Kamila Andini is a mother and filmmaker based in Jakarta, Indonesia. Her concern of social culture, gender equality and environmental issue lead her passion to make films with a distinctive perspective of telling a story. In 2011, she released her debut feature film The Mirror Never Lies, which portraits the life of sea wanderer in Indonesian ocean. And in 2017, she released her second feature The Seen and Unseen; a cinematic universe of dualism based on Balinese philosophy Sekala Niskala. Both films had traveled through more than 50 film festivals around the world and received about 30 awards nationally and internationally, including Grand Prix winner best feature film in Berlinale Generation kplus 2018.
She also creates some short films to show her voice and vision in filmmaking. After Following Diana, Memoria, and Sekar, her latest short film Back Home, became part of omnibus for Japan based production Angel Sign. Lately, she is also expanding her directing works into theatre. Her debut theatre work based on her second film; The Seen and Unseen performed in Esplanade Singapore 2018 and Asia Topa Melbourne 2019. And the latest one is a monologue, stage and virtual performance, «Nusa Yang Hilang».
Her third feature about an Indonesian teenage story called Yuni will have its World Premiere in Platform competition at the 2021 Toronto International Film Festival. This is an Indonesian, Singapore, French and Australian production. She is also working on her fourth feature; an intimate film, set in 1960’s, unfolding the right and wrong of a woman’s life. Before, Now and Then (working title), is now in production stage.
announced BEFORE, NOW & THEN
2019 ANGEL SIGN
2017 SEKALA NISKALA
2015 SENDIRI DIANA SENDIRI (short)
2011 LAUT BERCERMIN
Yuni is a teenage girl — smart with big dreams of attending university. When two men she barely knows ask to marry her, she rejects their proposals, sparking gossip about a myth that a woman who rejects three proposals will never marry. The pressure is building when a third man asks for her hand, and Yuni must choose between the myth of a final chance at marriage, or her dream of future happiness. More