Jani Be Good, 2026
Directed by Ariani Darmawan.
Starring Chempa Puteri, Sigi Wimala, Tutie Kirana, Hyori Mika.
SYNOPSIS:
Jani, a sensitive teenager; her mother, frustrated about family matters; and her grandmother, steadily saving up for her own funeral. Christmas approaches for three generations of women.
Maturing as an adult is realising that you will inevitably say things you don’t mean. Mainly through unleashing a form of anger that feels necessary in the moment, but which, given its explosive nature, is volatile and sharp. Jani Be Good, the debut feature from Indonesian director Ariani Darmawan, bucks what I would consider current Indonesian film trends, namely action-heavy and horror-focused titles. This assessment comes from a limited knowledge of Indonesian cinema, but Jani Be Good is a brilliant first step away from genre filmmaking. It is a deeply human tale about what it means to be a mother and how, sometimes, we need time apart for love to grow even stronger.
While the film does expand to other locations, the majority of it takes place within a single household occupied by Grandmother Oma (Tutie Kirana), Mother Winnie (Sigi Wimala), and the titular Jani (Chempa Puteri). With the house up for sale, the family is shaken to its core when Julia, Jani’s older sister, leaves home following an argument with her mother. While the specific circumstances may not be universally relatable, the scenario itself certainly is. An argument spirals out of control, and the dreaded “if you don’t like living here, then leave” line rears its ugly head. I can confidently say that, for most parents, this statement is simply a product of anger. It is a remark made in the heat of the moment, intended more for shock value than anything else.
However, Julia does decide to leave, needing space from her mother. This decision greatly impacts the entire family. We see a mother filled with regret, desperately wanting her daughter to message her and acknowledge her apologies. We also have Jani, who is too young to understand that not every word spoken in anger carries genuine meaning or intent. She simply heard her mother tell her sister to leave, and Julia did exactly that. Finally, we see a grandmother determined to ensure that what has happened with Julia does not become a repeat of the past with her deceased husband.
At its core, the film is about the struggles of being a mother and the realisation that, at times, we need space from one another to understand that there will always be a place in our parents’ home for their children. A parent’s love is unconditional, and even when we are unaware of it, they are often far more aware of situations than they let on. That’s what makes this film so brilliant. It’s the subtlety of the storytelling. There are no big emotional blowouts and no euphoric return to the status quo. Instead, it is about characters coming to understand that, even when the harshest words are spoken, they still truly love one another and wherever a mother is, there is always a home for their children.
All of this is explored through the film’s three central performances. Puteri is wonderful as the titular character, a young girl who loves robotics but is not yet mature enough to fully understand the situation between her mother, Winnie, and her sister, Julia. Speaking of Winnie, Wimala is truly incredible in the role. She portrays a mother reeling with regret who must nevertheless keep moving forward and provide for her family. However, what truly grounds the film is Kirana as Oma. She delivers a heartfelt performance as a grandmother who wants only the best for her family, fearing that if they remain divided after she is gone, they may never be able to fully come back together.
The film looks remarkably accomplished for a debut feature, with bright yet restrained cinematography that effectively captures the human drama unfolding on screen. Darmawan, alongside co-writer Cyntha Hariadi, has crafted a deeply human and personal script that feels rooted in lived experience. Under Darmawan’s direction, these elements come together to create a poignant and purposeful experience.
Jani Be Good really packs a punch in such a small package. At just over 1 hour and 40 minutes long, the final product is a truly wonderful debut feature, punctuated by superb performances. It is a heartfelt and mature exploration of motherhood and familiar love that showcases Ariani Darmawan as a filmmaker to keep an eye on.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
Robert Ewing
