites Lumieres (France) co-production, in association with Ministere des Affaires Etrangeres Centre National de la Cinematographie Fonds Sud (France)/Goteborg Film Fund (Sweden)/Prince Claus Film Fund (Netherlands)/Visions Sud Est Switzerland (Switzerland)/Open Doors Factory (Switzerland)/Swiss Agency for Development and Co-operation (Switzerland)/Orangewaterland (Indonesia). (International sales: Salto Films, Jakarta.) Produced by Paquita Widjaja-Aftef, Shanty Harmayn, Nan Achnas. Co-producer Natacha Devilliers.

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A fallen woman on the run develops a new life with the aid of a troubled photographer in “The Photograph,” the fourth feature from Indonesian helmer Nan Achnas, whose keen eye, and quality lensing, provides a visually luxuriant film experience. Pic was released locally in July, and some arthouse play is possible in niche markets across Asia and Europe, but deliberately paced yarn — with strong central perfs, delivered with sensitivity — is more likely to be confined to fest circuit.

Aging photographer Johan (Lim Kay Tong) operates his portrait business in an unnamed Indonesian town (pic was shot in Central Java’s Semarang).

Scorned by the townfolk for his habit of performing mourning rituals on the local railway track, snapper lives alone and is clearly haunted by mysterious photographs placed on his meditation altar.

Elsewhere in the town, 25-year-old Sita (Shanty) removes her personal photographs from a room from which she has just been evicted. The pair meet, apparently not for the first time, and a little too conveniently the homeless Sita convinces the reluctant Johan to let her move into his vacant attic.

Working as a prostie in a karaoke bar, Sita sends most of her earnings to the distant village where her frail mom is looking after protag’s 5-year-old daughter. However, when she is gang-raped by several customers set up by her overbearing pimp Suroso (Lukman Sardi), Sita’s leaves the oldest profession behind.

Her major source of income removed, Sita earns her keep by cleaning Johan’s premises. The photographer announces he is urgently seeking an apprentice before his impending death, but dismisses Sita’s candidacy because she’s a woman. Unruffled by his rejection, Sita helps Johan search for a successor while her curiosity about photography and Johan’s problems continue to grow.

Narrative is straightforward and deals its cards slowly, and only takes from the bottom of the deck when delivering denouement’s literary-style twist. Helming is clean and uncluttered. Perfs have authentic ring and rapport between Lim and Shanty is convincing. Sardi, who impressed in Rudy Soedjarwo’s “9 Dragons” last year, provides credible menace as the angry pimp. Detailed production design by Men Fo goes a long way into creating the right atmosphere, and is further enhanced by Yadi Sugandi’s quality lensing. Other tech credits are of a high standard.

Directed, written by Nan Achnas. Camera (color), Yadi Sugandi; editor, Sastha Sunu; music, Aksan Sjuman, Titi Handayani; art director, Men Fo; sound, Xavier Marsais, Satrio Budiono. Reviewed on DVD, Brisbane Sept. 26, 2007. (In Pusan Intl. Film Festial — A Window on Asian Cinema). Running time: 94 MIN.

With: Kay Tong Lim, Shanty , Lukman Sardi, Indi Barends.