the limited nationalist resistance to Dutch colonial rule in the 1930s. A third group of films such as Enam Djam di Jogja (Six Hours in Yogyakarta, 1951) and Serangan Fajar (Attack at Dawn, 1983) covers the Indonesian war of independence (1945–1949). Two other films about the same period portray the Indonesian equivalent of the Chinese Long March: Usmar Ismail's Darah dan Doa (The Long March, literally "Blood and Prayer", 1950) and Mereka Kembali (They Return, 1975). Each of these films interprets the past from the perspective of its own time. The more recent Merdeka (Freedom) trilogy (2009–2011), starting with Merah Putih ("Red and White", the colours of the flag of the new Indonesia), revisits the campaign for independence through the lives of a diverse group of cadets who become guerillas. Karya's November 1828 (1979) looks at Indonesia's struggle for independence through historical drama about the Java or Diponegoro War (1825–1830), though the colonial enemy was the same, the Dutch. Deanne Schultz considered it "a valuable interpretation" of Indonesian history that "embodies the best of popular Indonesian cinema". It was the first Indonesian film to become well known internationally. Soviet War has been the Soviet Union's cinema's major genre, becoming known indeed as the "cinema front", and its war films ranged from grim portrayals of atrocities to sentimental and even quietly subversive accounts. Leonid Lukov's popular and "beautiful" Two Warriors (1943) depicted two stereotypical Soviet soldiers, a quiet Russian and an extrovert southerner from Odessa, singing in his dugout. The many Soviet films about the Second World War include both large-scale epics such as Yury Ozerov's Battle of Moscow (1985) and Mikhail Kalatozov's more psychological The Cranes are Flying (1957) on the cruel effects of war; it won the 1958 Palme d'Or at Cannes. Japanese Japanese directors have made popular films such as Submarine I-57 Will Not Surrender (1959), Battle of Okinawa (1971) and Japan's Longest Day (1967) from a Japanese perspective. These "generally fail to explain the cause of the war". In the decades immediately after the Second World War, Japanese films often focused on human tragedy rather than combat, such as The Burmese Harp (1956) and Fires on the Plain (1959). From the late 1990s, films started to take a positive view of the war and of Japanese actions. These nationalistic films, including Pride (1998), Merdeka 17805 (2001), and The Truth about Nanjing (2007), have emphasized positive traits of