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Silariang: Napas Panjang Film Makassar

KAKEK saya seorang Imam Desa selama lebih dari 20 tahun hingga meninggal 2009 lalu di sebuah desa di Kecamatan Cina, Kabupaten Bone. Darinya saya paham betul, bahwa menjadi Imam Desa, dia tidak hanya mengurusi perkara masjid dan seputaran masalah agama.  Namun jauh melampaui itu.

Imam menjadi salah satu perangkat adat yang sangat dihormati. Saat ada warga yang bertikai, saat ada keluarga yang berebut tanah, atau saat ada anak muda yang memutuskan silariang. Beberapa kali, saya menjumpai orang-orang asing di rumah yang tinggal beberapa saat, lalu pergi. Kebanyakan perempuan muda, atau yang tengah hamil, atau laki-laki muda, atau pasangan perempuan dan laki-laki muda.

Dalam pandangan remaja saya saat itu, mereka adalah dua insan yang sedang memperjuangkan cinta mereka, sampai satu pagi ketika saya bertanya-tanya, nenek saya dengan singkat menyatakan, “Aja’na muissengngi,  to mappakasiri’ iyyaro” (kamu tidak perlu tahu, mereka adalah orang yang membuat malu).

Buncahan rasa penasaran saya, kemudian berakhir di kata itu mappakasiri’ dan berujung tanya sederhana, “Kenapa orang yang saling menyukai dan ingin berkeluarga tetiba menjadi aib bagi keluarga mereka?” Belakangan, saya baru tahu, pertanyaan ini tidaklah sesederhana yang saya pikirkan.

Cerita silariang atau kawin lari di Bugis Makassar bukanlah cerita baru, bahkan di seluruh penjuru negeri. Bangsa kita yang tumbuh dan besar dari sistem feodal dan patriarki, selalu akan menjumpai kisah drama dimana cinta dua manusia tidak mendapatkan restu pihak keluarga.

Latar belakang cerita, penyebab dan penyelesaian dalam kasus silariang selalu beragam, dan tidak pernah berhenti bahkan hingga kini. Fenemona inilah  yang coba diangkat dan diceritakan ulang di Film Silariang-Cinta yang (Tak) Direstui yang  di-release di Gala Priemer, Minggu (14/01/2018) kemarin. Film yang diangkat dari sudut pandang Bugis-Makassar.

Sejak 2014 lalu, harus diakui geliat industri film di Makassar sedang melaju. Salah satu milestone-nya  saat beberapa film karya anak Makassar menembus pasar nasional dan tayang di seluruh Indonesia. Walau responsnya tidak melulu positif tapi capaian tersebut memicu karya-karya sineas muda Makassar yang lain. Dan yang tidak boleh dilupakan, bahwa keberhasilan Athirah merajai Piala Citra sekaligus dan sebagai Film Terbaik 2016 adalah kerja keras sineas muda Makassar.

Di tahun 2017 kemarin, Makassar melepas karya-karya yang juga tayang hampir serentak di bioskop nasional, sebutlah: Suhu Beku, Molulu, Kaili, dan beberapa judul lainnya.  Walau targetannya tidak sesuai harapan, namun tidak menyurutkan semangat yang lain untuk melahirkan karya baru.

Silariang, menjadi karya pertama yang direlease tahun 2018 yang diproduksi Inipasti Comunica dan Indonesia Sinema Persada. Gala Premeiernya di Studio XXI, Mall Panakukkang kemarin disesaki ratusan penonton, sejak pagi hingga malam hari.  Saya yang menonton trailer-nya di acara F8 di pantai Losari Agustus lalu, cukup penasaran dengan film ini dan beruntung bisa menyaksikan Gala Premiernya. Saya menonton di sesi pertama pada pukul 12.20 di Studio 2 dan semua kursi terisi penuh hingga film selesai diputar.

Setiap menonton film, khususnya film Indonesia saya tidak muluk mengharapkan tontonan yang lebih. Saya justru selalu berharap dikejutkan dengan ide-ide sederhana yang dieksplorasi dengan totalitas dan tersaji apik di layar besar di depan jutaan mata nantinya.

Adalah dua sejoli Yusuf (Bisma Karisma) dan Zulaikha (Andania Suri) yang sedang saling mencintai dihadang problematika besar. Dinding strata sosial yang kuat dan mengakar sejak ratusan tahun berdiri di antara mereka. Zulaikha adalah golongan bangsawan berdarah murni, tidak mendapat restu ibunya Puang Rabiah (Dewi Irawan) untuk menikahi Yusuf, anak seorang saudagar kaya di Makassar.

Keduanya dengan sadar memilih satu jalan, silariang. Bagi orang Bugis-Makassar, apalagi golongan  bangsawan, tindakan silariang ini mappakasiri’ (memalukan) keluarga mereka. Halal baginya darah lelaki yang membawa lari anak gadis mereka dan dalam hukum adat, tindakan keluarga perempuan tersebut akan dimaklumi sebagai upaya mengembalikan siri’ mereka.

Dalam pelariannya, di sebuah desa yang jauh dari Makassar, cinta Yusuf dan Zulaikha diuji. Mereka miskin dan jauh dari hiruk pikuk anak muda milenial zaman sekarang. Mereka berbaur dengan warga kampung dan hidup apa adanya. Berteman dengan satu keluarga yang akhirnya menjadi teman dan penyelamatnya.

Setelah satu dua tahun, persembunyian mereka terbongkar namun tidak menyurutkan mereka untuk pulang sampai mereka dibenturkan dengan masalah kesehatan anaknya. Kisah tragis ini berujung bahagia seperti yang diharapkan pemirsa tentunya.

Dari awal hingga ahir, saya menikmati film ini. Saya berani bilang, kualitas sinematografi yang disajikan jauh melebihi film Makasssar yang saya nonton beberapa tahun lalu. Dan itu melegakan.

Film ini dimulai dengan lanskap kota Makassar hari ini, pembangunan kota, gedung-gedung tinggi nan megah. Penonton juga akan dipuaskan dengan keindahan alam, karst-karst yang menjulang tinggi, sungai yang jernih, pematang sawah nan terhampar permai. Di banyak adegan, diselipkan kekhasan budaya Makassar yang kental namun dengan pacakaging yang lebih kekinian.  Baju bodo, lipa’sabbe, kain sutra, badik, dan makanan khas Bugis Makassar.

Sepanjang film, semua tokoh menggunakan dialek Makassar, dan disertai subtitle Bahasa Indonesia hingga memungkinkan untuk dimengerti oleh penonton dari seluruh Indonesia. Selain oleh dua tokoh utama yang memang tidak berdarah Makassar, dialek tokoh lainnya yang sampai ke telinga saya sangat alami, tidak dipaksakan dan tidak di-setting untuk dilucu-lucukan. Dan itu penting.

Industri film kita mulai harus beranjak dari ide hanya sekedar memuaskan kerinduan orang-orang Makassar akan identitas mereka yang dipaksa melekat di sebuah film, yang biasanya akan diujungi dengan tawa penonton. Kualitas acting aktornya pun sangat alami, yang menonjol sebutlah Sesse Lawing, Muhary Wahyu Nurba, dan Zulfi (kakak Zulaikha).

Yang menarik, film ini menyajikan beberapa hal yang baru saya ketahui. Dalam adat Bugis Makassar,dalam kasus silariang ada upacara attalassa’ yang merupakan ritual keluarga tumasiri’ (keluarga  perempuan)yang secara adat menyatakan anak mereka telah mati.

Ritual ini pun menghapuskan kewajiban mereka sebagai tumasiri’ untuk menghapus siri’ mereka pada annyala’  (keluarga laki-laki). Di film ini, Puang Rabiah memutuskan melakukan ritual ini dan menyatakan Zulaikha telah mati baginya. Juga ditampilkan prosesi abbaji’ , ini adalah prosesi perdamaian kedua belah pihak.Proses abbaji ini menandai akhir cerita cinta yang bahagia antara Yusuf dan Zulaikha.

Walau, menikmati film ini dari awal sampai akhir. Saya juga menemukan beberapa adegan-adegan yang tidak pas, yang tidak nyambung, atau tidak sesuai konteksnya.  Beberapa tokoh yang harusnya menonjol tapi tidak keliahatan, Ibu Yusuf misalnya. Dia terlalu datar untuk seorang ibu yang ditinggal pergi anaknya.

Beberapa adegan-adegan bocor, saat proses melahirkan yang masih terlalu kasar karena menampilkan bayi yang sedemikian besarnya. Perpindahan waktu yang tergesa-gesa juga membuat kisah ini tidak sepenuhnya utuh.

Namun selebihnya, saya sangat mengapresiasi pilihan Sang Sutradara, Wisnu Adi dalam menonjolkan beberapa adegan yang dengan jelas menyatakan bahwa fenemona silariang bukanlah hal mudah yang harus jadi pilihan atau jawaban atas cinta yang tak direstui.

Kebimbangan Zulaikha sebelum menikah, proses advokasi oleh Pak Imam, penyesalan Bisma dan Zulaikha yang sesekali meluap lewat kemarahann saat kesulitan mendera, dan dua keluarga yang merasakan penderitaan yang sama hebatnya. Mengapa ini penting, bahwa anak-nak muda yang mungkin berpikir melakukan hal yang sama, bisa berpikir ulang berkali-kali sebelum memutuskan hal tersebut.

Walau berakhir bahagia, ada satu hal yang menurut saya luput ditegaskan dan jauh lebih penting untuk dikabarkan. Bahwa fenemona silariang mestinya tidak lagi perlu ada. Mestinya dinding-dinding strata sosial manusia patut ditumbangkan. Bahwa darah manusia yang satu lebih memiliki derajat dari manusia lainnya, harusnya menjadi keyakinan yang usang, karena manusia adalah sama dengan manusia lainnya, pun darah kita sama merahnya.

Film ini cocok untuk kalian tonton bersama keluarga, bersama teman-teman untuk kemudian dikaji ulang. Karena keseluruahan film ini berlatar Bugis Makassar, teman teman yang diperantauan akan terobati kerinduannya pada tanah kelahiran. Film ini terasa dekat, karena hal hal yang disajikan memang ada di sekitar kita.

Namun,adegan yang paling mengutak atik emosi saya, yaitu saat lagu Inninnawa Sabbraki’ dilantunkan mengiringi permintaan maaf Zulaikha pada ibunya.

Harnita Rahman

Sehari-hari sibuk sebagai ibu rumah tangga. Sambil mengelola Kedai Buku Jenny (KBJ) di Makassar.

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Harnita Rahman

Sehari-hari sibuk sebagai ibu rumah tangga. Sambil mengelola Kedai Buku Jenny (KBJ) di Makassar.

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