Starring Nyoman Oka Antara and Prisia Nasution, it tells the story of a young man and his friendship with his small village's new ronggeng.

Tohari called it a "sublime adaptation of his work",[1] while Labodalih Sembiring of the Jakarta Globe described its socio-cultural elements as worthy of a Shakespearean tragedy.

After the success of her dance at the grave of Ki Secamenggala, Srintil is told that she must undergo a ritual before she can truly become a ronggeng, called bukak klambu (literally "opening the veil"), in which her virginity will be sold to the highest bidder.

During Rasus' military time, Dukuh Paruk's ronggeng troupe, which includes Kartareja, Sakarya, Sakum the blind kendhang player, and Srintil becomes increasingly popular and become involved in many rally events organised by the communist party.

However, when Dukuh Paruk's turn comes in the massacre, Rasus hurries back, leaving his army comrades to his hamlet to find and save Srintil.

Ten years later, Rasus meets a street dancer and a blind man in a village close to Dukuh Paruk who resemble Srintil and Sakum.

[2] Husband and wife team Wong Aksan and Titi Sjuman were chosen to do the scoring, which they spent a month and a half on; they later said that work on the film brought them closer together.

[3] Shanty Harmayn, who had previously worked on Pasir Berbisik (Whispering Sands; 2004), was chosen to produce, while Salman Aristo, known for his scripts for Ayat-Ayat Cinta (Verses of Love; 2008) and Laskar Pelangi (Rainbow Warriors; 2009) spearheaded the writing.

[1] Balinese actor Nyoman Oka Antara, who had previously played in Ayat-Ayat Cinta (Verses of Love; 2008) and Perempuan Berkalung Sorban (The Girl With the Keffiyeh Around Her Neck; 2009), was cast in the leading male role.

[1] The film also featured Slamet Rahardjo, Dewi Irawan, Hendro Djarot, Tio Pakusadewo, Lukman Sardi, and Teuku Rifnu Wikana in supporting roles; Happy Salma also had a cameo as a dancer.

[1] Triwik Kurniasari, writing for The Jakarta Post, described the film as "artistically stunning" and that Isfansyah "smoothly translates the sinister moment and the vicious attempts taken by the military in handling possible traitors".