The Rise of Indonesian Cinema
Indonesian **cinema** is experiencing a significant **boom**, with local films achieving record **admissions** last year and poised for even further growth in 2025. However, a major challenge remains: the lack of **screens** in the country, leading to a distribution **bottleneck**. This was a focal point of discussion at a recent Cannes Marche panel featuring key industry figures.
Current Trends in Indonesian Film
Linda Gozali, leading the newly established **JAFF Market**, alongside Angga Dwimas Sasongko, the founder and CEO of **Visinema Group**, shared insights into the **Indonesian theatrical market**. This market is unique in its current trajectory, being one of the few globally that is actually growing. They outlined several **trends** that are shaping the landscape of local cinema.
Screening Challenges and Opportunities
Denis Vaslin, CEO of Rotterdam-based **Volya Films**, and Tamara Tatishvili, head of the **Hubert Bals Fund**, also engaged in discussions about the promising potential for **co-productions** with Indonesia. Gozali indicated that currently, Indonesia operates 468 cinemas with a total of 2,293 screens for a nation of about 280 million people, equating to an audience of approximately 117,750 people per screen. In comparison, this is drastically lower than countries like **China**, **South Korea**, and the **United States**, where the figures stand at roughly 15,000 and 9,000 respectively.
Affordable Entertainment Fueling Growth
Angga explained that the competitive **ticket prices**—around $2.50—position cinema as one of the most affordable forms of entertainment in Indonesia. He noted, “From an **investment** perspective, there’s substantial room for growth.” His recent film, the animated feature **Jumbo**, released during the Eid holidays, has nearly reached 10 million admissions. For context, Disney’s **Frozen 2** holds the title for the most successful foreign animation in Indonesia, with only 4.2 million admissions.
Potential for Economic Growth
Angga further remarked, “Our GDP is still just under $5,000, but once we surpass that threshold, we can expect greater **buying power** and rising ticket prices, leading to a significant **increase** in the gross box office.” He provided an illustrative example: “If **Jumbo** had the same admissions in North America, it would have grossed $200 million.” There’s recognition of the **potential** for growth, but the country is still in the early stages.
Market Dynamics and Competition
The saturation of the **horror genre** has led to an oversupply, yet Angga revealed that Visinema’s choice to produce a family-oriented film like **Jumbo** was a calculated risk. He expressed confidence that attracting families back to cinemas would pay off, and data shows that during the Eid holidays, the market reached an impressive 14 million admissions. However, the **lack of screens** presents a bottleneck for both local and international films. Local producers often negotiate directly with the country’s three main exhibitors, which complicates the release of many films, and last year saw a substantial **backlog** of hundreds of unreleased titles.
The Co-Production Landscape
The panel touched on the promising possibilities for **co-productions** with Indonesia. While there have been many arthouse projects, Angga highlighted the potential for collaborations in mainstream films, particularly animations. He stated, “We need international partners because producing animation is relatively expensive, often costing twice as much as an action film.” Such partnerships can facilitate exporting intellectual property and enhancing product **quality**.
Successful Collaborations in Action
Vaslin shared insights from his experience co-producing Mouly Surya’s historical drama **This City Is A Battlefield**, which highlights Indonesia’s colonial past. The film also attracted co-producers from various countries, illustrating the inherent **complexities** in collaboration. He humorously remarked that the film attracted 126,000 admissions in Indonesia, highlighting the **population** difference between Indonesia and the Netherlands, which saw only 10,000 admissions.
Funding and Resources for Growth
Post the film’s release, the Netherlands and Indonesia formalized a **co-production treaty**, paving the way for an increasing number of Dutch productions slated for Indonesian locations. Tatishvili of the Hubert Bals Fund highlighted the ongoing support for Indonesian projects and proposed that collaborative actions could enhance talent development and infrastructure beyond existing treaties. She emphasized the need for a **proactive approach** in engaging with Indonesia’s filmmaking landscape.
JAFF Market and Upcoming Events
The JAFF Market, which facilitated the Cannes panel, is hosting a variety of events. The project **Pangku**, helmed by Reza Rahadian, is screening within the ‘HAF Goes to Cannes’ program. Additionally, several other Indonesian projects are being spotlighted, showcasing the diverse talent emerging from the region. The second edition of the JAFF Market is slated for November 29 to December 1 in **Yogyakarta**, coinciding with the **Jogja-NETPAC Asian Film Festival**, which is celebrating its 20th anniversary. This series of events further cements the importance of Indonesian cinema on both national and international stages.