Directed by Kamila Andini, Before, Now & Then (Nana) is a film shaped by silence, restraint, and emotional accumulation. Set in Indonesia during the 1960s, against the backdrop of political violence and social upheaval, the film approaches history through the interior life of a woman whose past remains present in every gesture. Time here is not linear, but layered — unfolding through memory, routine, and unspoken longing.
| Before, Now & Then | Movie Details |
|---|---|
| Country | Indonesia |
| Year | 2022 |
| Genre | Drama |
| Runtime | 103 min |
| Director | Kamila Andini |
| Main Actors | Happy Salma, Laura Basuki |
The story follows Nana, a woman living a seemingly stable life with her second husband after surviving the violence of Indonesia’s anti-communist purges. Her daily existence is defined by domestic rituals and emotional restraint, shaped by losses that remain unnamed. When she forms a close bond with Ino, the wife of her husband’s associate, intimacy begins to surface in small, almost imperceptible ways — glances, shared silences, moments of mutual recognition.
Andini constructs the film around what is withheld rather than what is expressed. The political context is never explained directly, yet it permeates every interaction. Fear, displacement, and trauma linger beneath the surface, informing Nana’s guarded presence and her difficulty in fully inhabiting the present. History operates as a constant undercurrent, shaping personal relationships without ever announcing itself.
Happy Salma delivers a performance of remarkable control. Her portrayal of Nana is built on minimalism — a face that carries memory without articulation, a body that reflects endurance more than despair. Laura Basuki, as Ino, introduces warmth and curiosity, offering a counterpoint that allows emotional possibility to emerge. Their relationship unfolds quietly, resisting labels and expectations, grounded instead in shared vulnerability.
Visually, the film is composed with elegance and restraint. Soft lighting, carefully framed interiors, and measured pacing create a sense of enclosure that mirrors Nana’s internal state. The camera observes patiently, allowing emotions to surface organically rather than forcing revelation. Sound design is subtle, privileging ambient textures over musical emphasis, reinforcing the film’s contemplative rhythm.
Before, Now & Then premiered at the Berlin International Film Festival, where Laura Basuki received the Silver Bear for Best Supporting Performance, marking an important moment for Indonesian cinema on the international stage. The recognition underscored the film’s ability to translate a specific historical trauma into a universally resonant emotional experience.
At its core, Before, Now & Then is a meditation on survival — not as recovery or closure, but as coexistence with memory. By focusing on intimacy, repression, and the passage of time, Kamila Andini offers a film that listens closely to what history leaves behind, finding meaning in the quiet spaces where personal and political lives intersect.
