An opening sequence of an Indonesian earthquake might lead us to expect a sober, realistic drama of displacement and poverty. But then Anggun Priambodo’s black-and-white film takes a sharp turn into whimsical comedy: none are keen to leave the prison in order to help – except one, who fears for the fate of old Mama Emola. The subsequent story unfolds as an
‘odd couple’ road movie in the lyrical and humorous manner of early Hou Hsiao-hsien.