The script in question is a movie adaptation of the book with the same title by Sabda Armandio, and features set in the futuristic year of 2032, an era that doesn’t seem that different from today, especially when it comes to the issue of the wealthy exploiting the poor. Gaspar is a local detective, however, an unusual one as in he is quite different than his contemporaries with his methods, but has managed to earn the sympathy and respect of the people. In the course of one of his endeavors, pertaining to a case of government perpetrated genocide he meets an informant who leads him to a person who might be related to Kirana , one of his childhood companions. The clues further lead to Wan Ali, who is a human trafficker and is thought to have connections to Babaji who is the man who adopted Gaspar when he was orphaned and Bachtiar who is another criminal. After a while, Gaspar supported by Agnes who was originally following him and later by Kick tries to form a group against Wan Ali but he faces numerous challenges including the 24 hour deadline if he wants to survive owing to his heart problem.
It wouldn’t be an overstatement to assert that Noen’s debut in this genre is rather pandemonium, to put it mildly.
There are multiple subplots happening at the same time, and multiple characters all of whom differ in their mannerisms, history and even psychology, as never fully explained. Gaspar is one of them as well, but in a way that is still entertaining as it becomes easier and easier to understand as the film goes on.
And while Shenina Cinnamon likely isn’t the worst character in this overstuffed epic, as she injects some much needed chaos alongside the likes of Reza Rahadian and Laura Basuki, eventually there comes a time when the chaos gets a bit much. In a bid to make the film as ‘true’ to the novel as it can be, Noen essentially relied on a narrative that’s bonkers and characters that are absurdly forced into the story. On an ultimate level, this would have made a far superior television series that was cut down into a compact 98 minute long film.
Lastly, trying to include some funny scenes, for example the old lady’s “interrogation” and the ”raid”, is also a failure. Perhaps the most fascinating aspect of the narrative is the fact that the main character is a self-centered person, and people’s behavior towards him is showing it, although in a funny way, but in a sniper comedy style.
On the contrary, the film is certainly of a high standard from a technical view. Teoh Gay Hian’s cinematography manages to create nicely polished images as well as grungy ones that, in combination with a specific color palette, are a perfect representation of techno-noir. In addition, the fight scenes are quite a sight, especially if they are on the violent side, and the sci-fi bit is also good enough, albeit only for a short time. The work of Akhmad Fesdi Anggoro’s material is definitely a plus. The editing creates sequences appropriate to the story; at times the editing is suitably chaotic and the music is great.
There is no doubt that Yosep Anggi Noen knows how to direct movies, that much is clear in this case too “24 Hours with Gaspar”. But the problems are at the screenplay level, or rather, at the level of the story itself, everything else looks great, but the logic and proportions are very obviously missing.
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