The Indonesian New Wave, which was missing some key changes, started to hit its peak in the 1970s and 80s, kicking off in the early 1990s. Many people thought the Indonesian film industry was in limbo. The suspension of the Indonesian Film Festival (IFF) in 1992 was one clear sign that the industry had its ups and downs over time.
With a few great hits attracting thousands of spectators, the Indonesian film industry started to recover around the beginning of the 2000s. Two notable movies that influenced this new trend were Rudy Soedjarwo’s What’s Up with Cinta? and Rizal Mantovani and Jose Poernomo’s The Uninvited. Following their enormous commercial success, movies with related themes—such as horror and coming-of-age—began to appear often.
Even though these films had much artistic value, some people started calling this movement the Indonesian New Wave. It became a fresh, ongoing wave of energy for the Indonesian film industry.
The Indonesian film movement did not have a unique visual style like the French New Wave. Teenagers and younger viewers were the main target audience for romance and horror themes in Indonesian films. These films sought to attract that audience, which often controlled movie theaters. The goal was to make money.
It makes sense even as they decide whether it is successful or not. However, to what extent is Indonesian cinema a success? Are Indonesian filmmakers prepared to take on international productions despite the fact that some of their films are well-liked in their own countries? Will their success abroad affect the Academy Awards?
To understand how the Indonesian New Wave and the missing changes in cinema could answer these questions, we need to look back at history. The first Indonesian-made film was Loetoeng Kasaroeng, a silent film from 1926. Between 1925 and 1931, 21 films were produced. The industry really started to grow in 1941, with 41 films being released, mostly romance, music, and martial arts flicks.
Darah dan Doa, directed by Usmar Ismail, marked the first film produced by Indonesia’s own production house, State Film Productions. Critics and moviegoers often call it the first national feature film in Indonesia. However, during the New Order government (1965-1998), strict censorship under President Suharto kept the industry from really thriving.
The government believes Indonesian cinema should only show films that have educational and cultural value. In the late ’60s and early ’70s, government censorship of national films loosened a bit, which led to erotic films like Djampang Mentjari Naga Hitam and Bernafas dalam Lumpur being targeted. However, by the end of 1972, strict censorship returned.
The government cracked down on the film industry, especially when it came to movies with sexual content.
The 1980s saw a revival of the Indonesian film industry, with over 700 films made during the decade. However, many of these were quick, low-quality rip-offs of popular action and horror films. Despite that, the industry still produced some gems from legendary Indonesian directors like Teguh Karya and Sjumandjaja. Tjoet Nja’ Dhien, directed by Eros Djarot in 1988, became the first Indonesian film to be included in the feature category at Cannes in 1989.
On the flip side, there was a propaganda film, Pengkhianatan G30S/PKI, directed by Arifin C. Noer in 1984, which was hugely successful in Indonesia and was ordered by the government to be shown on national television every year. With the rise of private TV stations that churned out cheap soap operas and the increasing number of imported films, the Indonesian film industry stalled in the ’90s.
In 1996, fewer than 30 films were produced, and by 1999, that number had dropped to under 10. Despite all that, Garin Nugroho kept making films and winning awards at international film festivals. By winning titles like Best Young Director at the Asia Pacific International Film Festival and the Young Filmmakers Jury Award at the Berlin Film Festival, he became one of the few success stories for Indonesian films during this time.
After Suharto’s overthrow in 1998, the reform era did not just bring political change—it also marked a cultural shift and more freedom of speech. Filmmakers started addressing the harsh realities of life in Indonesia and experimented with new themes and approaches. Released in late 1998, the film Kuldesak became an important bridge between the two eras, speaking to a new generation of moviegoers in a way no Indonesian film had before.
Films like Serigala Terakhir and The Raid became new favorites and marked the rise of contemporary Indonesian action films. Along with these, children’s dramas like Laskar Pelangi also remained hugely popular with audiences. With over four million viewers, the Indonesian Film Festival (IFF) made its comeback in 2004 after a 12-year hiatus.
Looking at the history of Indonesian cinema, a key weakness in this era is the often flimsy plot motivation. The audience frequently needs help to see a clear cause-and-effect chain, other than basic consistency in the storyline. Weak dialogue only makes this worse. That said, some Indonesian films have achieved impressive cinematography with intense image compositions.
However, what is the point of a beautiful picture if the film does not have a strong plot? A weak plot can affect the acting, no matter how good the actors are. Luckily, tricks like a sweet soundtrack that fits the theme of the film often help boost Indonesian films.
The IFF has started to make a comeback over the last couple of years, which is a really positive sign for the development of Indonesian cinema. However, there needs to be a balance between improving the quality of all the people involved in the industry if Indonesian cinema is going to make a bigger impact. It is no good if filmmakers produce great work but do not need to understand what they are doing. In the French New Wave, Truffaut and his crew had a deep knowledge of film in terms of form, style, themes, techniques, and all kinds of movies from the thousands they had watched.
They did not become directors because of outside pressure—they did it because of their love for film, which became a huge part of their lives. Nowadays, films like 27 Steps of May, Gundala, Marlina the Murderer in Four Acts, and Memories of My Body are competing at major film festivals around the world. Today, the government is taking steps to improve the industry.
It includes allowing foreign investment to tap into the economic potential of using films to attract tourism. The changes in the guidelines are bringing new hope. They are trying to figure out what is missing in the Indonesian New Wave and where it needs to change.
References
- Garin, N. (1998). Kuldesak. [Film].
- Ismail, U. (1950). Darah dan Doa. [Film]. State Film Productions.
- Karya, T. (1988). Tjoet Nja’ Dhien. [Film].
- Mantovani, R., & Poernomo, J. (2001). The Uninvited. [Film].
- Nugroho, G. (1999). Opera Jawa. [Film].
- Soedjarwo, R. (2002). What’s Up with Cinta?. [Film].
- Suharto, H. (1984). Pengkhianatan G30S/PKI. [Film].
