Category: news

Seven weeks of back-to-back Asia market and festival frenzy kicks off this week, beginning today with the Tokyo International Film Festival (TIFF) and followed on Wednesday with the TIFFCOM market in Tokyo (29-31 Oct) and the Ubud Writers Festival in Bali (29 Oct-2 Nov).

Next is Taiwan’s TAICCA-backed TCCF (4-7 Nov), the JAFF Market in Yogyakarta (29 Nov-1 Dec), part of the Jogja-NETPAC Asian Film Festival (JAFF), and the ATF (2-5 Dec) and Singapore International Film Festival (SGIFF), both cornerstones of the Singapore-government’s 12-day multi-event Singapore Media Festival (SMF), which runs from 26 Nov-7 Dec.

The three-day TIFFCOM market, running parallel to the the Tokyo International Film Festival (TIFF), opens on Wednesday with a focus on Southeast Asian co-production, the future of Japanese IP in global adaptations and Thai BL/GL, along with current trends in Turkish remakes.

In Bali, 150 speakers take to the stage for  four days of conversations, masterclasses, workshops and special sessions that are part of the Ubud Writers Festival. A highlight is Thursday’s fund-raising dinner with William Dalrymple, Pico Iyer, Banu Mushtaq and others in support of the Emerging Writers Programme and the YLAI Library Project, dedicated to building five child-friendly libraries in the Gianyar region.

Shifting to Taiwan from 4 Nov, the annual event opens with the launch of global funds –  the NT$9.6-billion Taiwan-Korea Entertainment & Cultural Content Fund and the NT$6-billion Far Eastern Creative Entertainment Fund. In addition to Asia’s best/most comprehensive pitch, TCCF is also ground zero for other funding/production initiatives. These include the official launch of Joint Journey Creative (JJC), which is already part of a three-party venture to boost the development of romantic series.

Returning for a second edition after its 2024 debut, the three-day JAFF Market gathers filmmakers, producers, and financiers from across Southeast Asia. This year’s event is part of the 20th-anniversary celebrations of the Jogja-NETPAC Asian Film Festival (JAFF), which is supported by Indonesia’s Ministry of Creative Economy. The festival includes the JAFF Future Project – a partnership with Australia’s Adelaide Film Festival (AFF) and Lorna Tee’s mylab.

The Future Project, designed as a development and co-production hub, features 10 early-stage fiction and docu titles from across the Asia Pacific. Organisers say this year’s selection “showcases filmmakers whose works capture the region’s creative diversity, cinematic innovation, and growing spirit of cross-border collaboration”. The projects include Korean director Park Kiyong’s “Ghost Island”; and Eddie Cahyono’s “My Mother”.

The 36th Singapore International Film Festival (SGIFF) hosts 120 film screenings from about 45 countries, including James Thoo’s “The Sandbox” (Singapore), Thai director Ratchapoom Boonbunchachoke’s Thailand-Singapore co-pro “A Useful Ghost”, and Rohan Parashuram Kanawade’s “Cactus Pears” from India. The opening film on 26 November is “Girl” / “女孩”, a coming-of-age drama written and directed by Shu Qi.

JAFF Market 2025 has selected ten fiction and documentary projects from across the Asia Pacific region for the second edition of JAFF Future Project, which has also renewed its partnership with Malaysia’s mylab and Adelaide Film Festival (AFF).

The projects include acclaimed Korean director Park Kiyong’s return to filmmaking with Ghost Island, produced by Ho Yuhang; Eddie Cahyono’s new project My Mother, following the success of his 2014 drama Siti, which screened at Telluride and won multiple awards in Indonesia and overseas; and Under The Banyan Moon from Australian director Aaron Wilson, known for Canopy and Little Tornadoes.

The curation process was carried out by a committee comprising filmmaker and comedian Ernest Prakasa, and producers Fauzan Zidni and Tia Hasibuan, who evaluated submissions based on storytelling strength, creative vision, feasibility and market readiness.

Selected projects will be competing for a range of industry awards and support packages presented by JAFF Market’s official partners, including The United Team of Arts, Visinema, White Light, Kongchak, Brandlink and Prodigihouse Ecosystem.

“Our selection process goes beyond curating stories,” said JAFF Market director Linda Gozali. “It’s about identifying creators who can inspire new partnerships and push their projects toward realisation. Through JAFF Future Project, we see this as a long-term investment in creative infrastructure, one that connects filmmakers to international networks, development labs, and co-production partners, ensuring that promising ideas don’t remain on paper but evolve into impactful works.”

Commenting on the partnership with JAFF Market, Adelaide Film Festival chief executive and creative director Mat Kesting said: “In this second-year partnership, we continue to open pathways for filmmakers across Asia and Australia to engage in meaningful exchange in sustaining the region’s independent film ecosystem.”

Last year’s JAFF Future Project selections included Reza Rahadian’s On Your Lap, which recently scooped four awards at Busan International Film Festival.

Meanwhile, JAFF Content Market has selected ten pieces of IP that will be presented to producers, investors and distributors during the market, which runs concurrently with JAFF Future Project. See below for details of the ten selections, spanning games, comics, digital content, animation and novels.

JAFF Market is taking place November 29 to December 1 at the Jogja Expo Centre, Yogyakarta, Indonesia, during the Jogja-NETPAC Asian Film Festival (JAFF, November 29-December 6), which is celebrating its 20th anniversary this year.

JAFF FUTURE PROJECT 2025:

Aluk (Australia, Indonesia)
Genre: Observational, Experimental
Status: Work In Progress
Producer: Sam Hewison, Wahyu Al Mardhani
Director: Chris C.F

Evil Underground (Indonesia)
Genre: Horror, Urban, Teen
Status: Development
Producer: Perlita Desiani
Director: Adriyanto Dewo

Ghost Island (Korea, Malaysia, Indonesia)
Genre: Thriller
Status: Development
Producer: Park Kiyong, Ho Yuhang
Director: Park Kiyong

Ibu (Indonesia, US)
Genre: Drama
Status: Development
Producer: Zack Rice
Director: Kanya Iwana

A Life Full Of Holes (Indonesia)
Genre: Family Drama
Status: Development
Producer: Indra Yudhitya, Dewi Umaya, Loeloe Hendra Komara
Director: Loeloe Hendra Komara

My Mother (Indonesia)
Genre: Drama
Status: Work In Progress
Producer: Tika Bravani, Eddie Cahyono, Isabelle Glachant
Director: Eddie Cahyono

Our Son (Indonesia)
Genre: Drama
Status: Work In Progress
Producer: Iqbal Mohammad Hamdan
Director: Luhki Herwanayogi

Rose Pandanwangi (Indonesia, Philippines)
Genre: Drama, Biopic
Status: Development
Producer: Razka Robby Ertanto, Kristine de Leon, Chelsea Islan
Director: Razka Robby Ertanto

To My Dearest, My Dear... (Indonesia)
Genre: Fantasy, Drama
Status: Development
Producer: Bela Nabila, Bayu Arief
Director: Netanya Yemima

Under The Banyan Moon (Australia, Indonesia)
Genre: Romance Drama
Status: Development
Producer & Director: Aaron Wilson

JAFF CONTENT MARKET 2025 SELECTED IP:

Amurva, creator: Ninoi Kiling (Games)

Elang Hitam, creator: Edwin Fernando Tranggono (Comic)

Gloomy Sunday, creator: Fanky Landerson (Digital Content)

Jemawa Yangti, creator: M. Shahriza Rijadi (Comic)

Journal Of Terror, creator: Sweta Kartika (Comic)

Meng, creator: Monoma Films (Animation)

Sangkakala di Langit Andalusia, creator: Hanum Salsabiela Rais (Novel, Literature, Story)

Tabi, creator: Marchella FP (Novel, Literature, Story)

The Summoning, creator: Iskandar Salim (Comic)

World Without Sleep, creator: Ferdian Feisal (Comic)

by Liz Shackleton

JAFF Market 2025 has unveiled its second edition lineup for the JAFF Future Project, featuring 10 fiction and documentary titles spanning the Asia-Pacific region. The selection showcases a roster of established and emerging filmmakers whose works reflect the region’s evolving narratives and cross-border collaboration potential.

Set to run Nov. 29-Dec. 1 at the Jogja Expo Center in Yogyakarta, Indonesia, the initiative is part of the broader 20th-anniversary celebration of the Jogja-Netpac Asian Film Festival (JAFF). The Future Project functions as both a development platform and co-production hub, designed to advance independent works toward completion and distribution.

Among the notable names in this year’s lineup are acclaimed Korean director Park Kiyong, who returns to filmmaking with “Ghost Island,” produced by Ho Yuhang. Ho’s own project “The Silent Village” captured two prizes at last year’s Future Project. Indonesian filmmaker Eddie Cahyono follows up his award-winning feature “Siti,” which screened at Telluride, with “My Mother.” Australian director Aaron Wilson, whose films “Canopy” and “Little Tornadoes” played the international festival circuit, presents “Under the Banyan Moon.

The selection process drew from an open call held Aug. 1-Sept. 1, attracting submissions from across the region. A selection committee comprising filmmaker-comedian Ernest Prakasa, producers Fauzan Zidni and Tia Hasibuan evaluated projects based on storytelling strength, creative vision, feasibility and market readiness.

For the second consecutive year, JAFF Future Project has renewed its partnership with the Adelaide Film Festival and Mylab, extending pathways for creative exchange between Asia and Australia.

“In this second-year partnership, we continue to open pathways for filmmakers across Asia and Australia to engage in meaningful exchange in sustaining the region’s independent film ecosystem,” said Mat Kesting, chief executive and creative director of the Adelaide Film Festival.

Lorna Tee, JAFF Market advisor and Mylab curator, added: “Together with JAFF Market’s commitment to supporting early-stage projects, we are helping build a more connected creative landscape across the Asia-Pacific.”

Throughout the three-day market, participating filmmakers will present their works in curated pitching sessions and one-on-one meetings with producers, investors and industry partners.

Selected participants will compete for awards totaling more than $74,000 in cash and production support. Cash prizes include the Visinema Awards ($3,000 for two projects) and The United Team of Arts Awards ($6,000 for one project). Production and post-production packages include the Brandlink Awards ($30,000 in equipment facilities for two projects), Kongchak Awards (sound design facility valued at $10,000), White Light Awards (color grading and mastering valued at $15,000) and Prodigihouse Ecosystem Awards (editing and color grading valued at $10,000).

“Our selection process goes beyond curating stories,” said Linda Gozali, market director of JAFF Market. “It’s about identifying creators who can inspire new partnerships and push their projects toward realization. Through JAFF Future Project, we see this as a long-term investment in creative infrastructure, one that connects filmmakers to international networks, development labs and co-production partners, ensuring that promising ideas don’t remain on paper but evolve into impactful works.”

The initiative’s impact is already visible in its alumni success. “Pangku” (On Your Lap), the directorial debut of Indonesian actor Reza Rahadian, emerged from last year’s Future Project after winning the White Light Post-Production Award. The film was selected for HAF Goes to Cannes at the Marché du Film and earned four major awards at the 2025 Busan International Film Festival.

JAFF Market 2025 is powered by Amar Bank. The Jogja-Netpac Asian Film Festival runs Nov. 29-Dec. 6.

JAFF FUTURE PROJECT 2025 – FULL PROJECT LINEUP

“A Life Full of Holes” (Development)

A teenage girl travels abroad to reunite with her mother, a migrant worker, only to discover she has died and left behind a child from a troubled relationship.

Country: Indonesia | Director: Loeloe Hendra Komara | Producers: Indra Yudhitya, Dewi Umaya, Loeloe Hendra Komara | Production Company: Onomastika Films

“Evil Underground” (Development)

Two estranged sisters must overcome their fractured bond to escape shape-shifting entities in the basement of an old trade center after performing a deadly ritual.

Country: Indonesia | Director: Adriyanto Dewo | Producers: Perlita Desiani, Tina Arwin | Production Company: Relate Films

“Ghost Island” (Development)

When her husband disappears during their honeymoon on Jeju Island, an Indonesian woman’s search uncovers parallel Cold War massacres in Korea and Bali.

Countries: South Korea, Malaysia, Indonesia | Director: Park Kiyong | Producers: Park Kiyong, Ho Yuhang | Production Company: Paperheart Sdn Bhd

“Ibu” (Development)

An unfulfilled filmmaker returns from Los Angeles to Yogyakarta after her stepfather’s death, where clashing with her domineering mother forces her to confront the silence in her marriage.

Countries: Indonesia, United States | Director: Kanya Iwana | Producer: Zack Rice | Production Company: Feed You Films

“Rose Pandanwangi” (Development)

A gifted Indonesian soprano returns home in the 1950s to start over, but as her marriage falters and unrest grows, she must choose between family, true love and her musical ambitions.

Countries: Indonesia, Philippines | Director: Razka Robby Ertanto | Producers: Razka Robby Ertanto, Kristine de Leon, Chelsea Islan | Production Company: Summerland

“To My Dearest, My Dear…” (Development)

After his cancer returns, Adam discovers a way to travel through time to meet the daughter he never lived to see, attempting to heal old wounds before time slips away.

Country: Indonesia | Director: Netanya Yemima | Producers: Bela Nabila, Bayu Arief | Production Company: Doa Ibu Frameworks

“Under the Banyan Moon” (Development)

An Australian schoolteacher journeys to Indonesia after ending her engagement, where a reunion with her first love and connection with his enigmatic best friend force her to choose between nostalgia and a new future.

Countries: Australia, Indonesia | Director: Aaron Wilson | Producer: Aaron Wilson | Production Company: Left-Handed Productions

“Aluk” (Work-in-Progress)

An observational documentary traces three generations of a family in Tana Toraja over seven years as they reckon with the loss of their patriarch and their community’s uncertain future amid rapid transformation.

Countries: Australia, Indonesia | Director: Chris C.F | Producers: Sam Hewison, Wahyu Al Mardhani | Production Company: Cut By Dog Production

“My Mother” (Work-in-Progress)

A widow wants to meet her daughter who has been sentenced to death in Saudi Arabia for murdering her employer, but the daughter refuses, having never forgiven her mother for past betrayals.

Country: Indonesia | Director: Eddie Cahyono | Producers: Tika Bravani, Eddie Cahyono, Isabelle Glachant | Production Companies: ANP Talenta Media, Memorieslight Pictures, Yasa Buana Film, Knockonwood.inc, Sasha & Co Production

“Our Son” (Work-in-Progress)

Two childless married couples raise an unexpected son from an illicit affair between the two households, and amidst the chaos of a paternity reveal, the two wives take parenting into their own hands.

Country: Indonesia | Director: Luhki Herwanayogi | Producer: Iqbal Mohammad Hamdan | Production Company: Catchlight Pictures

By Naman Ramachandran

Indonesia’s JAFF Market has unveiled a line-up of 10 projects from across Asia Pacific for JAFF Future Project, including works from South Korea’s Park Ki-yong, Indonesia’s Eddie Cahyono and Australia’s Aaron Wilson.

The market runs alsongside Jogja-NETPAC Asian Film Festival (JAFF), which celebrates its 20th anniversary this year.

Scroll down for full list of projects

Park who stepped down as Korean Film Council (KOFIC) chairperson last year, returns to filmmaking with thriller Ghost Island, which has Malaysia’s Ho Yuhang as producer, while Australian director Wilson whose previous works include Canopy and Little Tornadoes has romantic drama Under The Bayan Moon in development.

My Mother, the latest film from Indonesian director Eddie who is known for 2014 drama Siti, is one of three works-in-progress projects, along with Chris C.F’s Australia-Indonesia experimental work Aluk and Indonesian director Luhki Herwanayogi’s drama Our Son.

Further Indonesian projects include Loeloe Hendra Komara’s family drama A Life Full Of Holes, Adriyanto Dewo’s teen urban horror Evil Underground and Netanya Yemima’s fantasy drama To My Dearest, My Dear…

This year’s selection reflects the growing spirit of cross-border collaboration, including Kanya Iwana’s Indonesia-US drama Ibu, and Razka Robby Ertanto’s Indonesia-Philippines biopic Rose Pandanwangi.

Inaugurated last year, the 2nd JAFF Market runs from November 29 to December 1 at the Jogja Expo Center (JEC) in Yogjakarta as part of the JAFF festival.

JAFF Future Project aims to provide a development and co-production platform to propel new independent works toward completion and distribution.

Participating filmmakers will present their projects in curated pitching sessions and one-on-one meetings with producers, investors, and industry partners. A range of industry awards and support packages will be presented to winning projects. The United Team of Arts, Visinema, White Light, Kongchak, Brandlink, and Prodigihouse Ecosystem are among the sponsoring partners.

The project market’s selection committee comprised Imajinari co-founder Ernest Prakasa who is behind local megahit Agak Laen, producer Fauzan Zidni, and producer Tia Hasibuan.

This year, JAFF Future Project continues its partnership with the Adelaide Film Festival (AFF) and mylab. Mat Kesting, AFF chief executive and creative director, and mylab curator Lorna Tee, also JAFF Market advisor, will be in attendance.

Acclaimed Indonesian actor Reza Rahadian’s directorial debut On Your Lap (aka Pangku), which debuted at the inaugural JAFF Future Project last year, has become a notable success story. It was selected as one of five projects for the HAF Goes To Cannes programme before making its world premiere at Busan, where it won four prizes, including the Face of the Future award and the KB Vision audience award. It is set to open in Indonesia on November 6.

JAFF Future Project 2025

A Life Full Of Holes (Indo)
Dir. Loeloe Hendra Komara
Pros. Indra Yudhitya, Dewi Umaya, Loeloe Hendra Komara

Evil Underground (Di Bawah Tanah Laknat) (Indo)
Dir. Adriyanto Dewo
Pro. Perlita Desiani

Ghost Island (S Kor-Malay-Indo)
Dir. Park Kiyong
Pros. Park Kiyong, Ho Yuhang

Ibu (Indo-US)
Dir. Kanya Iwana
Pro. Zack Rice

Rose Pandanwangi (Indo-Phil)
Dir. Razka Robby Ertanto
Pros. Razka Robby Ertanto, Kristine de Leon, Chelsea Islan

Our Son (Indo)
Dir. Luhki Herwanayogi
Pros. Iqbal Mohammad Hamdan

My Mother (Ibuku) (Indo)
Dir. Eddie Cahyono
Pros. Tika Bravani, Eddie Cahyono, Isabelle Glachant

Aluk (Australia-Indo)
Dir. Chris C.F
Pros. Sam Hewison, Wahyu Al Mardhani

Under The Bayan Moon (Australia-Indo)
Dir. Aaron Wilson
Pro. Aaron Wilson

To My Dearest, My Dear … (Indo)
Dir. Netanya Yemima
Pros. Bela Nabila, Bayu Arief

by silvia wong

The Jogja-Netpac Asian Film Festival is doubling down on intellectual property development with the unveiling of 10 original IPs selected for its 2025 Content Market, backed by Indonesia‘s Ministry of Creative Economy.

Set to run Nov. 29-Dec. 1 at Yogyakarta’s Jogja Expo Center during JAFF’s 20th anniversary celebration, the Content Market will showcase properties spanning games, comics, novels, animation and digital content — all vetted for screen adaptation potential.

“The strength of Indonesia’s creative economy lies in its storytelling,” said Teuku Riefky Harsya, Minister of Creative Economy. “Through platforms like JAFF Content Market, we can transform local intellectual properties into globally relevant creative products.”

The selected lineup includes video game “Amurva” from Ninoi Kiling; comics “Elang Hitam” by Edwin Fernando Tranggono, “Jemawa Yangti” by M. Shahriza Rijadi, “Journal of Terror” by Sweta Kartika, “The Summoning” by Iskandar Salim and “World Without Sleep” by Ferdian Feisal; animation project “Meng” from Monoma Films; novels “Sangkakala di Langit Andalusia” by Hanum Salsabiela Rais and “Tabi” by Marchella FP; and digital content “Gloomy Sunday” by Fanky Landerson.

Each IP underwent curatorial review assessing narrative strength, visual potential, commercial viability and cross-sector collaboration readiness. The program is designed to bridge Indonesia’s publishing, gaming and music sectors with its expanding film and streaming industries.

“Many of our nation’s best stories already live in books, songs and games, and this platform helps them find new life through film and series adaptation,” said Linda Gozali, market director of JAFF Market. “Our goal is to position Indonesia not only as a production destination but also as a source of original, adaptable ideas.”

The initiative builds on momentum from JAFF Content Market 2024, when three Indonesian IPs — “Bandits of Batavia,” “Locust” and “Jitu” — were selected for Cannes Film Festival’s Spotlight Asia program, connecting creators with studios and distributors focused on Asian IP adaptation.

The Content Market, sponsored by Amar Bank, facilitates curated pitching sessions and business meetings between IP creators and producers, investors and distributors from across Asia.

The film festival runs through Dec. 6.

by JAFF Market

In today’s fast-shifting creative economy, the lines between media formats are blurring. Cinema is no longer the only way for stories to reach audiences. Music, books, video games, web content, and even academic research now shape the value chain of storytelling. Recognizing this evolution, JAFF Market launched the JAFF Content Market (JCM) as a cross-platform, cross-sectoral space for collaboration.

At the heart of JCM is a simple but strategic premise: intellectual property (IP) has value that extends far beyond its original medium. Whether it’s a coming-of-age novel, an indie song with viral traction, or a science paper on food security, these works have the potential to evolve into films, documentaries, podcasts, animations, or games. JCM serves as a bridge, connecting IP holders with producers, screenwriters, studios, and distribution platforms eager to adapt compelling ideas into new formats.

“We’re seeing a major shift in how stories are born and circulated,” said Linda Gozali, Market Director of JAFF Market. “JAFF Content Market provides the space for IP to find the right partner for film adaptation—whether it’s a producer, writer, or creative house with aligned vision.”

IP as a Multi-Format Asset

JCM invites participation from a wide spectrum of IP owners. Book authors, comic illustrators, game developers, songwriters, researchers, and archivists alongside traditional filmmakers, are all encouraged to pitch their work in JCM’s  structured and curated environment. JCM is designed to create new routes for commercialization, impact, and long-term creative development.

Comics and animation are two sectors seeing high interest from both investors and producers. IP in the form of webtoons or short-form digital animation already has visual momentum and established audiences—key leverage points when negotiating live-action adaptations or international licensing deals. Some have even begun early-stage development for feature-length versions tailored for regional streaming platforms.

Music, too, is proving successful in content adaptation. Songs with strong emotional tone or viral success often inspire narrative projects. What begins as a popular TikTok track can evolve into a youth romance film or a nostalgic music-driven drama. The growing interplay between musicians and visual storytellers points toward a future of transmedia storytelling.

More than just transactions, these exchanges are relational. JCM functions as a meeting place for storytellers and story enablers, linking IP creators with producers, writers, curators, and financiers in an environment that prioritizes creative synergy over commercial shortcuts.

From Labs to Lenses: Bridging Academia and the Creative Industry

JCM also opens space for sectors traditionally removed from mainstream entertainment—namely, academia and research institutions. Increasingly, scientific studies, historical archives, and policy research are being recognized as rich source material for storytelling. Documentaries, educational films, and even speculative fiction can all begin with credible, real-world data.

“Content rooted in research tends to have longer shelf-life and greater public trust,” noted Ajish Dibyo, Executive Director of JAFF Market. “We want JCM to become the place where science, history, and culture intersect with the creative industry.”

This aligns with the rise of the knowledge-to-content economy, a global trend where intellectual capital transitions from academic silos into the creative mainstream. JAFF Market is facilitating these transitions through curated pitching sessions, open presentations, and interdisciplinary development labs.

Building a Truly Cross-Sector Ecosystem

By embracing a wider scope of content and collaborators, JAFF Content Market is positioning itself as a regional hub for a new kind of creative economy—one that values depth, diversity, and long-term sustainability. It not only strengthens the film production pipeline, but nurtures a content ecosystem that extends from upstream (ideation, IP development and research) to downstream (distribution, licensing, and cross-border expansion).

“In the near future, we believe the strongest IP won’t come from a single format alone,” Linda added. “They will be born from synergy where books, music, games, and film intersect to shape a richer, more resilient creative economy.”

With JCM, JAFF Market is laying the groundwork for a more inclusive and adaptive content landscape—a place where the screen, the page, the stage, and the lab converge to build stories that matter, not just for markets, but for culture itself.

by JAFF Market

In recent years, much of the discourse around streaming services and cinemas has revolved around competition. Will Netflix replace the cinema? Are theaters becoming obsolete? These questions, while valid, may overlook a deeper truth emerging across the film industry especially in Southeast Asia.

Rather than one replacing the other, streaming and cinemas are evolving into a dual-track distribution ecosystem. In Indonesia as in many parts of the world, filmmakers are no longer forced to choose between a theatrical release or a digital one. Instead, they’re finding new market strategies in combining both.

This hybrid model is becoming increasingly common: a film might debut at a festival, enjoy a limited theatrical run, and then stream globally weeks later. For some, the exposure begins online and then moves to the bigger screen  via special screenings, community showings, or niche theatrical releases based on digital momentum.

A Screen for Every Story: How Streaming and Cinemas Serve Different Roles

Streaming has made content more accessible than ever. For viewers in remote areas or for those with limited mobility or income, streaming platforms offer a way  to watch new content. Platforms like Netflix, Disney+, Prime Video, and regional players such as Vidio and Catchplay+ offer content tailored by algorithms, often introducing viewers to stories they wouldn’t encounter otherwise.

But for all the convenience of digital, the cinema hasn’t lost its magic. Large-scale action films, horror thrillers, and sweeping historical dramas continue to draw crowds, not just because of their content, but because of the social and immersive quality of going to the movies. In Indonesia alone, over 126 million cinema tickets were sold in 2024. For many audiences, watching a film in the dark with strangers, reacting collectively, remains irreplaceable.

Global Trends, Local Shifts: Why Cinema Isn’t Dying, It’s Adapting

And yet, globally, the cinema business is facing turbulence.

In the United States, the number of theaters dropped from 7,000 in 2005 to around 5,500 by 2019, with another 3,000 screens disappearing by 2023. In Australia, average cinema visits have dropped from 11 times per year in the 1990s to fewer than 5 today. Even in China, a country that once rivaled the United States in box office numbers, ticket sales fell 23% in 2024. Argentina too saw a decline as it recorded 4.66 million admissions during the 2025 winter break, its lowest winter break ticket sales since 2009.

These shifts are real, but they are not the end of cinema. In places like France and Georgia, cinema attendance is recovering, thanks to strong local industries and supportive public policies. Independent cinemas in Los Angeles are thriving on curated programming and nostalgia. And a recent study in Australia found that 43% of young people would still choose the cinema even if the same film were available online.

The Indonesian Playbook: Embracing Hybrid Distribution with Strategy and Heart

In Indonesia, filmmakers are adapting. Many now plan during the development phase  whether a film is best suited for theatrical release, digital streaming, or both. Genre plays a role where romantic comedies and horror films often open in theaters, while slower-paced dramas and documentaries may find greater impact online. Beyond genre, other strategies come into play.. A theatrical release can build credibility for a streaming deal. Streaming, in turn, can give smaller films a second life after cinemas.

As Linda Gozali, Market Director of JAFF Market, explains “It’s no longer a battle between platforms. It’s about pairing strengths. A film might launch at a festival, play in theaters in one country, and stream in another. Each platform can help extend the story’s journey.”

But hybrid distribution isn’t without risk. As streaming platforms dominate content discovery, algorithms, while efficient, can marginalize local stories that don’t fit global trends. Young filmmakers worry that if their work doesn’t get boosted by recommendation engines, it will be lost in a sea of content. This is where curation, community screenings, and festivals like JAFF continue to play a vital role.

For now, it’s not a zero sum competition between streaming and cinemas. Both coexist in a complex and evolving relationship. For filmmakers, the challenge is not about picking a side. It’s about understanding how to use both paths to reach their audiences.

And for viewers, it’s no longer a question of whether to stream or go to the movies. It’s about choice: choosing the right film, in the right moment, on the right screen.

by JAFF Market

As Southeast Asia’s screen industries continue to evolve, one thing is becoming clear: cross-border collaboration is no longer just a creative experiment, it’s a necessity. From financing and talent development to distribution and market access, international co-productions now sit at the heart of the region’s filmmaking future.

This shift is especially visible at JAFF Market, the industry platform of the Jogja-NETPAC Asian Film Festival (JAFF). Designed as a meeting ground for producers, funders, and creative talent across Asia, JAFF Market has emerged as a vital hub where co-productions are seeded, shaped, and launched. Among its most notable initiatives is the JAFF Future Project (JFP), a program dedicated to supporting bold, globally relevant projects that emerge from Southeast Asia and beyond.

The Silent Village and the promise of shared storytelling

One standout from the 2024 JFP lineup was The Silent Village, a Malaysian-Indonesian feature directed by Ho Yuhang, co-written with Indonesian screenwriter Prima Rusdi, and produced by Lorna Tee under the Paperheart banner. Inspired by real-life shaman-linked serial killings that shook Indonesia in the 1980s and 1990s, the film follows a detective investigating a woman’s body found in a sugarcane field, slowly uncovering a web of trafficking, silence, and political tension.

It’s a haunting, socially rooted narrative that resonated with audiences and buyers alike. But the project stood out for more than its story. The Silent Village became a case study in how regional co-productions can thrive when there’s shared vision, structured support, and access to the right networks. The project walked away from JAFF Market 2024 with two key accolades: the Kongchak Award and the BSM Award, validating both its artistic potential and market viability.

As Linda Gozali, Market Director of JAFF Market explains, “Co-producing isn’t just about finding funding. It’s about deepening your story, layering it with different perspectives, cultural insights, and lived experiences. That’s why JAFF Market exists: not just as a marketplace, but as a space for creative intelligence to meet.”

A growing regional ecosystem for co-production

Too often, co-productions are reduced to budget-splitting exercises. JAFF Market promotes a more holistic approach, one that aligns creative goals with a distribution strategy and that nurtures real trust across countries. The numbers reflect that momentum: in its first year, JAFF Market hosted 6,723 participants from over 20 countries, with 151 exhibition booths and 243 curated meetings supporting 10 selected projects through the JFP.

This ecosystem is not just benefiting filmmakers. Regional institutions from cultural agencies to national film boards are beginning to treat JAFF Market as part of their cultural diplomacy infrastructure. Countries like Malaysia, South Korea, and the Philippines now include JAFF Market in their industry calendars, recognizing it as a valuable node where policy, funding, and talent intersect.

JAFF Market’s reach is also expanding into East Asia and Oceania, deepening ties with partners in Japan, Korea, and Australia. As Ajish Dibyo, Executive Director of JAFF Market explains, 

“Creative industries need structured spaces to build trust, especially when working across languages, legal systems, and production cultures. JAFF Market helps bridge those gaps with intentionality and care.”

That same spirit of inclusion extends beyond film. With programs like JAFF Content Market (JCM), creators in animation, games, and serialized digital formats are also finding space to access international co-production networks and unlock new distribution models. The goal is not just to support feature films but to build a resilient, multi-format content ecosystem.

Looking ahead: flexibility, strategy, and shared ambition

Co-productions come with real-world challenges from navigating censorship to negotiating IP rights and bridging language barriers. But with the right support including legal mentorship and strategic pitching, those challenges can be overcome. JAFF Market is actively helping creators move through that complexity, offering both structure and community.

For many Southeast Asian filmmakers, this means rethinking distribution strategy from the start. Should the film premiere at a festival? Run theatrically? Go straight to OTT? Or, all of the above? These questions now shape everything from genre choices to narrative structure.

Ultimately, projects like The Silent Village show what can happen when teams are bold, open, and strategically aligned. The result isn’t just a film, it’s a roadmap. A signal that Southeast Asian storytelling is stepping confidently into a future that’s regionally grounded, globally resonant, and collectively built.

Busan, 21 September 2025 – JAFF Market, the industry arm of Indonesia‘s Jogja-Netpac Asian Film Festival has inked a data partnership with Cinepoint to document the country’s striking film market reversal, where domestic productions now regularly beat Hollywood imports at the box office.

The collaboration was unveiled at the Asian Contents & Film Market in Busan, positioning the deal as key to understanding Indonesia’s rapid ascent in regional cinema.

Through the partnership, Cinepoint will serve as JAFF Market’s official data provider, offering comprehensive tracking of theatrical performance, genre trends and production metrics across Indonesia’s expanding cinema network.

“JAFF Market is an ideal partner to turn data into impact,” said Sigit Prabowo, co-founder and president commissioner of Cinepoint. “Together, we’re building an ecosystem that supports smarter decisions and long-term, sustainable growth.”

The collaboration comes as Indonesia’s film landscape undergoes a fundamental shift. Local titles that once struggled against imported blockbusters have now claimed the dominant position, with homegrown productions attracting significantly more admissions than international films since 2022 — a complete reversal from the previous decade.

The data reveals that audience loyalty has structurally realigned toward Indonesian storytelling, with local films now drawing 30-40 million annual admissions compared to imports’ 20-25 million range. This marks a dramatic turnaround from earlier years when imported titles commanded roughly double the audience of domestic productions.

“Working with Cinepoint allows us to deliver integrated and actionable insights to industry players,” said Gundy Cahyadi, head of analytics at JAFF Market. “Our analytics team at JAFF Market is closely examining cinema admissions, screen growth, content output, and evolving audience behavior with greater clarity. These insights are critical to building a real-time, evidence-based decision-making framework for producers, distributors, platforms, and policymakers.”

Horror has emerged as the breakout genre, with producers now releasing dozens of scary movies annually — a post-pandemic boom that has placed multiple horror titles among Indonesia’s biggest box office hits ever. The success has spawned various hybrid formats mixing horror with comedy, religious themes and action.

Animation and comedy are also showing strong growth, signaling diversification beyond the drama productions that once dominated local output.

JAFF Market’s forecasts, backed by Cinepoint data, project Indonesian cinema admissions will climb from 126 million in 2024 to 100 million annually for local films alone by 2026. Annual production is expected to jump from 152 titles to approximately 200 within four years.

The theatrical infrastructure is expanding to support this growth, with screen counts projected to increase from over 2,200 currently to 2,700 by 2030. Much of this expansion targets smaller cities where cinema culture is still developing.

Despite the impressive numbers, per-capita attendance remains below 0.5, suggesting substantial room for further audience development as the country’s economy and urbanization continue advancing.

“It’s no longer about choosing between screens,” said Sekarini Seruni, business director of JAFF Market. “Indonesian films now launch through festivals, theaters, and digital platforms; each channel plays a unique role in amplifying a story’s reach.”

The partnership will inform discussions at JAFF Market 2025, scheduled for Nov. 29-Dec. 1 in Yogyakarta. The second edition of the market, sponsored by Amar Bank, will feature project development programs, content markets, talent initiatives and industry screenings.

The event runs alongside JAFF’s 20th anniversary festival, which will present retrospectives and premieres from Nov. 29-Dec. 6.

“Together, JAFF and JAFF Market are defining Indonesia’s place in the global film ecosystem,” Seruni said. “We’re not just celebrating growth, we’re shaping the next decade of Southeast Asian cinema.”