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Film “Eiffel…I’m In Love” Sia-Sia Membuat Sekuel Review Film "Eiffel... I’m In Love 2" (Rizal Mantovani, 2018)

LIMA belas tahun lalu ketika film Eiffel… I’m In Love (Nasri Cheppy, 2003) tayang di bioskop, saya masih kelas 3 SD. Masa itu saya ingat betul, saya baru menontonnya setahun atau dua tahun kemudian setelah ditayangkan di salah satu televisi swasta. Itu pun di hari libur nasional.

Biasanya film ini akan ditayangkan secara bergantian dengan film Petualangan Sherina (Riri Riza, 2000) atau film dari Iran, Children of Heaven (Majid Majidi, 1997).

Akibat film Eiffel itulah, saya mengamini apa yang Andrei Tarkovsky katakan dalam Sculpting In Time: Reflections on The Cinema, “I think that what a person normally goes to the cinema for istime: for time lost or spent or not yet had.”

Penonton ingin, tidak sekadar hadir sebagai penonton, tetapi mereka ingin mengalami dan merasakan suatu kejadian yang belum pernah mereka tempuh sebelumnya. Kalau dalam bahasa Afrian Purnama dalam tulisannya berjudul, Jangkau, “mendapatkan pengalaman bathiniah yang belum pernah dicapai oleh penonton sebelumnya.”

Tiba-tiba hampir semua remaja ingin pergi ke Paris dan jatuh cinta. Tante saya––yang masih kelas 3 SMA pada saat itu ingin melanjutkan kuliah di Prancis. Kakak saya membeli banyak poster dan miniatur menara Eiffel akibat film ini kemudian memasangnya di tiap sudut rumah.

Film memang memiliki kuasa yang begitu dahsyat kepada penontonnya. Beberapa hari lalu, sekuel film ini dirilis dengan judul yang sama. Mesti diingat, dua tahun terakhir, ada beberapa film-film sekuel yang diproduksi, di antaranya, Comic 8: Casino Kings Part 2 (Anggy Umbara, 2016), Langit Terbelah di Langit Amerika 2 (Rizal Mantovani, 2016), Ada Apa Dengan Cinta? 2 (Riri Riza, 2016), Surga yang Tak Dirindukan 2 (Hanung Bramantyo,2017), Warkop DKI Reborn: Jangkrik Boss! Part 2 (Anggy Umbara, 2017), Filosofi Kopi 2: Ben &Jodi (Angga Dwimas Sasongko, 2017) dan Ayat-Ayat Cinta 2 (Guntur Soehardjanto, 2017).

Entah ada fenomena apa yang terjadi? Barangkali para pembuat film ingin mengembalikan nuansa-nuansa masa lalu kepada penonton.

Saya berkesempatan menonton film Eiffel… I’m In Love 2 (Rizal Mantovani, 2018). Saya tidak berekspektasi banyak sebelum menontonnya. Saya hanya berharap masuk ke dalam ruang gelap dan menikmati suguhan filmnya. Saya juga tidak berharap banyak pada cerita. Saya hanya ingin menyaksikan bagaimana cerita ini diceritakan.

Saya duduk bersama sekiranya tidak lebih dari tiga puluh orang. Hampir semuanya kisaran umur 22-40 tahunan. Saya hanya menduga, lagi-lagi, penonton ingin merasakan romansa masa lalu?

Sebetulnya saya sudah terganggu bagaimana film ini dibuka. Pada suatu pesta pernikahan, Tita (Shandy Aulia) sedang duduk dan disamper oleh beberapa orang (temannya?). Tiba-tiba salah satu dari mereka langsung meminta nomor telepon setelah saling menyapa. Apakah tidak perlu ada basa-basi yang santai sebelum langsung meminta nomor telepon?

Tentu saja informasi itu penting dalam memandu sekuen cerita ini, bahwa Tita belum punya ponsel sebab masih tidak
dibolehkan oleh Ibunya. Sementara itu, di suatu sudut kota Paris, Adit (Samuel Rizal) telah bekerja dan masih menjalani hubungan jarak jauhnya dengan Tita. Karena suatu alasan, keluarga Tita pindah ke Paris.

Tentu keputusan ini membuat Tita bahagia. Ia akan bertemu dengan Adit, kekasihnya yang lama tak ia temui. Ia berharap akan dilamar secepatnya. Tita merasa tertekan oleh banyak pertanyaan temannya perihal kapan menikah.

Halini menjadi problematis ketika Adit, rupanya belum siap menikahi Tita dalam waktu dekat. Tita rapuh dan meminta putus. Muncullah sosok Adam (Marthino Lio), pria serba baik dan rela memberika ipad kepada Tita secara cuma-cuma di hari ulang tahunnya.

Ketika Adam mengetahui bahwa Tita putus dengan Adit, Adam menyusul Tita ke Paris dan melamarnya. Sederhana saja ceritanya. Film ini tidak menarik. Dialog-dialog yang menampung banyak informasi tidak dikemas dengan baik.

Informasi-informasi selama 12 tahun seperti menyumbat kuping penonton. Hubungan Tita dengan keluarganya tidak terasa hangat, tampak seperti orang-orang asing yang baru dipertemukan kembali, lalu berpura-pura atau mengira diri mereka keluarga. Ketidak intiman ini tampak jelas terlihat pada suasana ketika Tita merayakan ulang tahunnya bersama keluarga.

Sebagai penonton, saya menikmati warna-warna yang ditawarkan film ini. Tampak manis dan segar. Tetapi sebagai penonton yang berpikir, saya menebak film ini, sekali lagi hanya menebak, film ini hanya mengambil adegan-adegan eksterior di Paris. Itupun tidak banyak.

Tentu sajauntuk menghemat budget produksi, tetapi struktur rumah Adit yang ditinggali keluarga Tita selama beberapa hari, tampak seperti struktur rumah Tita di Jakarta.Jikapun toh banyak interior juga yang dikerjakan di Paris, tapi kok yah rasanya masih rasa Jakarta.

Keluarga Tita sudah pindah ke Paris, tetapi baunya masih bau Jakarta. Belum lagi ketika keluarga Tita keluar dari pintu kedatangan, di sana sudah ada supir Adit menunggu.

Supir Adit yang dikenal baik oleh keluarga Tita masih butuh “papan nama” yang harus menutupi wajahnya. Jika Anda mengamati betul adegan ini, sangat tidak sehat dan tidak hangat. Kikuk.Krik. Krik.

Lalu apakah film ini masih bisa dinikmati? Tentu saja masih bisa. Bergantung apa yang Anda cari dalam film ini. Anda masih bisa melihat pertengkaran-pertengkaran kecil antara Adit dan Tita yang membuat banyak dari penonton cekikikan.

Anda masih bisa menikmati Adit dan Tita ciuman seperti di film pertamanya. Tetapi jika Anda menonton film ini hanya ingin menyaksikan sebuah ciuman, Anda bisa ke Youtube atau Instagram.Tak dipungkiri sejak perkembangannya, sinema, melalui anatomi-anatomi audio-visualnya, selalu punya kemampuan untuk berdialog dengan penontonnya.

Akbar Yumni dalam artikelnya, Performativitas atas Kehadiran dan Waktu, pada katalog Arkipel edisi Social/Kapital, bahwa, “sinema selalu memungkinkan ‘emansipasi’ intelektual karena selalu menghadirkan tegangan antara keaktifan dan kepasifan, penampakan dan realitas, penglihatan dan pengetahuan..”

Dugaan-dugaan yang saya sebutkan di atas tidak akan pernah terbesit di kepala saya jika tidak berangkat dari bidikan-bidikan kamera. Sebagai penonton, sebetulnya saya berdialog dengan hasil bidikan itu.

Sebagai penonton yang memiliki kuasa menimbang dan ‘mengemansipasi’, film ini tidak memiliki orientasi yang jelas. Jika film Eiffel… I’m In Love 2 ingin mengembalikan romansa-romansa masa lalu, saya rasa energi film ini tidak mencapai kesitu.

Jika film ini hanya sekadar melanjutkan cerita antara Tita dan Adit dan meraup sebanyak-banyaknya penonton, saya kok malah ragu. Suatu kali sutradara Joko Anwar pernah menulis di akun twitternya, “Mendukung film Indonesia tidak harus dengan menonton semua film Indonesia.” Saya setuju. Sangat setuju setelah menonton film ini.

Memang ada jenis film yang harusnya berakhir pada film pertama belaka.Tidak perlu ada sekuel. Kalau dipaksakan, jadinya malah terasa receh. Jika bisa menyimpulkan, film ini hanyalah respon dangkal mengenai jusktaposisi fenomena LDR dan kebelet nikah yang kian marak. Selebihnya tidak ada.

Avatar

Rachmat Hidayat Mustamin

Penyair dan film maker

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