Review of Venice: Makbul Mubarak’s “Autobiography”

Forget the overly poetic title, Maqbool Mubarak’s excellent Indonesian thriller Autobiography – premiered in the Horizons section of the Venice Film Festival – is a real find here, a tense and elegantly staged two-part film that transcends regional politics to make a profound commentary on the state of the world today.

The American art audience should be particularly sensitive to a charismatic mayoral candidate whose populist image masks a very fragile ego and a desire to maintain absolute power at all costs.

The story takes place from the perspective of Rakib (Kevin Ardilova), the young guardian of Purna (Arsvendi Benning Swara), a retired general, in an empty mansion. Rakib’s family has served Purna’s ancestors for generations, but with his father in prison and his brother overseas, he is the last of his clan to be forced into submission.

When Poorna unexpectedly returns to participate in local elections, Rakib is initially a little worried about disturbing the peace, not to mention intimidating an older man, a gray and domineering figure. But when Poorna begins to show him attention, and even a little paternal affection, he grows fond of her: Poorna is, after all, a great person, and her virtuous, urban wisdom is deeply impressive for a country boy.

Of course, authoritarianism casts such a spell on the worker, and as Purna’s driver and confidant, Rakib is easily forgiven, granting special privileges and small favors here and there. Rakib naturally shares the boss’s concern about him when someone ruins Poorna’s countryside. The culprit is a young man whose family livelihood is at stake: As a candidate, Poorna supports a land grab that will put local farmers out of business, so Rakib visits him. Inspired by Poorna’s discreet lineage from the previous heated incident, Rakib believes an apology will be enough and he takes her home to make amends. Instead, Poorna beats him to death and leaves the young man for dead.

This sudden escalation is wisely handled, leaving Raqib shocked and terrified, and the reaction made terribly credible thanks to Swara’s excellent interpretation of the notes. and from here Autobiography It turns into something of a monster movie as Rakib tries to withdraw from their engagement as he realizes the kind of man Poorna truly is: a vain, morally and literally corrupt psychopath. The advances, looks and paternal touches – in a poignant scene, Purna walks over Rakib in the shower – suddenly take on a whole new dimension, while at the same time a moral dilemma arises: how to kill a monster without becoming one? . The monster itself?

Unusually for a film of this type, the result is as good as its staging, and Mubarak’s rich and engaging film leaves a very strong aftertaste. Power corrupts, but Autobiography There is a welcome reminder that this is a lesson that no one, no one, will ever learn.