From Audition Nerves to the Berlinale Stage: Laura Basuki’s Linguistic Odyssey in ‘Before, Now & Then (Nana)’

Introduction: A Cinematic Milestone

The Indonesian film industry recently achieved a momentous milestone as the feature film Before, Now & Then (Nana), directed by the acclaimed filmmaker Kamila Andini, secured a prestigious spot in the main competition of the 2022 Berlin International Film Festival (Berlinale). Among the ensemble cast, actress Laura Basuki stands out for her extraordinary commitment to her role—a performance that required her to step entirely outside her comfort zone and master a language she had never spoken before: Sundanese.

For Basuki, an actress of Japanese, Chinese, and Vietnamese heritage, the role was not merely an acting challenge; it was an immersion into a cultural landscape that was entirely foreign to her. This article explores the arduous journey of the cast, the linguistic rigor required for the film, and the significance of the project’s international recognition.

The Challenge of Language: Stepping into the Unknown

When the opportunity to audition for Kamila Andini’s latest project arose, Laura Basuki was immediately captivated by the script. However, the requirement to perform in Sundanese—a language distinct from Indonesian, with its own complex tonal nuances and regional dialects—presented a formidable barrier.

“I truly didn’t understand it, and I had never used the Sundanese language before,” Basuki admitted during a press conference held at Artotel Portfolio, South Jakarta. For an actress who thrives on precision and emotional depth, the prospect of navigating a linguistic landscape she did not possess was both terrifying and exhilarating.

The "Nekat" Approach

The chronology of her preparation began in the days leading up to the audition. Recognizing that she needed more than just a passing familiarity with the language, Basuki took the initiative to contact a friend of Sundanese descent. She requested an intensive crash course, focusing on basic vocabulary and, more importantly, the rhythmic cadence and intonation that define the language.

“At the very least, I had to be able to say a few things,” she reflected. “The rest was just pure determination—‘modal nekat’—because I wanted this role so badly.” This "bold" approach, characterized by a willingness to leap into the unknown, became the hallmark of her preparation. It was this raw, unpolished effort during the audition that ultimately convinced the casting directors of her potential to inhabit the character of Nana.

Rigorous Training: Crafting Authenticity

Once cast, the real work began. The production team, led by Kamila Andini, prioritized linguistic authenticity above all else. To ensure the dialogue was not just spoken but lived, the production engaged a specialized team of cultural experts and Sundanese linguists.

The Mentorship Process

The training was structured and systematic, bridging the gap between digital interaction and immersive field experience:

Virtual Foundations: The initial phase involved intensive script analysis sessions conducted via Zoom. These sessions allowed the actors to break down the script line by line, ensuring the pronunciation, emphasis, and emotional weight of every word aligned with the cultural context of the story.
Expert Supervision: The mentors were present throughout the production process to monitor the actors’ delivery. Every scene was scrutinized to ensure that the Sundanese spoken was not only accurate but also representative of the specific era and social class of the characters.
Field Immersion: Perhaps the most crucial component was the filming location. The production took place in Ciwidey, West Java, a region where the Sundanese language remains deeply embedded in daily life.

“Before we started shooting, we practiced and dissected the script with our mentors, having perhaps three Zoom meetings,” Basuki explained. “Once we were on location in Ciwidey, being surrounded by the local community helped tremendously. Hearing the residents speak every day allowed me to absorb the melody of the language in a way that formal training simply cannot replicate.”

The Berlinale Significance: A Historic Competition

The selection of Before, Now & Then (Nana) for the Berlin International Film Festival is a watershed moment for Indonesian cinema. The film was one of only 18 entries selected from a global pool of applicants, representing a diverse array of voices from both established auteurs and rising stars.

Competing on the Global Stage

The Berlinale is widely considered one of the "Big Three" film festivals in the world, alongside Cannes and Venice. To compete for the Golden Bear and Silver Bear, Before, Now & Then (Nana) had to withstand the scrutiny of a global selection committee, proving its narrative strength and artistic merit.

The film’s competition included works from some of the most respected names in contemporary world cinema, such as:

Claire Denis (France)
Rithy Panh (Cambodia/France)
Hong Sang-soo (South Korea)
François Ozon (France)
Ulrich Seidl (Austria)
Paolo Taviani (Italy)

Breaking the Gender Barrier

The significance of this selection is further amplified by Kamila Andini’s achievement. She became the first female Indonesian director to have a film in the main competition at Berlinale since 1962, when Sofia WD competed with Badai Selatan. This fact underscores the gender disparity in international film circuits and highlights the progress being made by female directors in Southeast Asia.

Implications for Indonesian Cinema

The success of Before, Now & Then (Nana) carries profound implications for the Indonesian film industry. It proves that local, language-specific stories possess a universal resonance that transcends geographic and cultural boundaries.

1. Linguistic Preservation and Representation

By committing to a Sundanese-language script, the production team made a conscious choice to preserve and celebrate a specific cultural identity. This serves as a powerful reminder that "Indonesian cinema" is a mosaic of many regional languages and cultures. The success of the film validates the investment in authentic cultural representation.

2. The Evolution of Method Acting in Indonesia

Laura Basuki’s experience highlights an evolving standard for acting in the Indonesian industry. The expectation is no longer just to "act well," but to immerse oneself in the cultural and linguistic reality of the character. The reliance on cultural mentors and linguistic experts is a practice that sets a new professional benchmark for future domestic productions.

3. Strengthening International Ties

The presence of an Indonesian film in the Berlinale competition acts as a catalyst for international collaboration. By placing Indonesian narratives on the same stage as European and East Asian masters, the film invites global distributors, critics, and audiences to engage with Indonesian perspectives. It opens doors for future co-productions and funding opportunities that can further elevate the quality of Indonesian art-house cinema.

Conclusion: A Testament to Dedication

The story of Before, Now & Then (Nana) is not just about a film festival selection; it is a story of human determination. Laura Basuki’s journey—from a nervous newcomer to a fluent performer in a language she previously didn’t speak—mirrors the broader journey of Indonesian cinema itself: a move toward greater ambition, higher standards, and a wider global audience.

As the industry looks toward the future, the lessons learned in the hills of Ciwidey serve as a blueprint for success. When passion is met with professional discipline and cultural respect, the results can reach far beyond the borders of Indonesia, finding a home on the world’s most prestigious stages. Kamila Andini and her team have not only delivered a compelling cinematic piece but have also paved the way for a new generation of filmmakers to tell their stories with uncompromising authenticity.