Indonesia’s cinematic journey is a vibrant narrative that mirrors the nation’s complex socio-political transformations, rich cultural heritage, and creative resilience. From the colonial-era silent films to the modern wave of internationally acclaimed auteurs, the history of Indonesian cinema is both fascinating and foundational to Southeast Asian film culture.
In this article, we will explore the development of Indonesian cinema across decades—its pioneers, turning points, challenges, and the bright horizon it faces today.
The Birth of Cinema in the Dutch East Indies (Pre-1945)
Early Beginnings: Silent Films and Colonial Influence
The earliest known film screening in Indonesia occurred in 1900, just five years after the Lumière brothers premiered their first films in Paris. At the time, Indonesia was under Dutch colonial rule and was known as the Dutch East Indies.
- Early screenings were dominated by European and American imports.
- By 1926, Indonesia produced its first locally made film, “Loetoeng Kasaroeng”, a silent movie based on Sundanese folklore. It was directed by Dutch filmmaker L. Heuveldorp and featured native actors—an important cultural milestone.
Notable Early Works:
- “Eulis Atjih” (1927): One of the earliest Indonesian films that tackled social issues like poverty.
- “Terang Boelan” (1937): Directed by Albert Balink, it was a commercial and critical success, often cited as a catalyst for the Indonesian film industry.
Post-Independence and National Identity (1945–1960s)
After Indonesia proclaimed independence in 1945, cinema played a vital role in nation-building and fostering a unified national identity.
The Golden Age of Propaganda and Patriotism
During the early years of independence, the government recognized the power of cinema as a tool for education and propaganda.
- Perfini (Perusahaan Film Nasional Indonesia), the first national film company, was established in 1950.
- Usmar Ismail, often hailed as the “Father of Indonesian Cinema”, directed “Darah dan Doa” (The Long March, 1950)—widely considered the first “Indonesian” film by content, crew, and language.
Key Themes of the Era:
- Nationalism and anti-colonialism
- Rural life and the struggles of ordinary people
- Islamic values and morality
Cultural Institutions:
- In 1954, the National Film Council was established to regulate and support film production.
- Annual Indonesian Film Festivals (FFI) began to highlight local talent and stories.
The New Order Era (1966–1998): Censorship and Commercial Boom
When President Suharto came to power in the mid-1960s, Indonesia entered the New Order regime—a period marked by strict political control and heavy censorship.
Political Control and Censorship
- Films were monitored by the Film Censorship Board (LSF).
- Movies promoting communism, sexual content, or anti-government views were banned.
- Historical narratives were often manipulated to suit the ruling regime’s ideology.
Rise of Commercial Cinema
Despite censorship, the 1970s and 1980s saw a boom in film production, with more than 100 films released annually at the peak.
Popular Genres:
- Action films featuring national heroes and martial arts
- Horror films inspired by local folklore (e.g., sundel bolong, pocong)
- Romantic dramas and comedies
- Exploitation cinema (locally known as “film panas”), which drew public criticism but box-office success
Influential Directors and Films:
- Teguh Karya: Known for his deep character studies and social realism.
- Sjumandjaja: Directed critically acclaimed dramas such as “Si Mamad” and “Yang Muda Yang Bercinta”.
- “Pengabdi Setan” (1980): A horror classic that has seen modern remakes.
The Crisis of the 1990s: Decline and Competition
By the early 1990s, the Indonesian film industry began to experience a sharp decline.
Reasons for the Decline:
- Increased competition from foreign films, particularly Hollywood blockbusters.
- The rise of television, soap operas, and home video, which reduced theater attendance.
- Diminished government support and outdated infrastructure.
By 1999, fewer than 10 Indonesian films were released, marking the lowest point in national film production.
Reform Era and the Revival of Indonesian Cinema (1998–2010)
The fall of Suharto in 1998 brought political reform and greater freedom of expression, which ignited a creative renaissance in Indonesian filmmaking.
The New Wave of Independent Cinema
- Young directors emerged with fresh voices and bold themes.
- Low-budget, character-driven films explored gender, politics, LGBTQ+ issues, and urban life.
Notable Films and Directors:
- “Kuldesak” (1999): Directed by a team including Mira Lesmana and Riri Riza, marking the beginning of the indie movement.
- Riri Riza and Mira Lesmana: Pioneers of new cinema with works like “Petualangan Sherina” (2000) and “Laskar Pelangi” (2008).
- Garin Nugroho: Known for art films like “Opera Jawa” and “Daun di Atas Bantal”.
Rebirth of Film Festivals:
- Jakarta International Film Festival (JiFFest) and Jogja-NETPAC Asian Film Festival (JAFF) became platforms for global exposure.
- Government policies began to support local filmmakers with grants and tax incentives.
Contemporary Cinema (2010–Present): Global Recognition
In the past decade, Indonesian cinema has gained international acclaim, blending mainstream success with artistic innovation.
Rise of Genre Films
- Horror made a massive comeback with global hits like:
- “Pengabdi Setan” (2017) by Joko Anwar
- “Impetigore” (2019) – Indonesia’s Oscar submission
- Action films like “The Raid” (2011) and “The Raid 2” (2014) by Gareth Evans brought international attention for their brutal choreography.
New Voices and Global Platforms
- Streaming platforms like Netflix, Amazon Prime, and Disney+ Hotstar now distribute Indonesian films globally.
- Filmmakers such as Edwin, Kamila Andini, and Mouly Surya are regulars on the Cannes, Berlinale, and Sundance circuits.
Key Milestones:
- “Marlina the Murderer in Four Acts” (2017) by Mouly Surya premiered at Cannes.
- “Yuni” (2021) by Kamila Andini won the Platform Prize at the Toronto International Film Festival.
- “Vengeance Is Mine, All Others Pay Cash” (2021) by Edwin won the Locarno Golden Leopard.
The Future of Indonesian Cinema
With a young population, growing digital access, and increasing international collaboration, the future of Indonesian cinema looks promising.
Challenges Ahead:
- Piracy and illegal streaming
- Funding and distribution for indie filmmakers
- Maintaining cultural authenticity in the face of global market pressures
Opportunities:
- Expanding film education and training
- Tapping into untold stories from Indonesia’s diverse cultures and islands
- Developing animation, documentaries, and regional language cinema
Conclusion
The history of Indonesian cinema is a testament to the country’s resilience, creativity, and diversity. From colonial-era propaganda to global film festivals, Indonesian filmmakers have continually reinvented their craft to reflect the times.
As the world seeks authentic and diverse stories, Indonesia’s cinematic voice—rooted in its history and culture—is poised to play a larger role on the global stage.