Film professionals currently in Indonesia said that the distribution abroad and the absence of cinematic incentives remain weaknesses, that Indonesia is flourishing with local content, international joint products and vibrant tickets company, although distribution abroad and the absence of movie incentives remain weaknesses.
The Minister of Culture of Indonesia, Vadily Zone, was also present at the committee, along with a delegation of the Indonesian consulate in Hong Kong.
Justin Kim, head of international production at CJ Enm, has been steadily growing the imprint of the Korean entertainment force in Indonesia since 2014.
Kim said that the CJ Enm invasion in the Indonesian cinema industry began with the bloc that presented some awards in the Asian Projects market in Busan in 2014, including the “Most Exalted” project, which was awarded to Joko Anwers A copy of my mind.
At that time, Kim was an international sales manager and ended with CJ Enm represented the movie. Anwar has traveled to Venice, Toronto, Busan and Rotterdam Festivals.
This CJ Enm was persuaded that working in Indonesia with the country's talents would be a fruitful endeavor and helps to expand the company's and network works abroad.
“Entering the main cinematic festivals was great for us,” Kim said. “We were really happy, as it was very difficult for us to enter these major cinematic festivals with the Korean films that we were producing. It was a huge new start for us.”
Kim has since supervised joint production Sweet 20and CADO CADO: Doctor 101A new Indonesian edition of the Korean movie Miss grandmother (Which was also reshaped in eight other local languages) and hitting terror Satan slavesAmong other things.
However, finding the correct theatrical window for the release of the CJ Enw films in Indonesia has proven difficult to get into the crowded calendar in the market.
“Because of the size of films in Indonesia, it is difficult to find the correct window for a theatrical release,” Kim said. “On the positive side, this shows the power of film production in Indonesia as the country's abundant production.”
Lorna Tee, founder of Mylab and international acquisition consultant at Barunson E & A from Korea, noted that the role of independent producers in Indonesia has sometimes been ignored.
“The role of independent producers in the film's ecosystem must be given more support,” said T. “They are the basis that creates a base for growth in the future; they do a lot of work to grow new talents and care for them, and to encourage risks, as well as risk that studios are not ready.”
T added that there should be more screens in Indonesia, and that the exhibition sector has become very difficult.
“The important thing is the growth of the market is that the exhibition sector allow the diversity of films, and the development and support of local film versions in a way that does not kill a movie if its performance is not on the first day or the second day.” “It has become great because there are many films, and it is understood that they want to put the most profitable films there.
“However, some films need more time to build these oral words and gain traction. The exhibition sector is the stronghold of communication with the fans, as well as big players and young players. It is really important to be able to attend and support this growth in a more healthy way,” said T. said.
Edwin Nizir, the producer and president of the Indonesian Film Producers Association (Aprofi), said that the introduction of government policies for tax discounts on film tax and permits to support international joint production will help stimulate the Indonesian film industry.
Nazir says that the tax discounts of Indonesia and its permits are the two fields that receive the largest number of questions about it, from the filmmakers abroad who are looking to shoot in Indonesia.
Nazir said: “This is something we asked by the authorities and the government trying to find the best financing plan to support international production,” Nazir said. “With regard to tax and cash cells, we discussed this for several years, but it is still difficult in Indonesia, as is the case for sites and permits, this goes to the local government, but for equipment and rental, this goes to the financial authorities.
“There is one thing that we are trying to show to potential partners, that although we are not in a cash or tax discount, the shooting in Indonesia is still good for the value,” Nazir added.
Yulia Evina Bahra, Indonesian producer and founder of Kawankawan Media, highlighted that the global distribution is still one of the largest weaknesses in the scene of films in Indonesia, but joint production can help bridge this gap in a few markets.
She has films that he participated in producing Turtle turtlesand Tiger linesand Do not cry the butterfly and the biographyAll of which were taken by a group of the best prizes on the festival circuit.
“With the Indonesian films, we still have a problem with distribution, so I think that the common products give us at least an opportunity to bring the movie abroad, especially in the countries of the participating producers,” he said.
