Merah itu Cinta Mencoba Berbeda

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Merah itu Cinta adalah film keempat Rako Prijanto setelah Tragedy, Ungu Violet, dan D’ bijis. Merah itu Cinta adalah salah satu film yang masuk nominasi film terbaik dalam ajang FFI 2007. Merah itu Cinta berkisah tentang perjuangan Raisa (Marsha Timothy) untuk lepas dari trauma setelah kematian tunangannya, Rama (Yama Carlos). Raisa kemudian semakin terusik dengan kedatangan Aria (Gary Iskak) sahabat karib Rama. Uniknya, film ini menggunakan pendekatan sinematik yang berbeda dengan film-film kita kebanyakan. Sang sineas bermain-main dengan beberapa teknik yang “tabu” dilakukan seperti teknik jump-cut, pelanggaran aksis aksi (garis imajiner), serta komposisi tak seimbang. Dalam behind the scene, sang sineas memaparkan bahwa ia sengaja menggunakan teknik-teknik tersebut untuk menunjukkan ketidakseimbangan jiwa para karakternya. Jika dicermati memang penggunaan ketiganya cukup dominan sepanjang film.
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Pelanggaran aksis aksi serta komposisi gambar tak seimbang paling mudah kita temui dalam adegan dialog. Agak sulit memang menjelaskan aksis aksi dengan singkat. Sederhananya begini, dalam adegan dialog antara dua orang dalam satu ruang (dua shot close-up wajah bergantian) biasanya kita akan melihat wajah satu orang menghadap ke kanan dan wajah satu orang lagi menghadap ke kiri, sehingga kita tahu jika mereka saling berhadapan. Namun dalam film ini, kita seringkali melihat wajah dua orang menghadap ke arah yang sama. Contohnya cukup jelas terlihat pada adegan dialog Raisa-Aria di teras rumah setelah mereka berdua pergi makan-malam. Sementara komposisi tak seimbang tampak jelas dalam banyak adegan dialog dimana posisi wajah selalu berada di pinggir sehingga menyisakan banyak ruang kosong di belakang kepala. Sementara jump-cut juga sangat intensif digunakan. Seperti tampak jelas pada adegan awal, ketika Raisa yang masih mengenakan handuk mendengarkan suara Rama. Kita dapat melihat jump-cut digunakan beberapa kali ketika suara Rama terdengar di mesin penerima telepon.
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Teknik-teknik non-konvensional tersebut memang bukan tidak pernah digunakan dalam sebuah film. Namun sepertinya baru kali ini seorang sineas mempergunakan ketiga teknik tersebut secara intensif dalam satu film. Memang sah-sah saja seorang sineas menggunakan teknik apa pun, terlebih jika memiliki motif-motif tertentu. Pertanyaannya sekarang, apakah penggunaan teknik-teknik tersebut telah berhasil mencapai tujuan yang diinginkan? Sepertinya belum. Singkatnya, tanpa menggunakan teknik-teknik tersebut kisahnya sudah terlalu kompleks untuk diikuti, terlebih untuk penonton awam. Penonton sendiri sudah cukup bingung menduga-duga apa yang sesungguhnya terjadi dengan para karakternya, sehingga penggunaan ketiga teknik tersebut sekaligus rasanya menjadi tidak efektif. Jika saja jalan cerita bertutur sederhana dan jelas, mungkin penonton lebih sadar akan ketidaklaziman bahasa visual tersebut. Jika dipaksakan sepertinya teknik jump-cut saja sudah cukup efektif menjelaskan ketidakseimbangan jiwa para karakternya atau permainan kemiringan kamera. Walaupun begitu keberanian sineas bereksperimen dengan bahasa visual perlu kita acungi jempol. Setidaknya sang sineas telah memperkaya industri perfilman kita dengan sesuatu yang sama sekali berbeda. 

Subiyanto

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