About

Umi Lestari is a writer, curator, and film critic whose work explores the intersections of cinema, archives, and cultural history through decolonial and feminist approaches. Her practice combines research, curatorial projects, and critical writing to uncover neglected narratives in Indonesian cinema. She has curated and co-organized several film and archival programs, including Basuki Resobowo (2021) at the Galeri Nasional Indonesia, the Experimental Film Programme at UCIFEST (2020), and Film Anak Klasik Indonesia for Bioscil (2024). These projects highlight her commitment to reimagining film archives as spaces for collective memory, public dialogue, and artistic intervention. Umi regularly presents her research and lectures on Indonesian cinema at local and international forums, contributing to broader conversations on Southeast Asian film historiography and the politics of archiving. Her writings have appeared in Southeast of Now: Directions in Contemporary and Modern Art in Asia and Korean and Asian Arts Journal, and she was awarded the New Emerging Writers Fellowship by Southeast of Now. Currently, she teaches at the Film Department of Universitas Multimedia Nusantara, where she explores film history, archival practices, and visual culture. Umi is also a member of Kelas Liarsip, a women and non-binary collective dedicated to reclaiming women’s agency in Indonesian film history, including the digitization of Ratna Asmara’s films. Through her writing, curatorial work, and teaching, Umi continues to challenge dominant narratives and open new ways of engaging with Indonesia’s cinematic past. Instagram [at] michanlestari ; twitter [at] umi_lestari_

New Release

Biang Kerok Kenikmatan: Nawi Ismail dalam Sinema Indonesia

Nawi Ismail adalah satu dari sekian sutradara yang jarang disebut dalam sejarah perfilman Indonesia. Padahal, ia memiliki karier berusia panjang yang dimulai sejak perkembangan awal gambar idoep pada masa pemerintah kolonial Hindia Belanda sampai masuknya film-film impor ke Indonesia pada masa Orde Baru. Biang Kerok Kenikmatan: Nawi dalam Sinema Indonesia merangkum hasil penelusuran penulis atas perjalanan karier Nawi yang membentang hampir setengah abad. Perjalanan panjang Nawi dimulai dari menjadi pemeran figuran, pegawai lab film, editor, sinematografer, penulis naskah, produser, sampai akhirnya mengakhiri petualangannya sebagai sutradara film-film komedi populer.

nawi ismail

Release 2022

Ratna Asmara: Perempuan di Dua Sisi Kamera

Sebagai bagian dari penghadiran sosok Ratna sekaligus intervensi feminis atas kajian sejarah film Indonesia, Kelas Liarsip menuliskan proses kerja dari perspektif masing-masing pelaku dalam bunga rampai Ratna Asmara: Perempuan di Dua Sisi Kamera. Buku ini tidak hanya memuat aspek biografis dan filmografi Ratna, tetapi juga langkah-langkah pemulihan karyanya. Pengalaman kami berkenalan dan menelusuri sosok yang marjinal dalam sejarah tersaji dari beragam perspektif seperti dari sisi peneliti, pelestari film, dan penonton.

ratna asmara

Exhibition Catalogue 2021

B. Resobowo

Pameran B. Resobowo berlangsung pada 22 Oktober – 21 November.r 2021 di Galeri Nasional Indonesia.  Basuki Resobowo (1916 – 1999) merupakan seniman serba bisa yang gagasannya tentang hibriditas seni dan kebudayaan termanifestasikan dalam beragam medium seperti lukisan, patung, film, sketsa, hingga artikel di media massa. Dalam katalog ini ada esai tentang karya Pak Bas yang ditulis oleh kurator pameran, Umi Lestari, dan tulisan Pak Bas yang tersebar di beragam media massa. 

basuki resobowo

Selected Scholarly Article

“Basuki Resobowo as a Jack of All Trades” examines the role of leftist and exile artist; the first art director in Indonesian national film The Long March (Darah dan Doa). 

Southeast of Now Journal, 2 October 2020.

Basuki Resobowo