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A new documentary project, “Me, My Mother’s Favorite Monkey” (Aku, Monyet Kesayangan Ibuku), helmed by director Ivonne Kani, examines Chinese-Indonesian identity through the lens of intergenerational family dynamics at the inaugural JAFF Market in Yogyakarta.

The film follows Kani’s year-long journey exploring her cultural heritage through traditional Chinese rituals including Chinese New Year, Tomb Sweeping Day (Qing Ming), and the Winter Solstice Festival (Dongzhi). Drawing parallels to the Monkey King from “Journey to the West,” Kani documents her relationship with her mother while addressing the complexities of being ethnic Chinese in Indonesia.

“Through this film, I aim to confront the tension between my personal choices and my family’s cultural expectations,” says Kani, who positions herself both behind and in front of the camera wearing a golden headpiece inspired by Sun Wukong (the Monkey King). Her journey is particularly influenced by observing her mother’s experience with menopause, prompting reflections on societal expectations for women.

The documentary employs fire as a recurring visual motif, appearing in various forms including burning incense, altar candles, and ritual offerings. These elements connect to deeper themes of unspoken trauma within the Chinese-Indonesian community, stemming from historical periods of violence and oppression.

Producer Frederica Nancy connected with the project’s themes on a personal level. “Whenever I say I can’t speak Chinese, I sometimes find some sort of ‘Oh that’s too bad’ expression from the people who ask. Believe me, I feel that too,” Nancy says. “Why do I feel so distant from my roots, when I never intentionally reject them?”

The documentary addresses the lasting impact of the Suharto regime’s New Order restrictions on Chinese language and cultural practices, which were lifted in 1998 but continue to influence the Chinese-Indonesian community’s sense of belonging.

The project is being presented at the JAFF Market, running Dec. 3-5 alongside the Jogja-Netpac Asian Film Festival, where the team hopes to strengthen connections within Indonesia’s documentary ecosystem. “We hope that documentaries can meet a broader community of people,” says Nancy, emphasizing their goal to “strengthen the Indonesian documentary ecosystem, nationally and globally.”

The film aims to serve as a micro-history, offering insight into the experiences of ethnic Chinese living outside China while exploring universal questions of identity and belonging.

“Me, My Mother’s Favorite Monkey” is at the market’s Future Project platform.

Source By Variety

By Naman Ramachandran

Indonesia’s Base Entertainment and Netherlands-based New Amsterdam have partnered on two projects, the companies revealed at the inaugural JAFF Market that takes place alongside the Jogja-Netpac Asian Film Festival (JAFF) in Yogyakarta (Jogja) from Dec. 3-5.

The collaboration includes “Hemelrijk,” a limited series from writer-director Jim Taihuttu, who previously worked with both companies on “De Oost” (“The East”). The second project is a feature adaptation of Indonesian author Leila Chudori’s novel “Pulang” (Home).

Production on “Hemelrijk” is set to begin in late 2025, while development on “Pulang” will start in early 2025.

“We are thrilled to collaborate again with Jim Taihuttu on the series ‘Hemelrijk,’ which he has written and will direct, and with New Amsterdam on these two projects, including the adaptation of Leila Chudori’s novel ‘Pulang (Home),’” said Base Entertainment co-CEO Shanty Harmayn. “Both projects present powerful and meaningful family stories, building cultural bridges between Indonesia and the Netherlands. We look forward to continuing the success of our previous collaboration on ‘De Oost.’”

New Amsterdam producer Sander Verdonk said: “Looking very much forward to come back to Indonesia and shoot our new co-production ‘Hemelrijk’ with the best partner a producer can dream for, Ibu Shanty Harmayn from Base Entertainment. And also to co develop and produce the adaptation of one of the best books from Indonesia, ‘Pulang’ (Home) by Leila Chudori. This will further establish our strong collaboration between our countries and is very helped by the new treaty.”

Source By Variety 

By Naman Ramachandran

The newly signed co-production treaty between the Netherlands and Indonesia aims to strengthen bilateral film collaboration, providing filmmakers from both countries access to national funding schemes and production incentives, industry leaders revealed at the inaugural JAFF Market in Jogja, Indonesia during a panel.

The inaugural JAFF Market takes place alongside the Jogja-Netpac Asian Film Festival (JAFF) in Yogyakarta from Dec. 3-5. The panel was moderated by producer Lorna Tee of An Original Picture NL, who also serves as JAFF Market advisor.

Sandra den Hamer, CEO of the Netherlands Film Fund, highlighted that the treaty emerged from grassroots interest rather than top-down policy. “It comes from the filmmakers and producers. There’s a lot of interest to make films together, or to make films in Indonesia, to retell our history,” she said.

The treaty follows successful agreements the Netherlands has established with Canada, China, France, Germany, Norway and South Africa. With South Africa, they created a concrete joint fund that has supported 12 films in development and one in production, den Hamer noted.

The collaboration between producer Sander Verdonk of the Netherlands’ New Amsterdam and Shanty Hermayn of Indonesia’s Base Entertainment on Jim Taihuttu’s war drama “The East” (De Oost) served as a proving ground for Dutch-Indonesian co-production potential. The film, which involved over 800 cast and crew members across 40 locations in Java, navigated complex logistical challenges including visa issues and cultural differences in production practices.

Hermayn revealed that Indonesian equity investment came through market-based funding against distribution rights. “I can contribute in funding, but it needs to be from the market,” she explained of the Indonesian financing structure in the absence of government funding mechanisms.

The film found success on Prime Video during the pandemic, with Verdonk noting it marked “the first real Dutch production” for the platform in the territory. In Indonesia, the film performed strongly on Mola TV and later aired on free-to-air television.

Looking ahead, Verdonk and Hermayn are collaborating on Taihuttu’s “Hemelrijk,” a limited series set around a plantation in Bandung and a feature film adaptation of “Pulang” (Home), the acclaimed novel by Indonesian author Leila Chudori. The projects aims to build on lessons learned from “The East” while leveraging new opportunities under the treaty framework.

Producer Yulia Evina Bhara emphasized that the treaty provides legal authority regarding status and financial contributions. “We can access more funding, not only like Hubert Bals Fund,” she said, referring to the competitive Netherlands international fund that receives over 1,000 applications per round.

Distribution remains a key challenge, with limited theatrical releases for Asian films in the Netherlands and Dutch films in Indonesia. The treaty presents an opportunity to address this gap, as Indonesia’s theatrical market reaches for an estimated 80 million admissions this year with domestic films commanding 68% market share, while Dutch films maintain 30-40% of their home market.

Source By Variety

By  Naman Ramachandran

Indonesiana.TV, the government-backed digital platform, is teaming up with the Jogja-Netpac Asian Film Festival‘s new JAFF Market 2024 initiative to expand distribution channels for Indonesian filmmakers. The collaboration marks a strategic push to connect local content creators with international buyers and strengthen the country’s growing film ecosystem.

“We aim to demonstrate that the latest media technology can serve as a powerful tool for elevating the global profile of Indonesian cinema,” says Heni Wiradimaja, general coordinator of Indonesiana.TV.

The platform, managed by Indonesia‘s Cultural Media Office (BMK), represents part of a broader government effort to support the nation’s film industry. BMK head Abu Chanifah notes that “Indonesiana.TV as a digital platform represents a tangible manifestation of this effort… and opens a more inclusive appreciation space, both at the national and international levels.”

The initiative includes the Layar Anak IndonesianaTV (LAI) Open Call program, which LAI Coordinator Rina Damayanti describes as a manifestation of the government’s efforts in “ensuring that all voices, including those from remote areas, can be heard on the national and international stage,” echoing Chanifah’s sentiments.

JAFF Market 2024 is designed as an integrated marketplace, bringing together filmmakers, producers, content buyers, film institutes, and media professionals. The event aims to facilitate networking opportunities and foster collaborations within the industry.

Supporting these efforts, the Film Music and Media Directorate manages the Indonesiana Film scheme, which provides resources for short feature film production across various genres. The program includes screenwriting and production workshops, along with research support for story development.

The partnership comes at a time when Indonesia’s film production numbers are rising, creating increased employment opportunities and strengthening the industry’s role in cultural diplomacy. Through this collaboration, JAFF Market and Indonesiana.TV aim to establish sustainable foundations for the continued growth of Indonesian cinema.

As Indonesia’s film industry reaches new heights internationally, JAFF Market‘s leadership team is focused on building sustainable infrastructure to support the sector’s rapid growth. The market, which runs alongside the Jogja-Netpac Asian Film Festival (JAFF) in Yogyakarta, popularly known as Jogja, from Dec. 3-5, aims to address crucial industry needs while fostering new talent.

Films from the country now routinely get selected and win prizes at major international festivals. The local market in Indonesia, which has the fourth-largest population in the world with 283 million, is rapidly expanding with homegrown productions accounting for a significant share. Indonesia is also bolstering its cultural policies that include an annual $13 million international co-production grant. The box office is in robust shape and to date in 2024, there are some 72 million admissions for Indonesian films released in the country.

Jogja’s inaugural JAFF Market is positioning itself as a connector between Indonesia’s diverse film ecosystem, from independent filmmakers to major studios, according to market chair, noted filmmaker Ifa Isfansyah. Running Dec. 3-5 alongside the Jogja-Netpac Asian Film Festival (JAFF), the market aims to streamline access to Southeast Asia’s largest film industry.

“We think Indonesia needs this hub. If you want to know about Indonesian film industry, we don’t have an event or hub,” Isfansyah says. “When you want to meet with Indonesian film companies, let’s say you have one week in Jakarta, maybe you can just meet five companies because of traffic. But with this market, I really hope it’s effective for everyone who wants to connect with Indonesian collaborations.”

The market’s programming includes project and content markets, exhibitions, conferences, and company lounges. A key initiative is the Talent Day program, which focuses on discovering new professionals across various film disciplines including directing, editing, and production design. Selected participants undergo two months of online workshops followed by offline sessions during the festival.

While the initial focus is on the Indonesian film industry, the market has attracted companies from across the region with the 92 exhibitors being from Indonesia Singapore, Malaysia, the Philippines and South Korea. Major Indonesian platforms and companies are using the event not just for industry networking but also as a promotional platform to engage with film students and cinephiles.

In addition, the market has some 700 accreditations, representing professionals from France, the Netherlands, China, Singapore, South Korea, Philippines, Australia, Thailand, Norway, Hong Kong, Taiwan, Cambodia, Vietnam and Malaysia. Global interest is high, with the market featuring an Indonesia-France Film Lab with six projects, and a producer hub initiative with Korea in association with Indonesian producers’ guild APROFI with seven projects. This is in addition to the 10 projects that are part of the JAFF Future Project platform, two of which are Australian co-productions.

“Maybe more than 80% of young people in Indonesia or young filmmakers don’t really have experience in film markets,” Isfansyah notes. “This is also to give experience for film professionals or new filmmakers in terms of project markets or content markets.”

The market’s development has received government backing, with JAFF selected as one of 15 strategic cultural events receiving state support. Government funding comprises approximately 30% of the market’s financing, with additional support from local authorities.

The festival’s location in Yogyakarta, commonly known as Jogja, a university town known for its cultural atmosphere, has proven advantageous. “Everything happens not because of money or business, but because people meet people,” Isfansyah says. “During the festival days, I think the Indonesian film industry moves to Jogja.”

The Ministry of Culture of Indonesia and Embassy of France have launched the inaugural Indonesia France Film Lab at the first-ever JAFF Market, running Dec. 3-5 alongside the Jogja-Netpac Asian Film Festival (JAFF).

Six emerging projects have been selected for the intensive four-day workshop, which features mentorship from an international slate of industry experts. Indonesian filmmaker Makbul Mubarak, whose debut feature “Autobiography” was a collaboration between eight countries, and French producer Louise Bellicaud (In Vivo Films) will serve as group leaders.

Additional mentors include French director Rachid Hami, sales executive Sébastien Chesneau from Cercamon, Japanese producer Eiko Mizuno, distributor Fernanda Renno and Singaporean producer Tan Si En. The mentors are providing guidance on co-production opportunities between Southeast Asia, Europe and France.

“First Breath After Coma” (Studio Antelope/BASE) from director Jason Iskandar and producer Florence Giovanni follows three estranged Chinese-Indonesian siblings grappling with their father’s coma amid political transition in the late 1990s.

“Happy Happy Family” (Pasar Malam Films) from director Andrew Kose and producer Evi Cecilia centers on a mother seeking answers to her daughter’s suicide while reflecting on her rebellious teenage years in 1990s Medan.

“Partus” (Foolfeel Films) from director Guruh Nusantara and producer Dewangkoro Rinugroho follows a young midwife who returns to her village to open her practice while caring for her sick mother, forcing her to overcome rivalry with a traditional midwife.

“Sides of a Coin” from writer-director Grace Stefany and producers Susanti Dewi and Sarah Rostia Debby explores how the death of a watch shop owner in 1980s Indonesia reveals hidden debts that force his grieving family to run a gambling business.

“Fly!” (Dir: Pelixiano, Prod: Ellen Xie) is an animated feature about a grieving Balinese boy who journeys to the realm of the dead to reunite with his lost father.

“Anak (Kwaaak!)” from director Anggun Priambodo and producer Suryo Wiyogo tells the story of children who defy their parents’ wishes to perform at a distant festival while facing wilderness challenges.

The initiative is spearheaded by producer Yulia Evina Bhara (“Autobiography,” “Tiger Stripes”) and Vivian Idris, with support from APROFI (Association of Indonesian Film Producers) and Institut Français Indonesié.

Source By Variety

By Naman Ramachandran

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