Cara bertutur nonlinier sudah lama tak terlihat dalam film, Look Both Ways mencoba menggunakan konsep ini untuk menyajikan kisah drama dengan dua alternatif cerita berbeda yang berjalan simultan. Look Both Ways diarahkan oleh sineas perempuan asal Kenya, Wanuri Kahiu dengan beberapa bintang muda, Lili Reinhart, Danny Ramirez, David Corenswet, Luke Wilson, Andrea Savage, serta Nia Long. Untuk genrenya bukan kali pertama cara penuturan macam ini digunakan, apakah film ini memiliki tawaran berbeda?

Dalam pesta perpisahan kampus, Natalie (Reinhart) melakukan tes kehamilan akibat hubungan intimnya dengan sahabat kentalnya, Gabe (Ramirez). Pada momen ini, plotnya bercabang dua, pertama adalah hasil tes negatif dan kedua hasil tesnya positif. Masing-masing kisah memiliki konsekuensi besar bagi hidup Nat selanjutnya. Sebuah pelajaran yang sama-sama memberinya makna tentang kehidupan dan pentingnya keluarga, sahabat, passion (hobi), dan tentu saja cinta.

Realita alternatif bisa jadi sama dengan istilah multiverse yang kini lebih tren. Jauh sebelum istilah ini muncul, beberapa film telah mencoba konsep ini dengan cara yang unik, sama seperti halnya Look Both Ways. Bagi yang sudah pernah menonton Sliding Doors (1998), film ini jelas memiliki banyak kemiripan cerita walau eksekusinya berbeda tapi substansinya sama. Harus diakui, Sliding Doors memang jauh lebih superior karena kala itu bukan hanya cara bertuturnya yang segar, juga pendekatan estetiknya memukau dengan kisah jauh lebih pedih. Look Both Ways ibarat versi ringan Sliding Doors. Bagi yang belum pernah menonton Sliding Doors, rasanya bakal lebih menikmati film ini.

Berbeda dengan Sliding Doors yang mudah dikenali dua alur kisahnya melalui gaya potongan rambut tokoh utamanya, Look Both Ways dibedakan oleh lokasi dan orang-orang di sekeliling Natalie. Bagi yang terlewat satu adegan saja, bisa jadi bakal kelabakan membaca alur plotnya karena plot A dan B disajikan silih berganti. Kisahnya tidak terlalu sulit diantisipasi, namun tetap saja memancing rasa penasaran. Drama romantis macam ini lazimnya tidak banyak mengambil resiko yang tak perlu untuk target penontonnya. Hasilnya, sebuah feel good movie dengan beberapa value tentang kehidupan.

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Walau unik tapi konsep kisah dan cara penuturannya tidak lagi baru, Look Both Way semata tertolong penampilan para kasting utama. Sang bintang, Lili Reinhart, adalah satu poin besar yang membuat film ini menarik. Dibalik sosoknya yang ‘percaya diri’ dan mandiri, namun terdapat titik lemah yang membuatnya belum menemukan jati dirinya. Reinhart begitu pas memerankan sosok Nat. Look Both Ways adalah satu tontonan drama yang rasanya mampu merefleksikan situasi banyak orang. Satu masalah “klise” namun memiliki implikasi yang berat dan berdampak besar bagi keluarga. Jika kita punya keluarga dan sahabat yang selalu mendukung, semuanya bakal baik-baik saja. Tergantung bagaimana kita menyikapinya. Selamat menonton.

 

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A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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