I always wondered when Indonesian filmmakers would dare and try to capture the essence of heartbreak captured in Eternal Sunshine of The Spotless Mind. Before, it was only a hope — now — it’s here.
It’s under the premise of “I will always come back to you, and I will choose you in every lifetime” setting that it successfully sets the tone for the whole film. While most Indonesian films tend to explore the domestic dimensions of relationships — like Mantan Manten or Noktah Merah Perkawinan — Sore stands apart as a rare, wistful departure: a meditation not on staying, but on what slips away.
What stays with me most is the emotional journey of Sore and Jonathan. But strangely, many seem to overlook Yandy Lauren’s direction. He keeps holding on to the looping narrative to depict Sore’s grief for her husband’s death. The story restarts itself multiple times, just like a relationship stuck in endless cycles. Instead of coming into resolution, she’s leaning out. Fully accepting that it’s not her problem anymore — it’s him.
To make it even more complicated, the film examines the concept of three chapters: Jonathan, Sore, and Waktu (time). It’s the world-building itself that makes it even more special. Jonathan is a photographer; he went on a journey to Finland to capture the doom of climate change. And then we get to see Sore, to discover her history.
She went on an endless phase of saving her husband, time and time again. She’s exhausted from a love that’s fading, still trying to figure out what she truly wants — much like Julie in The Worst Person in the World (2021).
At one point, Sore says
“…Tapi kamu cuma perlu tau satu hal, jangan kamu kenal sama aku, jangan pernah deketin aku, jangan kamu datang ke kehidupan aku, bikin aku terlalu sayang sama kamu terus ujung-ujungnya kamu meninggal duluan.”
The greed of saving him consumed her, but it’s everlasting.
Indonesian films love to convey emotional feelings so straightforward — but this time, it takes a bit longer, and it’s special. In Sore, the story unfolds layer by layer. Jonathan is a lone man, then comes Sore. A whimsical figure, almost like a fantasy, and it’s beautiful. They are trying to make us believe that it is possible to have Sore in our lives but the truth is, it doesn’t.
While the story talks about love and grief, the film feels complete because of the landscapes in Croatia. The old towns, wide open fields, quiet buildings, and golden sunsets add so much to the feeling. You wouldn’t feel that same kind of sadness if the film was set somewhere else. Grožnjan, especially, gives off a feeling you can’t quite explain. It’s kind of wild to think how different it would feel if Jakarta was the background. There’s even a moment in the film that shows what yearning really looks like — not through words, but just a sunset.
It’s unreal how it takes this long to have an Indonesian film that captures the essence of romantic melancholy. Surat dari Praha (2016) might be such a similar feat, but this time Sore takes the torch. What makes it even more special is not even the extent of effort: it’s the silence between talks, the dialogues, and the visuals. You could’ve praised any actors on the film and you will be right.
