FIlm The Sun, The Moon & The Hurricane di Blitz Arthouse

The Sun, The Moon & The Hurricane at Blitz Arthouse.
The Sun, The Moon & The Hurricane at Blitz Arthouse.

Setelah berkeliling ke berbagai festival film internasional, Film “The Sun, The Moon & The Hurricane” yang disutradarai oleh Andri Cung akan tayang di Blitz Arthouse, bioskop Blitzmegaplex Mal Pacific Place. Siap-siap pasang reminder, pilih dari 4 jam tayang berikut ini:

Jumat, 20 Maret 2015, Pukul 17:00

Sabtu, 21 Maret 2015, Pukul 19:00*

Jumat, 27 Maret 2015, Pukul 19:00

Sabtu, 28 Maret 2015, Pukul 17:00

*Screening Sabtu, 21 Maret akan dihadiri cast & crew dan disertai sesi Q & A.

Film “The Sun, The Moon & The Hurricane” menceritakan perjalanan hidup pria bernama Rain, dan orang-orang yang dia temui, yang memberi dia kebahagiaan, kehampaan, membentuk kepribadiannya seiring dia tumbuh menjadi pria dewasa.

I am not afraid of being old.

I am afraid of being… old and lonely.

-Rain- “The Sun, The Moon & The Hurricane”

Don’t miss the chance to watch these limited screenings!

Bask yourself in the warmth of the sun,

Sit alone while gazing at the moon,

Shiver as the hurricane approach.

William Tjokro : Rain
Natalius Chendana : Kris
Cornelio Sunny : Will
Gesata Stella : Susan
Paul Agusta : Oom

Genre : Drama – Fiction / Narrative / Live-Action
Dialogue : Bahasa Indonesia & English
Shooting Location : Bali & Jakarta, Indonesia and Bangkok, Thailand
Est. Running Time : 101 Minutes



Maybe, people can not remembered about who she was.

Her name is GIA, and Her Full Name is GIA CARANGI. She is considered to be the first supermodel long time ago, before Cindy Crawford, Kate Moss, Naomi, etc enter this industry.

Carangi was born in Philadelphia, 29 January 1960, the third and youngest child of Joseph Carangi, a restaurant owner, and Kathleen Carangi (néeAdams), a homemaker. She had two older brothers. Her father is Italian, and her mother is of Irish and Welsh ancestry. Joseph and Kathleen had an unstable, violent marriage, ultimately leading Kathleen to abandon the family when Carangi was eleven years old. Those who knew her blamed her “fractured childhood” for the instability and drug dependence that plagued her adult life. She was described as “needy and manipulative” by relatives who recalled her as spoiled and shy as a child and a “mommy’s girl” who did not receive the motherly attention that she desired.

In her adolescent years, Carangi found the attention she sought from other teenage girls, befriending them by sending flowers. While attending Abraham Lincoln High School, Carangi bonded with “the Bowie kids”, a group of obsessive David Bowie fans who emulated Bowie’s “defiantly weird, high-glam” style. Carangi was drawn to Bowie for his fashion preferences and his ambiguousgender play and outspoken bisexuality. One of Carangi’s friends later spoke of her “tomboy persona,” describing her relaxed openness about her sexuality as reminiscent of the character Cay in the 1985 film Desert Hearts. Carangi and her “bi-try Bowie-mad” friends hung out in Philadelphia’s gay clubs and bars. Though she associated with the lesbian community, she did not want to take up “the accepted lesbian style”.


After being featured in Philadelphia newspaper ads, Carangi moved to New York City at the age of 17, where she signed withWilhelmina Models. Her first major shoot, published in October 1978, was with top fashion photographer Chris von Wangenheim, who had her pose nude behind a chain-link fence with makeup artist Sandy Linter. Carangi immediately became infatuated with Linter and pursued her, though the relationship never became stable. By the end of 1978, her first year in New York, Carangi was already a well-established model. Of her quick rise to prominence, described by Vogue as “meteoric,” Carangi later said, “I started working with very good people, I mean all the time, very fast. I didn’t build into a model, I just sort of became one.”

Carangi was a favorite model of various fashion photographers, including Von Wangenheim, Francesco Scavullo, Arthur Elgort, Richard Avedon, Denis Piel, and Marco Glaviano. Well-integrated within the fashion world, she had the selection of several photographers, most notably Scavullo. Carangi was featured on the cover of many fashion magazines, including the April 1979 issue of Vogue UK, the April 1979 and August 1980 issues of Vogue Paris, the August 1980 issue of American Vogue, the February 1981 issue of Vogue Italia, and multiple issues of Cosmopolitan between 1979 and 1982. During these years, she also appeared in various advertising campaigns for high-profile fashion houses, including Armani, Christian Dior, Versace, and Yves Saint Laurent. At the height of her career, Carangi was most known in modeling circles by only her first name


A regular at Studio 54 and the Mudd Club, Carangi usually used cocaine in clubs. After her agent and mentor, Wilhelmina Cooper, died of lung cancer in March 1980, a devastated Carangi began abusing drugs and developed an addiction to heroin. Carangi’s addiction soon began to affect her work; she began having violent temper tantrums, walking out of photo shoots to buy drugs, and falling asleep in front of the camera. Scavullo recalled a fashion shoot with Carangi in the Caribbean when “she was crying, she couldn’t find her drugs. I literally had to lay her down on her bed until she fell asleep.” During one of her final location shoots for American Vogue, Carangi had red bumps in the crooks of her elbows where she had injected heroin. Despite airbrushing, some of the photos, as published in the November 1980 issue, reportedly still showed visible needle marks.

In November 1980, Carangi left Wilhelmina Models and signed with Ford Models, but she was dropped within weeks. By then, her career was in a steep decline. Modeling offers soon ceased and her fashion industry friends, including Sandy Linter, refused to speak to her, fearing their association with her would harm their careers. In an attempt to quit drugs, she moved back to Philadelphia with her mother and stepfather in February 1981. Carangi underwent a 21-day detox program, but her sobriety was short-lived. She was arrested in March 1981 after she drove into a fence in a suburban neighborhood. After a chase with police, she was taken into custody where it was later determined she was under the influence of alcohol and cocaine. After her release, Carangi briefly signed with a new agency, Legends, and worked sporadically, mainly in Europe.

In late 1981, although still struggling with drug abuse, Carangi was determined to make a comeback in the fashion industry and signed with Elite Model Management. While some clients refused to work with her, others were willing to hire her because of her past status as a top model. One of her first jobs was for Francesco Scavullo, who photographed her for the April 1982 cover of Cosmopolitan, her last cover appearance. Sean Byrnes, Scavullo’s long-time assistant, later said, “What she was doing to herself finally became apparent in her pictures. … I could see the change in her beauty. There was an emptiness in her eyes.”

5fb84e3ac69a4ab57c30592cb8d02a70Carangi then mainly worked with photographer Albert Watson and found work modeling for department stores and catalogs. She appeared in an advertising campaign for Versace, shot by Richard Avedon. He hired her for the fashion house’s next campaign, but during the photo shoot, in late 1982, Carangi became uncomfortable and left before any usable shots of her were taken. Around this time, Carangi enrolled in an outpatient methadone program but soon began using heroin again. By the end of 1982, she had only a few clients that were willing to hire her. Carangi’s final photo shoot was for German mail-order clothing company Otto Versand in Tunisia; she was sent home during the shoot for using heroin. She left New York for the final time in early 1983.

As she had squandered the majority of her modeling earnings on drugs, Carangi spent the final three years of her life with various lovers, friends, and family members in Philadelphia and Atlantic City. She was admitted to an intense drug treatment program at Eagleville Hospital in December 1984. After treatment, she got a job in a clothing store, which she eventually quit. She later found employment as a checkout clerk and then worked in the cafeteria of a nursing home. By late 1985, she had begun using drugs again.

gia grave 1 fixed

In June 1986, Carangi was admitted to Warminster General Hospital in Warminster, Pennsylvania, with bilateral pneumonia. A few days later, she was diagnosed with AIDS-related complex. On October 18, she was admitted to Hahnemann University Hospital. Carangi died of AIDS-related complications on November 18, 1986, at the age of 26, becoming one of the first famous women to die of the disease. Her funeral was held on November 23 at a small funeral home in Philadelphia. No one from the fashion world attended, mainly because no one knew about her death until months after she had died. However, weeks later, Francesco Scavullo, Carangi’s friend and confidant, sent aMass card when he heard the news.

Carangi is considered to be the first supermodel, although that title has been applied to others, including Dorian Leigh, Jean Shrimpton, Twiggy, and Janice Dickinson. Model Cindy Crawford, who rose to prominence the year Carangi died, was referred to as “Baby Gia” due to her resemblance to Carangi. Crawford later recalled, “My agents took me to all the photographers who liked Gia: Albert Watson, Francesco Scavullo, Bill King. Everyone loved her look so much that they gladly saw me.”Additionally, Carangi, whose sexual orientation has been reported as both lesbian and bisexual, is considered a lesbian icon and is said to have “epitomized lesbian chic more than a decade before the term was coined.”

Tragic Fact about GIA. Gia was named as most promising fashion model in the 1980 era and she has been worked for many campaigns, many shows, and she became money maker at that time. but none of her penny’s left before she die because of drugs.

Maleficent World Premiere

Gia Charangi Tragic story was potrayed by Angelina Jolie in 1998, under the tittle GIA, Too beautiful to die, To wild to live


Gia’s story became the sample about entertainment industry lifestyle in this planet. every single person in the world has an access to every single drugs. They have the options, they will use it or they will pass it. If u use it u will regret about it. When she got the HIV / AIDS, there were not so many people know about this virus and it’s still new. and she did not get any good treatment like today and she just wait until she died without medical treatment.

Tes HIV Gratis Ruang Carlo RS. St. Carolus

Kelly sedang dalam perjalanan menuju bioskop XXI Taman Ismail Marzuki Cikini. Masih ada waktu 3 jam sebelum filmnya. Mendadak ingat, Rumah Sakit St. Carolus kan nggak jauh. Bisa tes HIV gratis di Ruang Carlo, yang ada di CONQ webseries episode 4, ‘The Test’ itu loh.

Tiba di RS. St. Carolus. Kelly nanya ke security tentang arah menuju Ruang Carlo. Posisinya di dekat Ruang Fisioterapi.


Hampiri meja resepsionis untuk mengisi form surat pemeriksaan IMS (Infeksi Menular Seksual). Data kita akan dijamin kerahasiaannya. Data yang terkumpul ini akan sangat membantu pemetaan statistik HIV. Setelah isi form, kita akan diminta menunggu panggilan di ruang tunggu yang dilengkapi TV.


5 Menit menunggu, Kelly dipanggil ke dalam ruang pemeriksaan. Suster mengambil darah dari lipatan lengan sebanyak 5 cc, Lalu ditutup dengan plester kotak kecil imut. Beres. Nggak usah angkat tangan seperti pas donor darah. Kelly diminta menunggu 1 jam untuk hasil pemeriksaan. waktu menunjukkan jam 3 sore. Masih ada sisa waktu 2 jam.


Sambil menunggu 60 menit, bisa jajan bakso dan lainnya di luar pagar St. Carolus. Ada juga kantin di dalam. Masih sisa waktu 20 menit. Keliling Rumah sakit, ah.

Ini ternyata St. Carolus nya.

60 menit berlalu. Mari kembali ke resepsionis Ruang Carlo dan mengambil hasil tes. Ternyata… masih disuruh nunggu. Kelly menunggu dengan manis, lalu mulai gelisah saat 15 menit kemudian belum dipanggil juga. Film di Bioskop akan mulai 45 menit lagi. Akhirnya nanya lagi dengan ga enak

“Apa saya kembali besok saja? Soalnya ada janji.”

Resepsionis menunjukkan barisan amplop yang dia terima,

“Ini sudah ada amplopnya, ditunggu saja, ya.” (dengan wajah “Sabar, Nyet”).

Kelly kembali menunggu (dengan wajah cemberut “Orang ngejar waktu, Nyet”).

Penantian tanpa Kepastian.

Jadi kronologisnya:

14:55 Masuk Ruang pemeriksaan

15:55 Kembali untuk ambil hasil Tes, belum ada. Disuruh nunggu

16:10 Nanya apa kembali besok saja. Amplop hasil tes sudah ada. Disuruh nunggu.

16:20 Resepsionis masih dengan santai beraktifitas di meja. Kelly mulai kebakaran j*mbut.


Kelly bertanya lagi. kali ini tanpa nada nggak enak.

“Maaf saya ada janji jam 5. Saya kembali besok saja.”

Resepsionis menjawab “Dokter yang akan membacakan hasil tes pasien. Setelah ini bapak, ya.”

Kurang lebih 16:30 baru dipanggil masuk, dan dokter membacakan hasil tes sekaligus menanyakan aktivitas seksual (lagi-lagi untuk keperluan statistik. Data dijamin kerahasiaannya). Ternyata selain HIV, tesnya termasuk sifilis. Negatif. Kelly aman. Tapi berhubung Kelly aktif ‘jajan’, disarankan untuk tes setiap 3 bulan sekali. (window period virus HIV sebelum terdeteksi adalah 3 bulan). Selama ini tesnya setahun sekali. Dan diberi wejangan terakhir: “Oral sex juga tetap harus pakai kondom, ya”. Nggak konsen lagi. Udah mesti buru-buru ke XXI TIM ngejar jam tayang film pukul 17:00.

Salut dengan tersedianya Tes HIV Gratis Ruang Carlo RS. St. Carolus. Akses mudah, dan tesnya juga termasuk pendeteksian IMS sifilis. Yang disayangkan, petugasnya tidak memberikan keterangan jelas tentang kapan hasil tesnya bisa diambil. Meskipun ditanya berulang-ulang, dijawab “Tunggu saja”.  Ada baiknya meluangkan waktu 2 jam, meskipun petugas memberitahukan hasil keluar dalam 1 jam.

Buat teman-teman CONQ yang aktif dating plus plus dan belum tes HIV, mari ke Ruang Carlo. Mengetahui status kamu akan membebaskan dari kekhawatiran, sekaligus mencegah penyebaran virus HIV.


Ruang Carlo

Rumah Sakit St. Carolus

Jl. Salemba Raya No. 41, Jakarta 10440. (Google maps:

Telp. 021-23567927.

Jam buka:

Senin-Jumat, 08:00 – 20:00

Sabtu, 08:00 – 12:00

Minggu libur


Yang males rame dan antri, disarankan datang pagi (buka mulai jam 8 pagi).

Tes di Ruang Carlo Gratis. Tapi yang ingin menyumbang untuk keberlangsungan kegiatan Ruang Carlo, bisa mengubungi petugas untuk donasi.

Reaching People Through Social Media



The use of social media in raising HIV & AIDS awareness has been proven to be effective in reaching the CONQ community. What are the tools in creating a successful social media campaign?  How do we reach the audience, entertain them, yet at the same time getting our message across without being patronising?

CONQ, along with GWL-INA, SUM I, DKI Jakarta Provincial AIDS Commission, and Puskesmas Pasar Rebo, will conduct a discussion about promoting HIV & AIDS Campaign using Social Media.

The event will be held at @america Pacific Place, Tuesday January 27, 2015 from 5 to 7 PM.

Come over and let’s have a discussion!


Charlie Hebdo vs Warkop DKI

Saya itu penggemar film warkop.  Dulu, kalau nonton film warkop, kelompok lawak yang beranggotakan Dono, Kasino, Indro ini selalu menyertakan slogan “Tertawalah Sebelum Tertawa itu Dilarang” di akhir pemutaran film mereka. Slogan ini ditempatkan selepas cerita habis dan sebelum credit title. Menurut saya, kelompok lawak ini visioner sekali.

Tidak ada waktu yang paling tepat membahas slogan ini selain saat ini. Warkop DKI seakan-akan paham benar bahwa tertawa itu punya portensi untuk dilarang. Di tulisan ini saya akan membahas seberapa mungkin humor dianggap melewati batas? Apa sumbangan humor bagi peradaban manusia? Bagaimana humor diformulasikan? Sedikit latar belakang mengenai mengenai media di Prancis akan sedikit dibahas untuk memberikan konteks terhadap penulisan ini.

A man holds a placard which reads "I am Charlie" to pay tribute during a gathering at the Place de la Republique in Paris

Di awal 2015, dunia dikejutkan dengan peristiwa penembakan yang terjadi di kantor majalah Charlie Hebdo di Paris, Prancis. Penembakan ini dilakukan oleh sekelompok orang yang meneriakkan “Allahu Akbar” kepada 12 orang di kantor majalah tersebut. Empat orang anggota redaksi majalah meninggal dunia di tempat, salah satunya adalah pemimpin redaksi majalah tersebut. Penembakan ini terjadi lantaran ada sekelompok orang yang tidak menyukai isi komik yang diterbitkan oleh majalah Charlie Hebdo. Majalah ini memang kerap memasukkan isu agama sebagai bagian dari humor dalam bentuk komik. Tidak hanya Pope Francis, Nabi Muhammad dan beberapa tokoh Islam lainnya juga kerap dijadikan bahan lelucon yang diterbitkan majalah Charlie Hebdo. Di salah satu komiknya, ia menuliskan “100 cambukan ya, kalau nggak mati tertawa….”

“100 cambukan ya kalau tidak mati tertawa…”

Melihat dinamika media di Prancis tidak bisa sama dengan melihat media di Indonesia.

Di Indonesia, media dibangun berdasarkan pasar. Misalnya, media Islam dibangun karena ada pasar religius di market tersebut. Ada pula media yang dibentuk berdasarkan etnis tertentu, karena memang ada pasarnya di Indonesia. Ini terjadi karena media di Indonesia pemahamannya adalah rating-based atau readership-based. Jadi di Indonesia memang number-driven sekali. Misalnya, banyak orang yang nggak tau jika kita nggak suka dengan konten media, marah-marah di social media malah akan berdampak merugikan juga. Expressing anger and disappointment regarding media ethics on social media will backfire, because TV executives also monitor our status updates, Tweets, memes – and these translate into viral marketing (commerciable). The more we complain, the higher the exposure, and higher goes the advertising revenue. It’s just how the game is played.

 Kalau media di Prancis dibangun berdasarkan ideologi politik, sayap kanan atau sayap kiri? Atau di tengah-tengah? Atau perpaduan sedikit sayap kiri dan banyak sayap kanan, dan sebagainya. Makanya kalau kita baca satu kejadian, koran Le Monde sama Le Figaro bisa beda banget cara menarasikan beritanya. Apalagi Charlie Hebdo! Charlie Hebdo itu sayap kiri. Sayap kiri itu artinya sosialis. Sosialis itu artinya nggak percaya sama hierarki sosial. Dia nggak peduli kalau bapak kita jendral atau kita anak pemulung. Nggak ada kompromi. Nah, begitu juga kalau memuat tentang isu-isu agama. Kalau Charlie Hebdo bisa bikin materi tentang Pope Francis, kenapa Nabi Muhammad nggak bisa?
Di sinilah humor dan komik berpotensi untuk disalahartikan, dan mungkin, meminjam istilah Warkop DKI, bisa “dilarang”. Banyak orang yang berusaha untuk menarik batasan humor. Jawaban yang paling santer adalah kaidah normatif. Tapi menurut saya, kaidah normatif ini adalah produk yang subjektif. Beda orang, beda norma. Nggak adil jika kita menyamaratakan semua orang harus menganut norma yang sama. Namun, di sisi yang lain, secara pribadi, saya merasa norma itu adalah konsep yang selalu harus dipertanyakan untuk kebaikan peradaban manusia itu sendiri. Indeed, the society must willing to challenge their norm and values in order to advance its civilisation. Kalau normanya gitu-gitu aja, gimana peradaban bisa maju? Kalau kita ngikutin norma lima puluh tahun yang lalu, perempuan itu tempatnya di dapur. Untungnya kita selalu bisa mempertanyakan hal-hal yang berfsifat normatif. Dan di sinilah komik dan humor mengisi salah satu fungsinya di masyarakat.

Mungkin pemahaman saya tentahg humor ini nggak bisa dilepaskan dari identitas saya. Dilahirkan sebagai seorang gay, saya harus bisa menerima bahwa saya datang dari komunitas yang masih saja suka disalahairtikan, menjadi bahan lelucon, dan tertawaan. Buat mereka, ngatain–maaf–bencong, banci, dan menggunakan kata ‘normal’ itu lucu, tapi buat saya enggak. Buat mereka itu semua lelucon tapi buat saya, kata-kata itu merendahkan.

Namun, walau sering disalahsartikan, diejek, dan jadi bahan tertawaan, komunitas saya adalah komunitas yang bisa bangkit, menemukan kasih sayang, dan bisa tertawa kembali. Bayangin nggak kalau kami nggak punya rasa humor? Mungkin yang ada kami malah tersinggung, stres, dan depresi. No I will not be a victim. I refuse to be a victim! We can’t always change the rule, but we always can change the way we play the game.

The world is a a tragedy for those who feel and a humor for those who think. Jadinya orang-orang seperti saya jadi belajar untuk rasional dan punya keahlian untuk tidak mudah terbawa perasaan.  At certain stage, humor will never be politically correct. Dunia akan menjadi tempat yang merepotkan kalau semua orang harus ngerti dan maklum sama perasaan kita. Dalam tataran praktis, kitalah yang bertanggung jawab atas perasaan kita sendiri. Jadi, yang tadinya marah dikatain banci, jadi sekarang bisa ketawa bareng. Apakah itu artinya saya menyetujui bahwa saya banci? No.

Ini sama dengan ketika saya menyikapi konten Charlie Hebdo. Apakah saya risih dengan kontennya? iya. Tapi apakah saya akhirnya bisa ketawa? dalam beberapa joke, bisa. Lalu apakah artinya saya menyetujui kontennya? Enggak. Menurut saya, humor itu nggak hanya menyediakan kesempatan untuk ketawa saja, tetapi juga menyediakan self-coping mechanism. The true purpose of humor: to help people cope with the fears and horrors of the world. Terkadang sesuatu yang mengerikan bisa datang dari aktor politik, tetapi kadang tekanan agama juga bisa menjadi wujud horor dalam kehidupan manusia. Dan humor punya cara sendiri untuk menyikapinya.

Lalu kita bicara bagaimana humor diformulasikan. Caranya banyak. Salah satunya adalah dengan melakukan kesalahan. Kebetulan sekarang saya sedang kuliah di Brunel University London. Alasan kenapa milih universitas ini adalah karena di sinilah satu-satunya institusi di Inggris yang memiliki departemen sendiri untuk riset mengenai humor dan komedi. Dan menurut saya ini penting. Indonesians tend to have a phd degree in taking things personally!

Salah seorang psikolog pernah menyelenggarakan seminar di departemen kami. Dr Merideth Gattis (School of Psychology, Cardiff University), pada sebuah festival Being Funny Being Human menceritakan bagaimana salah satu humor bisa diformulasikan.

Pertama kita bahas dulu konsep humor dari awal mula manusia lahir. Bayi belajar tersenyum semenjak usia dua sampai tiga bulan. Tapi senyuman ini belum bisa dianggap sosial, hanya senyum saja, bukan merupakan bentuk reaksi sosial dari sesuatu yang lucu. Yes, bener, senyuman atau tertawa merupakan respon terhadap sesuatu sebagai aksi partisipatif. To participate. Bayi baru bisa memberikan senyuman atau aksi tertawa ‘yang merupakan respon’ setelah usia tiga bulan. Lalu, apa yg kita lakukan untuk membuat bayi tertawa? Kita melakukan kesalahan. We make, ci luk ba, or a funny face–a face that is not supposedly ‘right formation’ of our face. Atau kita pakai sepatu di tangan dan menunjukkan seberapa susahnya hidup kita karena pakai sepatu di di tangan. Dan bayi ketawa melihat tingkah kita. Sampai sekarang, dewasa, kita ketawa akan hal-hal yang salah tp bisa kejadian di dunia ini. Sampai dewasa, formula ini masih dipakai. Misalnya, kita ketawa kalau ada dosen yang ngajar trus jatuh. Karena dosen itu harusnya nggak jatuh di depan kelas. Itu salah. Salah tapi lucu. Nah, Charlie Hebdo juga punya konsep melakukan kesalahannya sendiri–yang merupakan bagian dari menjadi lucu. Dia tau itu salah, tetapi menjadi salah adalah bagian dari menjadi komik.

So what we can learn about humour? Saya mau permisi nulis pake kapital boleh ya? THE MOST IMPORTANT ASPECT OF COMEDY IS INTENTIONALLY MAKING A MISTAKE OR BEING WRONG! Charlie Hebdo mungkin tau kalau bercandain agama itu nggak bener. Tapi itu adalah bagian dari menjadi komik. Sekian.

Jangan lupa cuci tangan sebelum makan. Peluk cium.

Gay & Lesbian Indonesians view on life, love, fashion, health, and politics


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