Achnas first got recognition in 1995 with her short film
The Little Gayo Singer. The movement began through the experimental film,
Kuldesak (1998), which they collectively produced near the beginning of Achnas' career. When asked about facing discrimination as a woman filmmaker, Achnas says: She also has spoken about government funding and the lack thereof in Indonesia. Achnas says: “In countries like South Korea, like Iran, there’s always some money from the government to make films that are not really for the mainstream market. That is not available here (Indonesia). I make films not purely for the mainstream market (so) I get my funding outside.” When speaking about making films in Indonesia, she claims “Indonesia is different because we don’t have an Indonesian diaspora, compared with the Indian or the Chinese.” In terms of the filmmaking world, Achnas is not surprised by the recycling process that is constantly seen in films. She states that, “It was the romantic teenage drama and then the horror genre came and now it's the comedies, and I predict it's probably the erotic films next because history repeats it- self.” Achnas' admits being against anti-pornography law. This statement was made in regards to the
Bill against Pornography and Pornoaction that was passed in Indonesia in 2008.
Influences, themes and style Achnas is often regarded as the first woman filmmaker from Indonesia to have a feminist perspective, while many of her films concentrate on the problems of women in Indonesian society. Achnas' films tend to challenge the New Order's gender regime that is prevalent in Indonesia. Her father was a feminist who she often credits for the distinct feminist ideology in her films. The narratives within her films are often formed using a female voyeurism and gaze. Particularly, Achnas’ films feature little sex or violence. ==Filmography==