For both representation and bias, we begin our making film. From awareness; weexperience the increasing polarization between religious view and behavior in relation toreligious life in Indonesia. Such occurrence raises either in the type of relation betweenreligion and state or polarization among religious groups (intra or extra groups). While thedifference among variety of religious views happened obviously as the consequence of ademocratic society, polarization base on religious orientation works on the other hand. Thelatter appears in more contra-productive condition since it spreads essentially in variousspectrums and in some extent takes apart from society’s attempt to gain social cohesion. Suchaccidents; debates on pornography bill, application on Syari’ah bill, idea of pluralism andliberalism and its surrounded debates, play apart in placing the society into more dilemmaticcondition; either fight in the name of religion or struggle for uniting diversity. (Film Booklet;2-6) What lie behind this social fragmentation is an oversimplified groups onto dominantfactions such as fundamentalist, liberalist, radicals, pluralist and so on. Unfortunately those
terms, where media used to take a part in this role, work to incline pseudo-real of religious condition. In other word, the polarization is no more than simplified conditionwhich does not merely depict more complex religious life and practice. (Mulkan, dkk. 2002:248, 289)In order to follow from that consideration, the paper comes up with the explanationabout the subject in this film, the performer of interfaith marriage who struggle for legalizingtheir marriage to find out an accommodative institution for that purpose. What follows, thereview and commentary on law-barrier faced by majority of those performers entailed fromdualism in registering the marriage. This paper enclosed with the impact of state violence
marriage Bill in Indonesia, where women undergo mostly.B.
The Process of Making Film is The Outcome
Beside two side of fragmentation; state-religion and among religious groups, theactual practice of religious life sometimes regarded unremarkably. In fact there are lot of social groups’ relation where such wisdom laid within. This distinct wisdom (e.g. tolerance,adjustment, care, respect, etc) either based on religious view or religious-inspired traditionmay become the source to live harmoniously. The social capital, which Johan Effendy used toname it as
society’s moral and ethic
, for some reason become the potency to break upreligious problems. (Mulkan, dkk. 2002; 290) As an attempt of multiplying this ethical“therapy”, the film tries to follow the path of
through alternatives mediaalso trough real life portrait and publication. In doing so, the film publicized small scope of religious life and practice, such individual case or social group which is not merely representnational condition. Meanwhile this more
case might be counted as part of other social sectors and its form. The attempt, thus, comes up effectively with some lessons evenwisdom for other social condition.The process of making this film is valuable. It’s not just about documenting thewedding ceremony; moreover it portrayed the struggle of two couples to search for chance of legalizing the marriage. Since the marriage institution has in charge with private life, for us(the film maker) the main process is an attempt to negotiate with the very sensitive life of the bridegrooms. Their willingness and self openness in this documentary is a primary gate for usto go further. (Crawford and Turton, 1992: 11) Then, we begin with some steps of research;studying the issue, interviewing the experts, observing interfaith couples by following their effort to search for the possible institution and ended by keeping a record of their weddingceremony. Apart from that internal difficulty, the issue on religious debate as well socio- political one faced by both performer and film maker, is no less important in this account.
But, the utmost goal of this process is the ability to transfer the idea into visual languagewhile at the same time we try to weaken the burden of film as media.
The visual gain of 2