Cinema of Indonesia

The cinema of Indonesia refers to the diverse body of films produced within the country. According to the Indonesian Film Board (BPI), a film is classified as Indonesian if it is made using Indonesian resources. Additionally, the intellectual property rights must be owned entirely or partly by an Indonesian citizen or legal entity. Today, this industry is a vital part of the nation's creative economy. It serves as a medium for storytelling, cultural expression, and national identity.

In the early 20th century, the mechanism of film consumption was dominated by foreign imports. From the early 1900s through the 1920s, most theaters showed films from Europe and the United States. These were often silent documentaries or feature films. The Dutch East Indies government even sponsored documentaries about local nature and life. However, domestic production was slow to begin. The first local documentaries appeared in 1911. It was not until 1926 that the first domestic fiction film was released. This film, titled Loetoeng Kasaroeng, was a silent adaptation of a Sundanese legend.

The history of Indonesian cinema can be divided into several distinct eras. During the colonial era, ethnic Chinese directors and producers became a major force. Starting around 1928, they capitalized on film successes from Shanghai. By the early 1930s, Chinese-owned businesses dominated the industry. However, the Great Depression caused production to slow down significantly. High taxes and low ticket prices made it hard for local films to earn a profit. This allowed Hollywood productions to take over many local theaters.

A major turning point occurred in the late 1930s through specific commercial successes. A journalist named Albert Balink produced a film called Pareh in 1935. Although Pareh was a financial failure, it influenced future styles. His next film, Terang Boelan, was a massive commercial success. It earned 200,000 Straits dollars in only two months. This film, along with Fatima and Alang-Alang, helped revive the domestic industry. These successful films often used a specific formula involving romance, beautiful scenery, and songs.

During the Second World War, the Japanese occupation changed the industry's purpose. The Japanese government used film as a propaganda tool. They consolidated filmmaking organizations into a single studio called Nichi'ei in Jakarta. Most films produced during this time were educational films or newsreels. These newsreels, such as News from the South, were used to promote Japanese interests. While local production was limited, the occupation proved that non-Western nations could displace Western film dominance. Some workers at Nichi'ei stayed after the war to support Indonesian independence.

Following independence, the industry faced many political and economic shifts. The Sukarno government used film for nationalistic purposes and banned many foreign imports. Later, the Suharto regime introduced censorship to maintain social order. Despite these challenges, the 1980s became a golden era for Indonesian cinema. The industry reached its peak during this decade with successful films like Nagabonar and Catatan si Boy. Famous stars like Onky Alexander and Meriam Bellina became household names. In 1988, the film Tjoet Nja' Dhien won nine Citra Awards and was shown at the Cannes Film Festival.

The modern era has seen a massive resurgence in both interest and scale. After struggling in the 1990s due to Hollywood competition and economic crises, the industry reconstructed its identity. Today, it is the fastest-growing subsector of Indonesia's creative economy. In 2019, moviegoers exceeded 52 million people. The year 2023 was particularly notable, as 20 different films each attracted over 1 million viewers.

Currently, the infrastructure of Indonesian cinema is vast and highly organized. As of 2025, there are approximately 2,354 screens across the country. The theater market is dominated by large companies like 21 Cineplex, CGV Cinemas, and Cinépolis. These companies manage the widespread distribution of both local and international films. The industry continues to connect the nation through shared stories, ranging from teenage dramas to horror and historical epics.