Nonton Newness -2017- May 2026
Newness (2017) adalah film yang menyakitkan tapi perlu ditonton. Ia mengingatkan kita bahwa cinta bukanlah tentang menemukan orang yang sempurna tanpa cacat, melainkan tentang menerima ketidaksempurnaan dan membangun kepercayaan di tengah dunia yang menawarkan jalan pintas tanpa henti.
Film ini cocok untukmu yang sedang jomblo, yang sedang menjalin hubungan, atau yang baru saja patah hati. Siapkan camilan dan siap-siap untuk melakukan self-reflection usai menonton.
Rating: 7/10 Genre: Drama, Romance Durasi: 112 Menit Pemeran: Nicholas Hoult, Laia Costa, Danny Huston
Sudahkah kamu menonton film ini? Bagaimana pendapatmu tentang hubungan terbuka di era digital? Tulis di kolom komentar!
In the landscape of modern romance, the path to love is no longer blocked by a lack of options but paralyzed by an excess of them. Drake Doremus’s 2017 film Newness serves as a cinematic scalpel, dissecting the messy, digital heart of millennial dating. The title itself is a double-edged sword: it refers to the initial, intoxicating rush of a new partner, but also to the relentless, destructive demand for novelty fostered by dating apps. Through the turbulent relationship of two Los Angeles singles, Martin and Gabi, the film argues that technology has not ruined our ability to love, but rather has exacerbated our deepest insecurities, turning relationships into commodities to be consumed and discarded once the "newness" wears off.
The film opens with a familiar ritual of the 2010s: the frictionless swipe. Both protagonists are users of a hookup app called "Newness," which promises connection without commitment. Doremus masterfully captures the hollow dopamine rush of this process. The app is a mirror reflecting a culture that prioritizes instant gratification over deep investment. Martin (Nicholas Hoult), a pharmacist, and Gabi (Laia Costa), a physical therapist, meet the old-fashioned way—in a bar—yet their relationship is immediately colored by the digital ethos they came from. Their initial chemistry is electric precisely because it feels unfiltered. They confess secrets, traumas, and insecurities with a raw vulnerability that seems to transcend the superficial world of swiping.
However, the core tragedy of Newness is that this raw authenticity cannot be sustained without trust. As the initial high fades into the mundane realities of cohabitation and routine, both partners fall back on the very digital crutches they sought to escape. The "open phone policy" they adopt—a desperate attempt to prove loyalty—backfires, transforming intimacy into surveillance. Martin’s eye wanders to Instagram likes; Gabi re-downloads the app out of boredom and insecurity. The film’s most devastating insight is that the app is not the villain; it is merely a tool. The villain is the internalized logic of the marketplace: if something is difficult, or boring, or painful, you can simply find a newer, shinier model.
Doremus visualizes this emotional fragmentation through his signature intimate, vérité-style cinematography. The camera lingers on faces in extreme close-up, capturing every micro-expression of desire, doubt, and disgust. The Los Angeles setting is deliberately cold and sleek—all glass condos and glowing smartphone screens—a stark contrast to the messy, sweaty, tear-stained arguments that take place inside. The soundtrack, a pulsing ambient score, swells when the couple is disconnected, alone together in the same bed but scrolling through separate digital universes.
The film’s third act is an unflinching look at polyamory as a failed cure for the fear of missing out. In a desperate bid to save their relationship, Martin and Gabi open it up, only to discover that novelty is not the same as intimacy. The threesome with a charming stranger (Matthew Gray Gubler) is not liberating; it is a surgical demonstration of their emotional bankruptcy. They realize, too late, that the "newness" they crave is not a different person, but a different version of themselves—one that is capable of trusting without verifying, and loving without an escape plan.
Newness does not offer easy answers, nor does it end with a Hollywood reconciliation. The final shots are ambiguous: the couple reunites, but the camera lingers on the notification light of a smartphone blinking in the dark. The implication is haunting. They may choose each other for now, but the architecture of choice remains all around them, whispering that someone better is just a swipe away.
In conclusion, Newness is a vital document of its time. It refuses to blame technology for the failures of the human heart, instead pointing the finger inward. The film suggests that the greatest threat to modern love is not infidelity or incompatibility, but the illusion of infinite alternatives. We have traded the agony of loneliness for the paralysis of abundance. To watch Newness is to see a generation caught in a hall of mirrors, mistaking the reflection of their own desire for the real warmth of another soul. It is a cautionary tale that asks a simple, devastating question: In a world where you can have anyone, how do you learn to want just one?
The 2017 film , directed by Drake Doremus, is a raw and visually striking exploration of love, intimacy, and the "swipe-right" culture of the digital age. Starring Nicholas Hoult as Martin and Laia Costa as Gabi, the movie delves into the complexities of a relationship born from a hookup app and the subsequent struggle to maintain emotional depth in a world saturated with options. Plot Summary: Beyond the Initial Swipe
Set in contemporary Los Angeles, the story begins with Martin, a divorced pharmacist, and Gabi, a physical therapist from Spain, matching on a Tinder-like app called "Winx". What starts as a casual hookup quickly evolves into an intense, whirlwind romance. However, as the initial "newness" of their connection begins to fade, they face the boredom and anxieties common to modern long-term relationships.
In an attempt to keep their spark alive and navigate their mutual fear of commitment, they decide to embark on an open relationship
. This unconventional choice pushes their emotional boundaries and forces them to confront difficult truths about honesty, jealousy, and what they truly want from a partner. Key Themes and Cinematic Style Newness (2017) nonton newness -2017-
Rain drummed a slow rhythm on the corrugated roof of the small cinema, a place that smelled of buttered popcorn and old velvet. The marquee outside read NONTON NEWNESS — 2017 in hand-painted letters, the word “newness” wobbling like a promise. Inside, only three rows of mismatched seats filled the dim room: an elderly man with a wool cap, two high-school girls sharing a backpack, and Arif, who’d come because the poster in the market had suggested the film might answer a question he hadn’t yet learned how to ask.
He’d arrived an hour early, the city’s evening mist still clinging to his jacket. The ticket seller — a woman named Mira who wore a silver earring shaped like a film reel — tore his stub with a practiced click and said, “It’s not a film festival. It’s one night of short pieces. Some are new, some are experiments. People bring things they think are true.” She winked as if the wink were part of the price.
The room lights dimmed to a soft charcoal. A projector whirred to life, and the first piece slid into view: a single-frame study of a hand setting a cup on a balcony ledge, the city blurred beneath. No dialogue. A title: "First Things." The camera lingered on steam rising, the cup’s rim, the small tremor in the fingers. It felt like watching someone assemble courage.
Each piece after that was a needle pulling a thread through Arif’s ribs. A seven-minute montage of street vendors applying lacquer to carved toys, narrated by a child who had never been allowed to choose anything; a grainy home movie of a family planting a mango tree in 1999, overlaid with a voice reading a letter the planter wrote in 2017 to the sapling’s future owner. A stop-motion about lost keys that ended with a door opening into a lake. Short bursts, honest and jagged, that refused to explain themselves.
Between reels, the projector hummed in the silence, and Arif watched the light slice the dust in the air. The elderly man mouthed lines as if reciting prayers; the girls whispered critiques with the intimacy of new friends. Mira moved through the aisles with a tray of warm tea, offering cups without asking. Outside, the rain had softened to a drizzle, and neon letters across the street reflected like memory.
The third piece changed everything: a thirty-minute film titled "Newness" — handwritten letters across the screen confessed it had been twelve years in the making. The director, a soft-spoken woman named Laila who sat in the third row after the credits, had filmed fragments of a neighborhood over many seasons. Her method was simple: return to the same corner, the same shopfront, the same bench, and ask the same question: “What would you give up to begin again?”
An old barber shaved in the same chair he had as a boy and answered, “My opinion.” A schoolteacher, eyes tired from chalk dust, said, “My calendar.” A young woman packing her suitcase muttered, “My map.” Each answer was filmed twice: once up close, with trembling lips, and again from across the street, where people passed indifferent. Laila’s frames slid together like a refrain; the camera’s patience became an insistence.
Arif felt his own answers gather like loose coins in his pocket. He had moved through years carrying small certainties — the route he took to work, the books he said he liked, the job he told himself would be enough. The film’s music was a single guitar string plucked slowly, asking and asking until the question made a luminous shape: what if beginnings are not moments but the things you decide to release?
After the lights came up, the small audience stayed seated, unready to let the night end. Laila stood and spoke softly about time, about keeping records not to remember but to choose. She said films could be small negotiations with the future; the camera merely witnesses.
Outside, the rain had stopped. A wet breeze slapped the street and carried the scent of jasmine. The elderly man with the wool cap folded his hands and told Arif, “When I lost my wife three years ago, I stopped giving my time. I thought time would be the last thing I could spare. But time is exactly what made her presence keep living. I’ve been learning to give time back.” He smiled like someone who had found a reset button in a pocket.
The two girls argued amiably about which piece was truest and which director had cheated by being sentimental. Mira leaned against the ticket booth and listened, eyes amused. Laila accepted small thank-yous with a nod, then slipped into the night with a borrowed umbrella.
Arif walked home slowly, the city lights smeared into watercolor. He reached his small apartment and found an old sketchbook he hadn’t opened in years. On the kitchen table, the lightbulb hummed: a single thing ready to be given up or reclaimed. He thought of the barber, the teacher, the woman with the suitcase. He thought of the mango tree and the stop-motion keys. He turned the sketchbook over in his hands as if the binding might unspool a different shape of days.
At dawn, Arif opened the book and began to draw. Each line was awkward at first, then less so, like learning to breathe through a new room. He drew the balcony cup, the barber’s chair, the bench in Laila’s corner. When he finished a small page of images, he taped it to his doorframe. The act felt ceremonial, not because of the paper but because he had chosen to begin.
Weeks passed. The cinema’s marquee faded into other nights; other films found their way to stranger rooms. But the habit stuck: each week, Arif gave up one small certainty — a route, an expectation, a neat plan — and replaced it with a tiny experiment. He took a different street to work and found a bakery that made cardamom rolls. He stopped saying “I’m fine” when asked and let a friend answer instead. He enrolled in a class where no one pretended to be competent. Little by little, beginnings accumulated. Newness (2017) adalah film yang menyakitkan tapi perlu
Months later, Arif returned to Nonton Newness — 2017 on a rainy Thursday, this time with a sketchbook full enough to trade. He sat in the back row and watched as someone else’s film asked new questions. After the screening, he left a single folded page on Laila’s empty seat: a drawing of the mango tree, but now with new roots, and a note: “I gave up my map.”
The cinema’s light swallowed the paper, and somewhere in the dark, a projector clicked and kept turning. Newness, as the screenings showed, was less a one-time event than an ongoing agreement to choose again.
Years later—if years could be a single spool—people still tucked their small experiments into Nonton’s pockets: a tape, a postcard, a film of a child blowing soap bubbles into a winter street. The marquee would always be hand-painted, the letters wobbling like promises, because beginnings require a hand steady enough to risk crookedness and soft enough to say yes to the next showing.
End.
Newness (2017) is a romantic drama directed by Drake Doremus that explores the complexities of millennial dating and emotional intimacy in the digital age. Premiering at the 2017 Sundance Film Festival
, the film stars Nicholas Hoult and Laia Costa as two young Los Angelenos navigating the highs and pitfalls of modern "hookup culture". Plot Summary The story follows (a divorced pharmacist) and
(a physical therapy assistant from Spain) who meet through a Tinder-like dating app called Winx. The Honeymoon Phase
: After a series of failed dates with others, they match and immediately hit it off, quickly moving in together. The Conflict
: As the initial "newness" of their connection fades, personal baggage surfaces. Martin struggles with the memory of his ex-wife and a family tragedy, while Gabi feels restless and admits a craving for novelty. The Experiment : To save their relationship, they decide to try an open relationship
, which leads to new emotional complications, jealousy, and a test of their true commitment. Key Themes
If you are looking for information about "nonton" (watching) the
, here is a breakdown of the movie's details, themes, and where you can find it. Quick Overview is a romantic drama directed by Drake Doremus (known for Like Crazy ). It premiered at the Sundance Film Festival
in 2017 and offers a raw, modern look at relationships in the age of dating apps. Screen Daily Lead Cast: Nicholas Hoult and Laia Costa.
Two millennials in Los Angeles meet on a dating app and quickly start a committed relationship. To keep their connection "fresh" and avoid boredom, they decide to experiment with an open relationship , which leads to unexpected emotional complications. Where to Watch ( As of April 2026, availability varies by region: Google Watch Action Data Rating: 7/10 Genre: Drama, Romance Durasi: 112 Menit
This response uses data provided by Google's Knowledge Graph Watch Newness | Netflix Newness * 2017. * TV-MA * Drama. Newness (2017): A Deep Dive Into Modern Relationships
Cerita berpusat pada Martin (Nicholas Hoult) dan Gabi (Laia Costa). Keduanya bertemu melalui sebuah aplikasi kencan yang mengarah pada hubungan seksual tanpa ikatan (casual hookup). Namun, kelelahan akan budaya "hubungan tanpa makna" membuat mereka memutuskan untuk mencoba sesuatu yang baru: menjalin hubungan eksklusif yang serius.
Awalnya, segalanya terasa indah. Mereka saling jatuh cinta dan mencoba melepaskan diri dari pola lama mereka. Namun, seiring berjalannya waktu, rutinitas mulai terasa membosankan. Godaan untuk kembali membuka aplikasi kencan—"hanya untuk lihat-lihat"—mulai menggerogoti hubungan mereka. Mereka pun memutuskan untuk mencoba poliamori (hubungan terbuka) sebagai solusi, yang justru membawa mereka ke jurang kerumitan emosional yang lebih dalam.
Perlu diketahui, film ini memiliki rating R (Restricted) . Terdapat adegan seks eksplisit dan frontal yang tidak biasa untuk film independen. Namun, berbeda dengan film dewasa pada umumnya, adegan seks di sini tidak dibuat untuk sensasi semata. Adegan-adegan tersebut justru berfungsi sebagai narasi: bagaimana pasangan modern sering menggunakan seks sebagai pelarian untuk menghindari komunikasi yang sebenarnya.
Jika Anda berencana untuk nonton Newness, pastikan Anda dalam suasana hati yang matang dan siap untuk menyaksikan gambaran yang jujur (dan terkadang memalukan) tentang hubungan generasi milenial.
The film’s pivot point—and its most harrowing segment—is the couple’s decision to open their relationship. This is not a celebration of polyamory, nor is it a puritanical condemnation of it. Instead, Doremus uses the open relationship as a diagnostic tool to measure the characters' insecurities.
In most romance films, the third-act conflict is infidelity. In Newness, infidelity is legalized. By allowing each other to sleep with others, they remove the thrill of the forbidden, only to discover that the pain of sharing is far worse than the thrill of secrecy. The film asks a brutal question: Does exclusivity validate love, or does it stifle it?
For Martin, the openness breaks him. He realizes that his desire for "newness" was a coping mechanism for his depression. For Gabi, it highlights that while she craves novelty, she cannot handle the reality of Martin finding it elsewhere. The scenes involving their trysts with others are shot with a cold, clinical distance, contrasting sharply with the warm, handheld intimacy of their scenes together. This visual language argues that while the "new" offers excitement, it lacks the texture of the "known."
Newness is a film that understands the specific loneliness of being "hyper-connected." It captures the paradox of modern romance: we have never had more opportunities to connect, yet we have never felt more isolated. It is a film that will likely age well, serving as a time capsule for the anxiety of the swipe generation, reminding us that while you can shop for people, you cannot shop for a soulmate.
Berikut adalah draf artikel blog yang menarik untuk film Newness (2017). Saya menulisnya dengan gaya review yang relevan, mendalam, dan ramah SEO.
When Martin and Gabi finally match, their connection feels less like destiny and more like two car crashes happening in sync. They bond not over shared hobbies, but over their shared exhaustion with the game.
However, the "deep feature" of their relationship lies in their contrasting pathologies.
Their relationship works initially because it is a rebellion against the app. But Doremus cleverly posits that they didn't stop swiping because they found perfection; they stopped because they were tired.