Its main stars, Iko Uwais, Joe Taslim and Yayan Ruhian, have been picked up for multiple roles including a cameo in Hollywood box-office hit Star Wars: The Force Awakens. This progress can in part be traced back to the international success of action film The Raid released in 2011. More and more foreign investors are seeing Indonesia as the next big market. Through the partnership, Pengabdi Setan has been distributed to 40 territories worldwide.ĬJ also invested in exhibition when its subsidiary CGV purchased Indonesia’s second major cinema operator, BlitzMegaplex, in 2015. CJ co-produced Pengabdi Setan with local production house Rapi Film. Its first foray into Indonesian cinema came by way of a US$10,000 production grant for Joko Anwar’s 2015 film A Copy of My Mind, followed by horror hit Pengabdi Setan (Satan’s Slaves) in 2017.
Marlina was a multinational co-production that included AstroShaw (Malaysia), HOOQ (Singapore), Purin Pictures (Thailand) and Shasha & Co Production (France).Īruna is the sixth title co-produced by South Korea’s CJ Entertainment. Marlina and Aruna also mark the growing transnational collaborations that are bringing Indonesian cinema to markets outside Indonesia. Sekala Niskala won awards at festivals in Berlin, Germany Buenos Aires, Argentina and Adelaide, Australia. Other film festivals have also become regular stops for Indonesian filmmakers every year now. Recognition at Cannes is a symbolic marker of the rise of a new generation of Indonesian filmmakers and the strength of their talent, innovation and hard work.
In 2016, Wregas Bhanuteja’s short Prenjak ( In The Year of the Monkey) won one of Cannes’s top awards, Leica Cine Discovery Prize. Edwin, the director of Aruna dan Lidahnya, became the third Indonesian to screen at Cannes with his short film Kara, Anak Sebatang Pohon (Kara, The Daughter of A Tree) in 2005, after senior auteur Garin Nugroho with Daun di Atas Bantal (Leaf on A Pillow) in 1998 and Serambi in 2006, and Eros Djarot with epic film Tjoet Nja’ Dhien in 1989. Since the collapse of the New Order regime in May 1998, four Indonesian films have been featured at Cannes – arguably the world’s premier film festival.
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This year’s two top films are romantic flick Dilan 1990 with 6.3 million viewers, followed by horror movie Suzzanna: Bernapas dalam Kubur with 3.2 million viewers.ĭespite having no big audiences, the four Indonesian Film Festival nominations are indicative of broader changes occurring in the country’s film industry as it marks two decades since the end of the New Order regime. Indonesia’s best films of the year are rarely the most popular films at the box office. Marlina competed for best film against three other films – romantic drama film Aruna dan Lidahnya (Aruna and Her Palate) by Edwin (last year’s winner for best director), award-winning film Sekala Niskala (The Seen and Unseen) by Kamila Andini, and biopic Sultan Agung by Hanung Bramantyo. After screening at Cannes Film Festival and as Indonesia’s entry for the Oscars, it represents Indonesian cinema’s rapid ascent to the world stage. It won ten awards, including best film, best director, best cinematography and best lead actress.ĭescribed as a “satay western” in industry publication Variety, the film is a powerful feminist work set in the dry, sparse hills of Sumba, East Nusa Tenggara. Indonesian drama Marlina the Murderer in Four Acts by female director Mouly Surya triumphed at this year’s Indonesian Film Festival – equivalent to the Oscars in the US.
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