Surviving the Storm: Reza's On Your Lap and the Human Cost of Indonesia’s 1998 IMF Crisis

in 30th Busan International Film Festival

by Narendra Bandabe

Introduction

Indonesia’s 1998 economic crisis, triggered by the Asian financial meltdown, caused widespread social and economic upheaval. Millions lost jobs, prices of basic goods soared, and poverty increased sharply. In response, the International Monetary Fund (IMF) provided loans to stabilize the economy—but these came with strict austerity measures that deeply affected ordinary Indonesians. 

On Your Lap (Pangku, 2025) is the directing debut of well-known Indonesian actor Reza Rahadian. The film follows the story of Sartika (played by Claresta Taufan), a pregnant woman seeking a better future in a coastal village. It offers a powerful lens through which to understand the human cost of these policies. Her personal journey highlights the themes of exploitation, resilience, and survival in the face of systemic failure.

Economic Collapse and Displacement

The crisis began with the collapse of the Thai baht but quickly spread to Indonesia, where the rupiah lost much of its value. Inflation soared, and IMF-imposed reforms included cutting subsidies on essential goods like fuel and rice. These changes made daily life harder for the poor. Sartika’s arrival in the village, with no job, skills, or resources, reflects the desperation faced by many Indonesians at the time. Her struggle to find work shows how the crisis destroyed economic stability, forcing millions into informal labor and survival work.

Exploitation of Women and Informal Labor

Sartika finds work in a roadside diner as a “kopi pangku (lap coffee)” waitress, a job that involves sitting on male customers’ laps while serving them. Though degrading, it offers her a way to survive. Her situation mirrors that of many women during the crisis who were pushed into precarious, low-paid, or even exploitative work. The IMF’s policies prioritized debt repayment over social support, which meant fewer safety nets for vulnerable groups—especially women. The film does not judge Sartika’s choices, but instead shows her strength in doing what she must to survive. This reflects a broader reality: For many women, survival during the crisis meant making painful decisions.

Community Responses and Human Connection

The diner represents more than a workplace—it becomes a symbol of Indonesia’s fractured society. In this space, Sartika experiences both judgment and small acts of kindness. Her interactions with customers reflect the mixed responses of Indonesian communities during the crisis. Some people looked down on the poor, while others offered support, even if only in small ways. Sartika’s bond with Arif, a kind truck driver, highlights the importance of human connection in difficult times. Though their relationship is fragile, it represents moments of dignity and care in an otherwise harsh world.

Migration and Global Labor Inequality

A key part of the narrative is the allusion to women (such as Arif’s wife) who left Indonesia to work abroad. The economic collapse drove many to seek jobs in countries like Malaysia or Saudi Arabia, often as domestic workers. Many never returned or came back with traumatic stories. This aspect of the story criticizes the global system that forces the poor into dangerous labor abroad while wealthy nations benefit. It also reveals how Indonesia’s recovery depended in part on the remittances of women working under difficult and often abusive conditions.

Conclusion

Sartika’s story offers a human face to the 1998 IMF crisis in Indonesia. It shows how global financial decisions can deeply affect individual lives, especially among the poor. Through Sartika’s experience, the narrative highlights the resilience of those who endured poverty, humiliation, and loss—not through dramatic victories, but through daily survival. The film’s quiet, honest portrayal reminds us that behind economic statistics are real people whose lives are shaped—and often harmed—by international policies. Sartika’s journey is not one of triumph, but of endurance, and in that endurance lies a powerful form of resistance.

 

Narendra Bandabe
Edited by Robert Horton
© FIPRESCI 2025