Although a romantic drama, Sampai Nanti, Hanna! heavily emphasizes the theme of verbal abuse. Produced by Pic[k]lock Films in collaboration with Azoo Projects and Fortius Corporation, the film premiered at the Jogja-Netpac Asian Film Festival (JAFF) on December 3, 2024. Starring Febby Rastanty, Juan Bione Subiantoro, Ibrahim Risyad, and Anjani Dina, the film is directed by Agung Sentausa.
Gani (Subiantoro) secretly loves Hanna (Rastanty), a strong-willed woman trapped in a stifling household with a mother who constantly belittles and criticizes her. Desperate to escape, Hanna agrees to marry Arya (Risyad) and pursue further studies in the Netherlands, despite not loving him. However, the marriage becomes toxic, with Arya treating her like a servant and subjecting her to verbal abuse. Meanwhile, Gani marries Saras (Dina), a woman who pursued him throughout college. Yet, their marriage is plagued by mistrust and manipulation, as Saras is aware of Gani’s lingering feelings for Hanna. Both Hanna and Gani must confront their personal struggles to find genuine happiness.
The premise is somewhat cliché: two lovers separated by fate who eventually cross paths again. But can they truly reunite? While the story is enjoyable and delivered effectively, it carries a meaningful message. The narrative flows smoothly without unnecessary exposition, supported by elegant framing, soothing yet occasionally suffocating visuals, and well-paced storytelling.
The cast delivers solid performances, with natural and seamless dialogue. Technically, the film is well-crafted, with meticulous attention to detail in every scene. What stands out most is its realism. Neither the romantic nor dramatic elements feel exaggerated—they mirror real-life situations. The romantic aspects are sweet without being overly sentimental, while the depiction of verbal abuse is unsettling yet thought-provoking rather than shocking or gruesome. This makes it an excellent representation of verbal abuse issues.
The plot feels divided into two parts: the first focusing on their college years and the second on adulthood, including marriage and parenthood. Although the transitions are smooth, the first part is much more developed, rich in emotional layers and subplots. The second part, while still good, feels rushed and less explored, focusing on the main characters’ domestic lives, particularly Arya and Hanna in the Netherlands. Budget constraints or a lack of intent to delve deeply into this section might have contributed to its hurried pacing.
The second part, spanning years of Hanna’s life—marriage, postgraduate studies, and raising a child—feels fragmented, with time skips that leave a sense of frustration. Considering the depth given to the college years, the adult phase deserved more proportional screen time.
Hanna’s transition between the two parts is also poorly executed. Initially portrayed as a principled and strong character, she later becomes a submissive wife, enduring her husband’s oppression for years without resistance. While it’s plausible that years of manipulation could break her spirit, the film fails to depict this gradual change effectively, focusing instead on arguments and insults.
This flaw is common in films that span two life phases. It’s also evident in Cinta Dalam Ikhlas and Anak Kolong, two films that similarly explore school and adult life. Of these, only Cinta Dalam Ikhlas successfully balances both phases, while Anak Kolong stands out as the worst example, evoking frustration even in hindsight.
If Sampai Nanti, Hanna! had ended when Hanna chose to part ways with Gani and marry Arya, it could have been a near-perfect film with a strong, meaningful conclusion. Up to that point, the story was balanced and engaging, with Hanna as a compelling and capable character who seemed destined to thrive away from her oppressive home. However, reducing her to a passive victim undermines this potential, leaving the post-marriage storyline feeling like a failed “after story.”