Get ready to witness a cinematic journey that promises to stir emotions and spark conversations—Ismail Basbeth’s latest masterpiece, My Own Last Supper, has officially begun filming in Indonesia. But here’s where it gets controversial: this Chinese-Indonesian family drama doesn’t just tell a story; it peels back layers of national trauma, historical violence, and generational wounds, all through the intimate lens of one family’s final dinner. Bold, right? And this is the part most people miss—it’s not just about the past; it’s a profound exploration of life, identity, and love across four pivotal time periods: 1960, 1970, 1998, and 2017.
Directed by Basbeth, whose previous film Sara premiered at the Busan International Film Festival in 2023, My Own Last Supper is a collaboration between Matta Cinema Production and Ruang Basbeth Bercerita. The 15-day shoot kicked off on November 27, coinciding with the Jogja-NETPAC Asian Film Festival and JAFF Market—talk about perfect timing! Introduced at Busan’s Asian Content & Film Market in September, the film centers on Encek, a 76-year-old widower who gathers his children for one last meal. What unfolds is a revelation of hidden memoirs, blending love, loss, and unresolved pain. The climax? Encek chooses the sea as his reunion place with his late wife—a moment that’s as poetic as it is heart-wrenching.
Here’s the bold part: While the story is deeply personal, it boldly confronts Indonesia’s historical scars, particularly the violence of 1998, through the eyes of a Chinese-Indonesian family. This isn’t just a family drama; it’s a mirror to society’s collective memory. And the production team isn’t holding back. Led by senior production designer Ong Hari Wahyu and award-winning art director Edy Wibowo, the film meticulously recreates each era—from modest business spaces to residential interiors—with a realism that’s almost tangible. Costume designer Retno Damayanti and makeup artist Faradila, both Indonesian Film Festival winners, add layers of authenticity to the characters.
Nicholas Anderson and Jessy Davita portray the younger versions of Encek and Encim, respectively, bringing fresh energy to the narrative. During the JAFF Market 2025, the cast charmed visitors by distributing red-wrapped tamarind candies—a symbolic gesture of love featured in the film. It’s these small, thoughtful details that make the story resonate.
Reuniting with director of photography Satria Kurnianto, Basbeth is crafting a film that’s as visually stunning as it is emotionally charged. Producer Chakalica Widyadipraja aims for a 2026 release, giving audiences plenty of time to anticipate this cinematic feast.
But here’s the question: Can a film truly heal generational wounds and national trauma? Or does it simply reopen old scars? Let us know your thoughts in the comments—this is one conversation you won’t want to miss!
