Shelvira Alyya, is a student of Film and Television Study Program, Universitas Pendidikan Indonesia, born in Bandung, June 8, 1999. In her practice of exploring herself through artistic and research spaces inside and outside academia, she has made several film works with fiction, documentary, and experimental genres with a focus on women’s themes and environmental phenomena. Many involve the body as a role and function of conveying meaning, taste and aesthetics through the medium of film, dance and actors. She is an assistant lecturer in UPI Film and Television study program for several courses, such as Experimental Film Studio, Semiotics of Film and Television, Dramaturgy (2022) and Film and Television Studies (2023). Her film work has been appreciated in Germany and Korea, some other works have been exhibited with international students, one of them with students and lecturers from UAP Poznan. Currently preparing several works with German artists and curators.
The world of absurdity that is built on myths (because it has not happened yet) is that during the doomsday phase, the population of women is more than men. Reflecting on the condition of women around with the world of marriage that has been experienced by them, is it if entering the doomsday phase, it is women who will marry men? Will partriarchy not occur under these conditions?
With all these conditions, the artist imagines how things she has never experienced (marriage) will happen in the “apocalypse” phase. Tales passed down through generations (grandmothers and mothers) to their children about marriage, through advice and traditional Sundanese wedding songs.
Imagining it all happening is packaged in a fictional-experimental short film involving all the players who are women with various marriage backgrounds and 1 man with long hair.
