Indonesian movie theaters may be struggling these recent years, but the cinema industry has been experiencing a powerful resurgence. What we’re witnessing feels like a true renaissance where independent filmmakers are rising to unprecedented levels of recognition and acclaim. It’s a cultural shift unfolding right before our eyes that redefines what Indonesian film can and will be.

At the heart of this transformation are streaming platforms like Netflix and Vidio, which have become game-changers in bringing local stories to wider audiences. 

On the more internationally accessible front, Netflix’s efforts to empower Indonesian filmmakers have resulted in both substantial profits as well as growing international acclaim. Over the years, this has led to a growing variety of original series, films, and underrated local productions that the platform picked up; Gadis Kretek, Joko Anwar’s Nightmares and Daydreams, and Losmen Bu Broto are among the hits that have received international acclaim, and that’s just to name a few. 

The accessibility of streaming services has truly transformed the local film industry; a great example, for better or worse, is A Business Proposal, the Indonesian feature-length adaptation of a popular South Korean series of the same name. The film drew considerable controversy after its lead actor chose not to watch the source material, leading fans of the original K-drama to boycott the Indonesian version and prevent it from reaching local cinemas. However, once it was picked up by Netflix, the movie skyrocketed to the top of the streaming giant’s most-watched movies list within just three days of its initial release.

And let’s not forget Vidio, which has been dominating the domestic movies landscape with a whole library of original series that has grown impressively over the years. Despite concerns from critics about the Emtek-owned platform’s prioritization of quantity over quality, this has not deterred the local streaming giant from achieving remarkable success. Their originals, spanning titles such as My Nerd Girl, Pertaruhan The Series, and Serigala Terakhir, each boasts at least 10 million views on their platform, demonstrating the effectiveness of this approach. 

Vidio’s consistent growth is accompanied by its ongoing dedication to providing a wide range of entertainment options for viewers with diverse backgrounds. This commitment is further substantiated by its user base, solidifying its position as Indonesia’s foremost over-the-top (OTT) streaming service. In addition, a report by Media Partners Asia has also highlighted Vidio as the only platform in the country to exceed 4.5 million paid subscribers.

This is not only a testament to the overall quality of these shows, which, at this point, should be indisputable, but also to the power and demand for the Indonesian film and television industry—a hunger that’s been greatly and intently satiated by these absolute powerhouses.

Beyond pocket-sized viewings, Indonesian filmmakers are cementing their place on the global screen through film festivals that propel local cinema toward limitless possibilities.

While the modern streaming era has provided greater visibility, access, and revenue potential of the film and television industry, the international acclaim and attention proves to be a different kind of reward that monetary value could not measure.

As the premier film festival in Indonesia, the Jogja-NETPAC Asian Film Festival (JAFF) is a proud local institution that is dedicated to the growth of Asian cinema. Known for championing both local and regional talent, its most recent iteration featured 180 films from 25 Asia-Pacific countries—but more importantly, it continues to serve as a vital platform for Indonesian filmmakers to showcase their work internationally without ever having to leave the country.

It propels pioneers of local cinema into the international spotlight, with their movies competing more actively at prestigious film festivals like Cannes and Berlinale. At the latter’s 2025 run, several Indonesian films were in competition, most notably the short film Little Rebels Cinema Club, which won the Crystal Bear—an esteemed award that bears significant international recognition for emerging directors and filmmakers. 

Building on that incredible momentum, some of Indonesia’s biggest and most famous filmmakers also took part in the 2025 Cannes International Film Festival, with support from the Ministry of Culture (Kemenbud). This year also marked the debut of the Indonesia Pavilion at Marché du Film—the world’s largest film market—where major Indonesian titles were showcased, including Iko Uwais’s directorial debut Timur, the Christine Hakim-produced The Mourning Journey starring Reza Rahadian, and even the smash animated hit of the year Jumbo.

These films are rooted at home, but seems to have resonated with audiences everywhere.

It is clear that Indonesian cinema is entering a new golden age. Local stories are no longer confined to national borders; they are actively shaping global conversations. The powerful synergy between streaming platforms and international film festivals has opened doors for local filmmakers, offering both visibility and validation on the international stage. With growing support from institutions and a creative industry that continues to push boundaries, Indonesia’s cinematic voice is not only being heard—it’s thriving.