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ANP Films Indonesia’s martial arts drama “The Tiger” makes its market debut at the inaugural JAFF Market, running alongside the Jogja-Netpac Asian Film Festival (JAFF) from Dec. 3-5. The project, which showcases the traditional silat martial art style known as pamacan, aims to bring Indonesian cultural heritage to global audiences.

Director Ardiansah Sulistiana’s film centers on a family of silat practitioners in West Java whose secret tiger-style martial art becomes exposed through a viral video, leading to conflict with an outsider determined to claim their heritage.

“Cultural diversity has its own unique appeal, and many Indonesian filmmakers are now creating regional films, even using local languages,” says Sulistiana. “This trend has proven successful, with many films attracting millions of viewers due to the fresh themes they present.”

Producer Aris Nugraha sees the project’s regional specificity as a strength. “This film is about the silat martial arts tradition in a region of Garut, West Java. This makes ‘The Tiger’ a local film, but I want to adapt it to be embraced globally.”

The film, shot primarily in the Sundanese language, emphasizes both action and cultural authenticity through its cinematography, utilizing close-ups and slow-motion shots to highlight the intricacies of silat movements while capturing the landscapes of Garut through wide shots.

Co-producer Ari Rusyadi, who assembled the production and post-production teams, points to the project’s timing with JAFF as strategic. “We’re looking for distributors and exhibitors for the release of this film. At JAFF Market forum, we’re hoping for chances to meet and discuss directly with companies that would partner on distribution or even bring the film closer to audiences through OTT [streaming] or theatrical release, and maybe festival circulation too.”

The film’s development reflects broader trends in Indonesian cinema, with Rusyadi noting the industry’s growing resources. “The access to expertise, knowledge and equipment has increased. With meticulous and persevering effort from filmmakers nowadays, we should overcome the global challenges.”

While acknowledging the challenges of bringing regional stories to wider audiences, Nugraha underlines Indonesia’s potential: “Indonesia has a rich diversity of traditions, regional languages, and natural beauty, but exploring it requires considerable time and resources.”

“The Tiger” is at the market’s Future Project platform.

Source By Variety

By Naman Ramachandran

Indonesian content powerhouse Visinema Studios is developing “Kancil,” an animated feature that reimagines local folklore in a sci-fi universe, presenting the project at the inaugural JAFF Market in Yogyakarta (Jogja).

The project, directed by Adriano Rudiman (“Domikado”) and produced by Novia Puspa Sari (“Arini by Love.inc”), follows Arkana, a 14-year-old boy who must master an ancient super suit called Kancil to rescue his kidnapped green giant brother, Cakil, while navigating a complex relationship with his domineering stepfather.

“What interests me most is telling a personal story about a son who doesn’t fit in with his family – literally,” says Rudiman. “Despite the vast, otherworldly setting, the story remains grounded in this universal struggle to belong and be accepted for who we are.”

The project, written by Widya Arifianti and Ziyanshafa, builds on an existing webtoon adaptation. Visinema Studios sees “Kancil” as an IP with potential for expansion across multiple formats, including series, comics, merchandise, and games.

“The story humorously reflects everyday life in Indonesia while addressing universal themes that resonate with audiences everywhere,” says Sari.

Speaking about the current landscape, Rudiman says, “Indonesia’s independent cinema is one of the most exciting right now, not just in Southeast Asia, but globally. With the world’s attention on Indonesia, there are more opportunities for creators to get noticed with their unique films. Of course, the industry still faces challenges, like a lack of support from the government, unions, and standard regulations, since it’s only recently been gaining global attention. But as the industry continues to grow internationally, I hope we’ll see better regulations that support and benefit the creatives behind these films.”

Sari adds, “Opportunities for Indonesian independent cinema today include the growing appreciation for unique local narratives in the global market, international film festivals showcasing diverse stories, and the rise of streaming platforms. These opportunities have provided a broader chance for Indonesian cinema to compete in the global market. However, challenges remain, including limited funding, access to proper distribution channels, and navigating audience preferences in a competitive market.”

Indonesian filmmakers have raised concerns regarding workplace safety for production crew on the opening panel at the inaugural JAFF Market, running Dec. 3-5 alongside the Jogja-Netpac Asian Film Festival (JAFF).

Ensuring the safety and health of crew members should always be the priority for any sectors of work, but especially in Indonesia, the panelists said. Back in August of this year, a production crew member in Indonesia had a fatal accident on his way home after staying awake to work on set for extreme hours. Though it wasn’t the first time it had happened, it was a wake up call for creative workers all across the country.

Indonesian cinematographer Muhammad Firdaus (“Nearing Death”) urged attention to safety as a means of prevention in the panel. “Realistically, film production is [physically] very high risk for everyone involved,” he said. The bureaucracy of Indonesian law classifies film production as a low risk business activity under Law no 11 in Indonesia’s Job Creation Act of 2020.  “On paper, film [production] is ill-fated here. For [production crews] to still live today is a miracle.”

Mandy Marahimin, head of human resource development at the Indonesian Film Producer Association (APROFI) and producer behind Toronto, Busan and London title “Crocodile Tears,” which is also playing at JAFF, highlighted the significance of managing safety measures on sexual violence prevention, which can often happen on set.

“All producers are required to educate their crews using the provided guide,” Marahimin said. “The range of what qualifies as sexual violence varies, and many aren’t aware or even understand how it’s defined.”

Especially with intimate scenes, Marahimin advocated the gravity of everyone’s safety and mental health condition in production. Intimacy coordinators are very new to Indonesian productions with only two Intimacy Professionals Association-certified members working in the country.

Despite having laws regarding the workplace already implemented since the 1970s in Indonesia, it was never focused on creative sectors – such as film production. There’s still much the Indonesian film industry can learn from Hollywood in its safety and union practices, according to Ikhsan Raharjo, Al Jazeera News producer and chair of SINDIKASI, the Indonesian media and creative worker’s union.

In a study done by SINDIKASI and Indonesian Cinematographers Society (ICS) in 2022, over 50% of respondents stated their average working hours in a single shoot day are 16-20 hours. Such workloads have serious health risks which could result in fatality, the panelists agreed.

“Everyone in the Indonesian film ecosystem is responsible for each other’s safety and health, actually. We’re all integrated in this [realm], and we should keep each other safe,” said Raharjo. “We have to move fast, to get on board [for workplace safety regulation] as Indonesian cinema rises.”

Source By Variety

By Felicia Melody

Indonesia‘s Jogja-Netpac Asian Film Festival (JAFF) will unveil its inaugural JAFF Market in December. The initiative was announced at the Cannes Film Festival on Thursday.

This new three-day event aims to reshape the Indonesian film industry by fostering networking, innovation and collaboration among various sectors.

Since its start in 2006, JAFF has played a crucial role in nurturing Indonesian cinema, helping many filmmakers rise. “JAFF has consistently strengthened the film ecosystem,” said festival director Ifa Isfansyah.

The JAFF Market will cover 10,000 square meters, featuring over 150 booths with production companies, content creators and service providers. Leading the initiative is experienced producer Linda Gozali, former secretary-general of the Indonesian Film Festival. “We look forward to creating new connections and opportunities,” said Gozali.

The event highlights the rapid post-pandemic recovery of Indonesia’s film industry, which saw local films capture 61% of the market in 2022. The industry fully rebounded in 2023. Despite being the largest market in Southeast Asia, Indonesia’s screen industry lacked a dedicated showcase. JAFF Market aims to fill this gap by becoming Indonesia’s largest film and content marketplace, uniting professionals, emerging talents and key stakeholders.

Developed with support from the country’s Ministry of Education, Culture, Research and Technology, JAFF Market seeks to enhance Indonesia’s international film presence. “JAFF’s initiative will facilitate easier access for the international community,” said Ahmad Mahendra, director of film, music and media at the Ministry.

Indonesia’s screen industry, with an economic impact of over $8 trillion and employing 387,000 people, per data provided by JAFF, is poised for further growth. JAFF Market’s various programs – including a project market led by producer Meiske Taurisia – aims to help emerging filmmakers connect with industry professionals to develop high-quality projects. Taurisia has been involved in organizing the LOCK Full Circle Lab, alongside Yulia Evina Bhara, Muhammad Zaidy and Vivian Idris.

Filmmaker Angga Sasongko, who is the CEO of the Visinema Group, and Falcon Pictures’ H.B. Naveen both emphasize JAFF Market’s potential to be a central hub for the Indonesian film industry. “It’s fitting for Indonesia to showcase its industrial strength,” said Naveen.

JAFF Market takes place Dec. 3-5 at the Jogja Expo Center in Yogyakarta, Indonesia. The film festival runs Nov. 30-Dec. 7.

Source By Variety

Indonesia’s film industry took a significant step forward with the launch of JAFF Market 2024, the country’s first large-scale film market, which kicked off Tuesday at the Jogja Expo Center in Yogyakarta, commonly known as Jogja.

The three-day event, running Dec. 3-5 as part of the Jogja-Netpac Asian Film Festival (JAFF), brings together more than 100 film companies from both domestic and international markets, positioning Indonesia to strengthen its foothold in Southeast Asia’s entertainment sector.

“JAFF Market is a strategic step that brings together over 100 national and international film companies. This participation highlights the industry’s great enthusiasm for strengthening Indonesia’s film ecosystem,” said Culture Minister Dr. Fadly Zon at the opening ceremony.

The market emerges after two years of development, backed by the Ministry of Culture through Dana Indonesiana funding. The initiative gathered momentum through focus group discussions in the post-pandemic period, securing support across the industry spectrum from government entities to production studios.

Indonesia‘s JAFF Market is set to welcome two Australian projects at its JAFF Future Project platform, marking a collaboration with Adelaide Film Festival (AFF). The inaugural JAFF Market takes place alongside the Jogja-Netpac Asian Film Festival (JAFF) in Yogyakarta from Dec. 3-5.

The partnership, backed by the Australian Government, brings “Raesita Grey” from Katrina Irawati Graham and “Until Death” from Ben Golotta to the lineup. AFF will support two core team members, including producers, from each project to attend.

The initiative extends AFF’s existing relationship with JAFF and brings mylab, an international development initiative with participants from across Asia, on board as a new collaborator. “The AFF and Jogja NETPAC Asian Film Festival Exchange has been an incredibly satisfying experience,” said Mat Kesting, AFF’s CEO and creative director.

JAFF Market chair Ifa Isfansyah and mylab Curator Lorna Tee expressed confidence in fostering “more fruitful connections and vibrant exchanges” between Indonesian, Asian and Australian film industries.

Eight additional projects were selected by Indonesian committee members Yulia Evina Bhara, Muhammad Zaidy and Vivian Idris, including “Love Unwanted” from acclaimed Indonesian actor Reza Rahadian in his fourth visit to the director’s chair after two features and a series.

JAFF Future Project head Meiske Taurisia notes the selection spans various genres and development stages, targeting diverse investor interests. The market’s partners include White Light Post (Thailand), Kongchak Studio (Cambodia), and BSM Equipment (Indonesia).

JAFF Future Project Selections

“All Things Real And Unreal” (Segala Yang Semu Dan Nyata)
Director-writer: Paul Agusta
Producer: Bunga Ineza
Company: Kapsul Waktu Studio (Indonesia)
Genre: Drama

“Kancil”
Director: Adriano Rudiman
Producer: Novia Puspa Sari
Writers: Widya Arifianti & Ziyanshafa
Company: Visinema (Indonesia)
Genre: Animation

“Love Unwanted” (Pangku)
Director: Reza Rahadian
Producer: Arya Ibrahim/ Coproducer: Gita Fara
Writer: Felix Nesi
Company: Gambar Gerak (Indonesia)
Genre: Drama

“Me, My Mother’s Favorite Monkey” (Aku, Monyet Kesayangan Ibuku)
Director/ Writer: Ivonne Kani
Producer: Frederica Nancy
Company: Kani Studio (Indonesia)
Genre: Documentary

“Ping Pong”
Director: Najam Yardo
Producer: Hannan Cinthya
Writer: Hafizu Sandro
Company: Kreasi Angkasa Semesta – Arungi Films (Indonesia)
Genre: Family Drama

“The Light of Fire” (Tinju Api)
Director-writer: Sesarini
Producers: Lyza Anggraheni, Ismail Basbeth
Company: Ruang Basbeth Bercerita (Indonesia)
Genre: Action/ Coming of Age

“The Silent Village” (Aman/Damai)
Director-writer: Ho Yuhang
Producer: Lorna Tee
Co-Writer: Prima Rusdi
Company: Paperheart (Malaysia)
Genre: Crime Thriller

“The Tiger”
Director: Ardiansah Sulistiana
Producer/ Writer: Aris Nugraha
Company: ANP Films (Indonesia)
Genre: Action

Australian Projects Selected by AFF, JAFF Market, mylab

“Raesita Grey”
Director-producer-writer: Katrina Irawati Graham
Producer: Ana Tiwary
Genre: Horror Drama

“Until Death” (Sampai Mati)
Director-producer: Ben Golotta
Producer: Morgan Wright
Writer: Putu Juli Sastrawan
Company: Repeater Productions (Australia)
Genre: Documentary

Source

JOGJA-Netpac Asian Film Festival (JAFF) will host its inaugural industry event, JAFF Market, a platform intended as a hub and showcase for the Indonesian film industry.

In its 19th year, JAFF will hold its inaugural industry event, titled JAFF Market.

JAFF Market was initiated in response to the rapid growth of JAFF over the past few years, which has organically become a hub for industry professionals with emerging talents in Indonesia.

With more than 18 years of consistency, JAFF has been able to attract more than 10,000 visitors each year, including professionals, emerging talents, media, and companies engaged in the film production and exhibition sector. In other words, JAFF has become an important agenda that brings together all stakeholders in the film ecosystem.

“Since its establishment in 2006, JAFF has consistently contributed to strengthening and stimulating the film ecosystem for the Indonesian film industry. Many new filmmakers have emerged from this festival,” said JAFF Festival Director Ifa Isfansyah, after announcing JAFF Market in a series of Cannes Film Festival agenda in Cannes, France, Thursday (16/5).

This year, JAFF will take place from November 30 to December 7, 2024, at XXI Empire Yogyakarta.

During the festival, JAFF Market will be held in parallel for three days on 3-5 December 2024 at Jogja Expo Center (JEC).

With an area of 10 thousand square meters, the venue can accommodate more than 150 booths. Various sectors of the Indonesian film industry will participate in this exhibition, including film companies, content creators, service providers, and related institutions in the film industry.

Linda Ghozali, a film producer who was previously the Secretary General of the Indonesian Film Festival, has been appointed to head up this year’s inaugural edition of JAFF Market.

“I am delighted to have this opportunity. With the introduction of JAFF Market, new opportunities for the Indonesian film industry will open up and further boost its growth,” said Linda Ghozali.

In addition to the exhibition, JAFF Market will also feature various programs, including JAFF Future Project, Content Market, Talent Days, Company Showcase, Film Lab, Film Conferences, and Networking Events.

Project Market is one of the focus programs designed as a platform to connect new film talent with industry professionals.

One of the missions of the Project Market program is to explore and develop the potential of high-quality feature film projects born by new talents in Indonesian cinema.

The program is headed by film producer Meiske Taurisia who is heavily involved in organizing the LOCK Full Circle Lab working with film producers Yulia Evina Bhara, Muhammad Zaidy and Vivian Idris.

“Every year, many new talents emerge in the world of Indonesian cinema with film projects that have potential. The Project Market at JAFF Market is designed to discover and support these projects, giving them a greater chance of being realized,” said Meiske.

The JAFF Market program is a joint development with the Ministry of Education and Culture. Director of Film, Music and Media at the Ministry, Ahmad Mahendra, said the JAFF Market program will receive support from the government as a form of commitment in supporting the development of the Indonesian film industry.

“JAFF’s initiative to organize JAFF Market will facilitate access to the Indonesian film industry for the international community,” said Ahmad Mahendra, Director of Film, Music and Media at the Ministry of Research and Technology. (Z-1)

Source

Ho Yuhang’s “The Silent Village” (Aman/Damai) emerged as the top winner at Indonesia’s inaugural JAFF Market, scoring both the Kongchak and BSM awards as the market wrapped its 2024 edition Thursday in Yogyakarta (Jogja).

The market took place alongside the Jogja-Netpac Asian Film Festival (JAFF) from Dec. 3-5. “The Silent Village,” a Malaysia-Indonesia co-production written by Prima Rusdi, and produced by Lorna Tee via Malaysia’s Paperheart, led the project market’s selection of 10 features.

Actor-turned-director Reza Rahadian also secured backing for his project “Love Unwanted” (Pangku) produced by Gambar Gerak Film, taking home the White Light Post-Production Award. The other BSM award went to documentary “Sampai Mati” (Until Death), helmed by Australian director Ben Golotta and produced by Morgan Wright.

Former table tennis champion turned match-fixer finds redemption through the sport in family drama from emerging filmmaker Najam Yardo, being presented at the inaugural JAFF Market.

The project, produced by Hannan Cinthya under the Kreasi Angkasa Semesta – Arungi Films banner, follows 50-year-old Emma, who faces mounting medical bills for her son’s lymph node tuberculosis treatment while caring for her Alzheimer’s-afflicted father. After pawning her father’s house and turning to illegal gambling matches, Emma finds herself serving jail time, only to receive a shot at redemption through an official table tennis tournament.

For Yardo, the story stems from personal experience. “This story reflects my memories and journey in understanding and reconciling with my mother,” says the director. “It portrays a mother who must take on multiple roles in her life and a family surviving in unconventional ways.”

Producer Cinthya connected with the material through her own background. “When I met Najam and heard his vision for ‘Ping Pong,’ I felt a natural connection between our experiences,” she says. “His story about a single mother raising a child with a serious medical condition, despite their distant relationship, felt familiar to me.”

The film aims to balance its weighty themes with moments of levity. “The film is presented with a lighter approach through dark humor, absurdity, and vibrant characters, showcasing their unique ways of survival,” Yardo notes.

The project arrives at JAFF Market as Indonesian independent cinema faces both opportunities and challenges. “There’s growing support for independent cinema from film communities and international co-productions,” notes Cinthya, while pointing out hurdles including limited funding and marketing resources.

At JAFF Market, Cinthya aims to secure potential collaborations and distribution opportunities. “I see JAFF Market not only as a platform to showcase our film project but also as an opportunity to gain a broader perspective,” she says.

The inaugural JAFF Market runs Dec. 3-5 alongside the Jogja-Netpac Asian Film Festival in Yogyakarta (Jogja), providing a new platform for emerging Indonesian filmmakers to connect with industry professionals.

“Ping Pong” is at the market’s Future Project platform.

Source by Variety

By Naman Ramachandran

Indonesian film industry leaders outlined frameworks for effective brand partnerships during a panel at the Jogja-Netpac Asian Film Festival‘s JAFF Market, pointing to the sector’s development as a commercial platform.

Veteran producer Mira Lesmana (“What’s Up With Love?”, “Sherina’s Adventure”, “Gie”) emphasized a comprehensive approach to brand integration. “Brand activations can [easily] be built into the film’s ecosystem,” said Lesmana. “Be it on the social media assets, product placement, logo placements; brand engagement is meant to tie in with the film’s personality.”

Visinema Pictures chief Angga Dwimas Sasongko advised brands to consider the full scope of film production opportunities. “Film can be a marketing solution for the change of behavior of sales,” said Sasongko. “There’s pre and post production, then there’s also marketing and activations.”

Bank Central Asia’s vice president and head of digital marketing, Rendy Alimudin, stressed the long-term value proposition. “When collaborating with a film production, brands should look at it as a form of long-term investment,” said Alimudin.

Alimudin noted that while films may not drive immediate business conversion, they create lasting impact through social engagement. “Measurable impact comes from becoming the talk of the town; there’s social value that comes from the film [product] itself,” Alimudin explained. “There’s subtlety that’s needed, but the branding [creatively] also becomes a valuable point.”

The potential for audience targeting emerged as a key consideration. “Brands look at audienceship. The industry would definitely look into whether or not these audiences resonate with what they’re trying to sell. It’s a huge opportunity for businesses,” Sasongko said

Lesmana, who teased an upcoming third installment of “What’s Up With Love?” set in the early 2000s, addressed period-specific branding challenges. “When it comes to periodic films, there are alternative ways to include brands, there’s always a plausible bridging,” she said

Source By Variety

By Felicia Melody