<![CDATA[This article analyzes Sore: Istri dari Masa Depan by tracing how its affective force emerges from the convergence of ontological vulnerability, the relational demands inherent in practices of care, and cinematic strategies that aestheticize emotional labor. Drawing on the object-relations theory of Nancy Chodorow, the concept of relational ontology developed by Judith Butler, the notion of emotional labor articulated by Arlie Russell Hochschild, and the framework of affective economies proposed by Sara Ahmed, the analysis shows that Sore’s vulnerability functions not merely as a narrative device but as a reflection of the relational condition of human life—one that is simultaneously circulated and endowed with value within a space of affective economy. The motif of temporal repetition is read as a figure for cycles of care expected to continue without resolution, suspending loss while sustaining possibility. In this sense, the film reveals how vulnerability and emotional work are not only personally experienced but also shaped into affective resonances that can be recognized, shared, and culturally consumed.]]>
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