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Goldfish

A gentle boy is sent by his father to boarding school only to find kindred spirits in the Bissu.

synopsis

In a village by Lake Tempe in South Sulawesi, as the lake runs low, thirteen-year-old Nur’s heart is broken. Three years after his mother vanished in a storm, all he wants is to be seen by his father, Rahim, a warm-hearted fisherman who is frozen in his relationship to his son. During a communal wedding preparation, the bustling kitchen becomes the first place Nur feels useful. Puang Matoa, the Bissu elder, notices his careful hands and slips a small token into his palm – a silent acknowledgement. Ashamed by what he witnesses, Rahim sends Nur to Pesantren, an all-boys boarding school. Nur queues to bathe, drills in lines, and sleeps shoulder- to-shoulder among boys who don’t fully accept him. For the first time, he hears “son” – not from his father, but from a young teacher. When the token is seized and branded a charm, suspicion spreads, and Nur chooses to run. On the road, he finds the Bissu dancing over cracked earth, blessing a changing season. From their tenderness, he gathers himself. When the storm returns, he goes home. At the edge of rising water, Nur and Rahim meet in silence: shame, fragility, and love that has no words. They work side by side against the flood. Nur no longer seeks recognition, whether seen or not; he stands.

Director’statement

Making this film is my way home: returning to my Bugis roots – the way we look at life, weigh dignity and empathy, and keep a middle space. Since childhood I longed for my father’s tenderness, but in a conservative house feelings rarely had words. That distance stayed into adulthood; it left a space between us that advice could not bridge. This story grows out of that gap – between wanting to be seen and daring to be present. It isn’t a plea for an embrace, but a question of how a child can stand by his father’s side without losing himself. In this film I follow a gentle boy. Its rhythm follows Lake Tempe: low and high, loss and return. Where I come from, people say the past stands in front; perhaps that’s why my characters look back to find today’s step. The Bissu – our own people who keep the balance – open that space: softness is not weakness. My hope is simple: that viewers feel this small shift, quietly, like Lake Tempe as the water begins to rise.

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