DEEP TALK: Producing A Short Film. Sharing experiences with the Kawara Panamung channel

By: Stube HEMAT Yogyakarta.           

A deep discussion on the Kawara Panamung community’s efforts to produce short films developed into an engaging online conversation on Tuesday, January 13, 2026. Why did they choose film? Because it can serve as a medium for change—reviving empathy, raising awareness, and presenting hidden realities—thereby encouraging dialogue and promoting social change toward justice and humanity. Short films were chosen because they are concise, go straight to the core, and convey powerful, honest emotions. Film production can be carried out in villages, easily distributed, and shared widely through the internet, with the expectation of reaching and impacting broader audiences.

With a strong vision and mission, Kawara Panamung strives to create a space for sharing among local village youth in Tanatuku, East Sumba. This space is expressed through short films that campaign on issues of women, education, and culture. It is an effort to give voice to everyday realities that are common yet painful. This was affirmed by Bernad, one of the conversation participants, a social and education observer living in Sumba. He stated, “The films produced by Kawara Panamung address factual issues in Sumba—truly painful ones. The Kawara Panamung channel voices the realities of what is happening.” The community holds a strong idealism: producing films as a voice, not merely as a spectacle. Whether audiences like them or not is secondary. What matters most is that the stories they tell are true—and a true story is more important than a fictional one.

The Kawara Panamung channel has an abundant source of story ideas for short films. Sumba and its cultural life provide a rich treasure of stories about village life, customary conflicts, economic challenges, and the struggles of women who are silenced and forced into invisibility, their voices rarely heard. These anxieties and realities are the driving force behind the production of these short films. Kawara Panamung began producing films by making the most of the resources available to them. The actors came from within their own community, including school students, Kawara Panamung activists, village officials, and their families. They willingly took on the roles, and some even expressed pride in participating.

“We sincerely acknowledge that since Eliz returned from her studies in Yogyakarta, she has often organized various activities that have taught us a great deal in the village. The training with Stube HEMAT and the Kawara Panamung community has significantly changed the mindset of women. Ideas we had never considered before became new insights, making the women of Tanatuku more knowledgeable. Especially now, with the production of short films, many people are eager to get involved,” said Alfin Lestari Konda.

Next, Eliz, the driving force behind Kawara Panamung and its director, explained the stages of filmmaking:

1. Find an idea that relates to your experiences or local social issues, and translate it into a clear, concise short script.
2. Move on to the production stage, which involves recording scenes with a simple mobile phone camera, using available locations, and engaging friends or community members as actors and crew.
3. Assemble the footage through an editing process using appropriate software, adding music or supporting sound to strengthen the message.

Short films have a unique advantage over other forms of communication. A simple scene—a child gazing at a barren hillside, a student walking to school barefoot, or a mother drawing water from a dry well—can be more powerful than a thousand words.

Kawara Panamung emphasizes that big changes begin with small steps, with the simple courage to speak out. Short films serve as a bridge between social issues and public awareness. They not only invite us to watch but also inspire viewers to take action.***