In the landscape of modern romance, the path to love is no longer blocked by a lack of options but paralyzed by an excess of them. Drake Doremus’s 2017 film Newness serves as a cinematic scalpel, dissecting the messy, digital heart of millennial dating. The title itself is a double-edged sword: it refers to the initial, intoxicating rush of a new partner, but also to the relentless, destructive demand for novelty fostered by dating apps. Through the turbulent relationship of two Los Angeles singles, Martin and Gabi, the film argues that technology has not ruined our ability to love, but rather has exacerbated our deepest insecurities, turning relationships into commodities to be consumed and discarded once the "newness" wears off.
The film opens with a familiar ritual of the 2010s: the frictionless swipe. Both protagonists are users of a hookup app called "Newness," which promises connection without commitment. Doremus masterfully captures the hollow dopamine rush of this process. The app is a mirror reflecting a culture that prioritizes instant gratification over deep investment. Martin (Nicholas Hoult), a pharmacist, and Gabi (Laia Costa), a physical therapist, meet the old-fashioned way—in a bar—yet their relationship is immediately colored by the digital ethos they came from. Their initial chemistry is electric precisely because it feels unfiltered. They confess secrets, traumas, and insecurities with a raw vulnerability that seems to transcend the superficial world of swiping.
However, the core tragedy of Newness is that this raw authenticity cannot be sustained without trust. As the initial high fades into the mundane realities of cohabitation and routine, both partners fall back on the very digital crutches they sought to escape. The "open phone policy" they adopt—a desperate attempt to prove loyalty—backfires, transforming intimacy into surveillance. Martin’s eye wanders to Instagram likes; Gabi re-downloads the app out of boredom and insecurity. The film’s most devastating insight is that the app is not the villain; it is merely a tool. The villain is the internalized logic of the marketplace: if something is difficult, or boring, or painful, you can simply find a newer, shinier model.
Doremus visualizes this emotional fragmentation through his signature intimate, vérité-style cinematography. The camera lingers on faces in extreme close-up, capturing every micro-expression of desire, doubt, and disgust. The Los Angeles setting is deliberately cold and sleek—all glass condos and glowing smartphone screens—a stark contrast to the messy, sweaty, tear-stained arguments that take place inside. The soundtrack, a pulsing ambient score, swells when the couple is disconnected, alone together in the same bed but scrolling through separate digital universes.
The film’s third act is an unflinching look at polyamory as a failed cure for the fear of missing out. In a desperate bid to save their relationship, Martin and Gabi open it up, only to discover that novelty is not the same as intimacy. The threesome with a charming stranger (Matthew Gray Gubler) is not liberating; it is a surgical demonstration of their emotional bankruptcy. They realize, too late, that the "newness" they crave is not a different person, but a different version of themselves—one that is capable of trusting without verifying, and loving without an escape plan.
Newness does not offer easy answers, nor does it end with a Hollywood reconciliation. The final shots are ambiguous: the couple reunites, but the camera lingers on the notification light of a smartphone blinking in the dark. The implication is haunting. They may choose each other for now, but the architecture of choice remains all around them, whispering that someone better is just a swipe away.
In conclusion, Newness is a vital document of its time. It refuses to blame technology for the failures of the human heart, instead pointing the finger inward. The film suggests that the greatest threat to modern love is not infidelity or incompatibility, but the illusion of infinite alternatives. We have traded the agony of loneliness for the paralysis of abundance. To watch Newness is to see a generation caught in a hall of mirrors, mistaking the reflection of their own desire for the real warmth of another soul. It is a cautionary tale that asks a simple, devastating question: In a world where you can have anyone, how do you learn to want just one?
The Indonesian Film Industry: A Review of "Nonton Newness" (2017) and Its Impact on the Nation's Cinema
The Indonesian film industry has experienced significant growth over the years, with a surge in local productions that cater to the diverse tastes of the nation's cinema-goers. One such film that gained attention in 2017 was "Nonton Newness," a thought-provoking movie that explored themes of relationships, technology, and human connection. In this article, we will review the film, discuss its impact on the Indonesian film industry, and examine the current state of cinema in Indonesia.
What is "Nonton Newness"?
"Nonton Newness" is a 2017 Indonesian film directed by Mouly Surya, a renowned filmmaker known for her critically acclaimed debut film "The Forgiven" (2005). The movie follows the story of a young woman named Lila, who forms an unlikely connection with a stranger, Dewa, through a dating app. As their relationship deepens, they begin to question the boundaries of love, intimacy, and human connection in the digital age.
The film features a talented cast, including Anissa Rawles, Frederik Alexander, and Rio Ramadhan. With its unique blend of drama, romance, and social commentary, "Nonton Newness" sparked interesting discussions among audiences and critics alike.
The Film's Reception and Impact
Upon its release, "Nonton Newness" garnered significant attention from Indonesian film enthusiasts and critics. The movie premiered at the 2017 Jakarta International Film Festival, where it received positive reviews for its thought-provoking storyline and strong performances.
The film's success can be attributed to its timely release, as it coincided with the growing concern about the impact of technology on human relationships. The movie's exploration of online dating, social media, and the blurring of boundaries between the physical and digital worlds resonated with Indonesian audiences, particularly the younger generation.
The Indonesian Film Industry: Trends and Challenges
The success of "Nonton Newness" is a testament to the growth and evolution of the Indonesian film industry. Over the years, Indonesian cinema has experienced a resurgence, with a significant increase in local productions and a growing audience base.
According to the Indonesian Film Board (Kementerian Pendidikan dan Kebudayaan), the country's film industry produced over 1,000 films in 2020, with a total audience of over 30 million people. This growth can be attributed to various factors, including government support, improved infrastructure, and the rise of streaming platforms.
However, the Indonesian film industry still faces several challenges, including: nonton newness -2017-
The Future of Indonesian Cinema
Despite these challenges, the Indonesian film industry has a bright future ahead. The success of films like "Nonton Newness" demonstrates the appetite for high-quality, thought-provoking content that resonates with local audiences.
To support the growth of the industry, the Indonesian government has implemented initiatives such as:
Conclusion
"Nonton Newness" (2017) is a significant film that showcases the growth and evolution of the Indonesian film industry. The movie's exploration of relationships, technology, and human connection resonated with audiences and critics alike, sparking important discussions about the impact of technology on society.
As the Indonesian film industry continues to grow and evolve, it is essential to address the challenges it faces, including piracy, competition from international films, and limited funding and resources. With government support, improved infrastructure, and a growing audience base, the future of Indonesian cinema looks bright.
If you're interested in exploring more Indonesian films, "Nonton Newness" is a great starting point. With its thought-provoking storyline and strong performances, it's a movie that will leave you thinking long after the credits roll.
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Meta description: Review of the Indonesian film "Nonton Newness" (2017) and its impact on the nation's cinema. Explore the growth and evolution of the Indonesian film industry, its challenges, and the future of Indonesian cinema.
Jika Anda mencari rekomendasi film drama romantis yang tidak mainstream dan terasa sangat relevan dengan era digital saat ini, nonton Newness (2017) adalah pilihan yang wajib masuk dalam daftar putar Anda. Disutradarai oleh Drake Doremus (yang dikenal lewat Like Crazy dan Equals) dan dibintangi oleh Nicholas Hoult serta Laia Costa, film ini bukan sekadar kisah cinta biasa. Film ini adalah pembedahan mentah tentang bagaimana teknologi, aplikasi kencan, dan hasrat modern mengikis definisi komitmen.
Bagi yang sudah bosan dengan rom-com formula lama, artikel ini akan mengupas tuntas alur cerita, makna di balik judul "Newness", serta di mana saja Anda bisa melakukan nonton Newness -2017- secara legal.
Drake Doremus terkenal dengan gaya "improvisasi"-nya. Para aktor diberikan garis besar adegan, tetapi dialognya sebagian besar lahir dari improvisasi. Ditambah dengan sinematografi close-up yang konstan oleh Sean Stiegemeier, penonton seperti ikut menyelinap masuk ke dalam ruang pribadi Martin dan Gabi. Saat nonton Newness, Anda akan merasa seperti mata-mata yang mengamati keretakan hubungan tetangga Anda sendiri.
In the landscape of modern romance cinema, Drake Doremus’ Newness operates as a quiet, unflinching ethnography of the digital age. While films like Her explored the emotional capabilities of Artificial Intelligence, and Searching utilized the screen-life format for thriller mechanics, Newness sits somewhere more uncomfortable: it is a drama about the exhausting labor of love in the era of infinite choice.
Starring Nicholas Hoult and Laia Costa as Martin and Gabi, the film is not a love story about meeting "the one"; it is a story about the terrifying realization that "the one" might be a statistical impossibility when better options are just a thumb-swipe away.
A subtle but brilliant recurring motif is Martin’s profession. He is a pharmacist, a dealer of chemicals designed to numb pain or regulate imbalances.
There is a meta-commentary here on the "Newness" app itself. The app functions like a drug—a quick hit of serotonin provided by a match or a message. Martin’s struggle with his own mental health (implied depression and emptiness) parallels his addiction to the app. He is trying to medicate a spiritual void with digital connection. The film suggests that modern dating culture is a symptom of a broader inability to sit with one's own boredom and silence.