Ario Bayu is back on our cover with in an exclusive photo in collaboration with Louis Vuitton and another chat about his latest adventures
Since making his debut 18 years ago as an actor, Ario Bayu has raked in quite a few accomplishments in the biz. He has portrayed many famous characters, scored nominations at the Indonesian Film Festival (FFI) and starred in various box office hits. In short, in those 18 years, he has moved forward tremendously.
Ario Bayu has been a longtime friend of the magazine, having graced the cover of DAMAN since all the way back in 2008. And now, he returns to the forefront of our latest issue in a special collaboration with Louis Vuitton. As always, we sat down with the Indonesian actor to talk about his latest project, his plans as chairperson of the FFI and the many goals he is eager to achieve in the future…
DAMAN: It’s nice to see you again, Ario! Can we start the conversation with your recent project “Samsara”? In a nutshell, what was it like working on that one?
Ario Bayu: Preparing for “Samsara” was unique because it’s the second silent film by Garin Nugroho, our director. “Samsara” is a film that focuses more on movement than exposition or dialogue in combining fragments of life. And I’m not a dancer, but I was required to be able to express myself through body movement, which was challenging and exciting at the same time. Moreover, the creative process for silent films is quite different. The dramatization aspects and how we tell our stories are completely different from filmmaking in general where there’s sound and dialogue.
DA: What was your initial reaction when you read the script for the first time?
AB: So, a good friend of mine pitched the idea. At the time, she invited me to meet about a project she was working on with Garin Nugroho. And honestly speaking, when she told me the premise, I straight away said yes to the project. I was in. “Samsara” is the kind of project that I have never explored before. Of course, there are challenges in working on silent films. I’ve never done one, so it was very intriguing and exploratory. It’s an excellent artistic journey because it’s a black-and-white silent film combining cinema, dance and a remarkable story. It’s a rare piece that I am deeply proud to be a part of, not only as an actor but also as an executive producer.
DA: What is “Samsara” about, actually? And were there any particular moments in the film that you found especially memorable?
AB: Set in mystical Bali in the early 20th century, “Samsara” tells the story of a man from a poor family named Darta, which is my character. He was rejected when he tried to propose to his sweetheart, Sinta, who comes from a wealthy family. Darta came from an underprivileged family but harbors high ambitions, dreams and great love. It’s quite a paradoxical situation because, as a result of this love, he does something uncommon: He allies himself with the Monkey King to obtain good fortune in return. But for Darta, it was a very human act. He wants to receive love, but through the wrong way.
With this in mind, I sympathize with this character. At the same time, it was a huge task for me, as I had to rely solely on physical storytelling without dialogue. So, as an actor, I had to understand how to put appropriate expressions in front of the camera lens. This is also the most exciting part and the reason why I am very interested in exploring the artistic realm of the story that I feel is worth telling. I felt rejuvenated through this project following the movies and series I’ve done before. And “Samsara” will establish a new genre in Indonesia’s current film ecosystem.
DA: Do you have any upcoming projects that you can tell us about?
AB: There is Joko Anwar’s project with Netflix, “Nightmares and Daydreams,” which will be a combination of sci-fi and horror. It should be interesting to see how audiences react because we the creators really enjoyed it. I hope this can be something new for Indonesian audiences and these two elements come off as interesting.
DA: As an actor, what do you look for when choosing a project to get involved in?
AB: After 18 years in this industry, it comes down to the story. I believe in the transformative power of stories. I believe that stories have healing properties, and we can heal ourselves by following them. So, that’s what I look for: stories that can create transformation, whether social or cultural. Stories like these are also rare, so when “Samsara” came before me, I had to take it. That’s how I choose my projects.
I love [Netflix] as it provides a democratic space for artists
DA: Speaking about Netflix, what are your thoughts about streaming platform? Speaking as an actor, of course…
AB: I love it as it provides a democratic space for artists. Not just Netflix, but even YouTube and Spotify allow artistic expression through a medium that is more accessible for those who don’t have access to big major industries. They also provide diverse content and edgier stories. Honestly, I don’t like censorship. To me, censorship limits the space for our imagination. The discretion should belong to the people who watch. That’s why we also have to have intellectual parameters to filter what we watch.
DA: What are the key takeaways from these platforms that would work in our own own film industry?
AB: We can scrutinize two things, namely the artistic and financial elements. Sometimes, we have extraordinary ideas and an extraordinary pool of talent, but no money. Or vice versa: we have the money but need the talent to manifest the project. So, you have to meet in the middle. We can also learn how to maintain the technological infrastructure, finances and talent pool. And maybe next time, there will be incentives from the government, which will hopefully result in many projects coming from abroad that will also improve our economy. Imagine if our stories can be enjoyed by people in other countries with different cultural backgrounds. That’s also one of the positive things.
DA: This year will mark your debut as the chairperson of the Indonesian Film Festival (FFI) for the 2024-2026 period. What are some of your key plans?
AB: There are intrinsic things that we need to explore together. As FFI organizers, we only facilitate the ecosystem in the film industry. Many people have different aspirations, so we will also carry out focus group discussions to filter what is essential, crucial and integral for us to absorb and implement. No, I can’t say this is Ario Bayu’s aspiration as chairman. This should be the aspiration of all of us.
When we’re talking about the ecosystem, there’s a lot we can do. Film is also one of the 16 subsectors of our creative economy and it is said that film is the locomotive. That’s why films are pretty crucial, and that’s why there are several things we want to explore. I hope that everything we want to achieve can be realized.
DA: Conversely, what areas do you think could be improved?
AB: I feel like I don’t have the jurisdiction to dictate what areas need improvement. However, I always reflect on myself. More like self-criticism. I start from there. If I want to be a vital exponent or proponent in film or an essential part of a film ecosystem, I must continuously try to improve. It should also be defined. Do I want to become a better storyteller? Or is it just for entertainment?
If I want to be a vital exponent or proponent in film or an essential part of a film ecosystem, I must continuously try to improve
I see myself as a walking laboratory of humanity and I’m constantly learning. I no longer have one moral compass; I no longer see good or bad, but rather contributions to the whole composition. If I have to enhance the industry in a fundamental way, it is the same for me. It’d be cool if I had the same philosophy. We all meet in one space and build it together. More importantly, the artistic realm is constantly changing, and change is good. So, I think change is necessary and will continue.
DA: After 18 years in the industry and having done it all—at least that’s what we think—what do you still want to achieve?
AB: There are a lot of things that I still want to achieve. Self-exploration never stops. I feel lucky and very privileged to be in the film industry. I can have space to exist. So, I will never underestimate it. But there’s something else in my life that is also interesting. I have tried business, exporting fish, delving into the world of FMCG retail, acting as executive producer on several projects and even now, I am studying macroeconomics. Interestingly, I’ve found that there is a correlation within humanity. As they say, economics is a social science which has a lot to do with human desires. There are other things that, for me, are still worthy of exploration. But in the end, the artistic realm is something that I really love. The world of art is one of the most amazing sectors to be in. Life keeps me busy doing numerous things and I’m very lucky to be working and existing in the industry that I love.
Photography Melvie Aurelia
Styling Brad Homes
All looks by Louis Vuitton
Styling Assistance Bagoes Abyoso
Grooming Talia Subandrio