As a lifelong cinephile who’s always eager to witness the fusion of cultures and narratives, I find the recent co-production treaty between the Netherlands and Indonesia nothing short of exhilarating! Having spent years immersed in the diverse tapestry of global cinema, I can attest that collaborations like these are not just about creating films, but weaving stories that transcend borders.
The recently established cooperation agreement on movie production between the Netherlands and Indonesia intends to boost collaborative efforts between the two nations’ film industries. This pact grants filmmakers from both countries access to their respective national funding programs and incentives for production, as industry heads shared during a discussion at the JAFF Market’s debut in Yogyakarta, Indonesia.
The first JAFF Market will occur concurrently with the Jogja-Netpac Asian Film Festival in Yogyakarta from December 3rd to 5th. The discussion was led by Lorna Tee, a producer from An Original Picture NL and advisor for the JAFF Market.
Sandra den Hamer, who serves as CEO of the Netherlands Film Fund, emphasized that the treaty was born out of groundswell support among filmmakers and producers instead of being imposed from above through policy. She explained, “It’s a passion originating from the creators themselves. There’s a strong desire to collaborate on films or produce movies in Indonesia, with an aim to reinterpret our shared history.
The treaty is based on previous fruitful accords that the Netherlands has forged with Canada, China, France, Germany, Norway, and South Africa. Notably, with South Africa, they set up a tangible joint fund which has backed 12 films in the development phase and one currently in production, as pointed out by den Hamer.
The partnership between Sander Verdonk from the Netherlands’ New Amsterdam and Shanty Hermayn of Indonesia’s Base Entertainment on Jim Taihuttu’s war drama “The East” (De Oost) demonstrated the feasibility of Dutch-Indonesian co-productions. This film, featuring more than 800 cast and crew members across 40 locations in Java, overcame intricate logistical hurdles such as visa matters and cultural disparities in production methods.
Hermayn disclosed that Indonesian stock investments were facilitated via market-provided financing, in exchange for distribution rights. In simpler terms, she clarified that the Indonesian financial setup allows for market contributions, rather than relying on direct government funding.
The movie thrived on Amazon Prime Video amidst the pandemic, being the initial significant Dutch production on the platform in that region. Notably, in Indonesia, it gained impressive viewership on Mola TV before eventually airing on free television.
As a movie enthusiast, I’m thrilled about the upcoming collaborative works between Verdonk and Hermayn, particularly on Taihuttu’s “Hemelrijk,” a limited series revolving around a plantation in Bandung. Additionally, they’re working on a feature film adaptation of Leila Chudori’s renowned novel, “Pulang” (Home). These projects aim to capitalize on the insights gleaned from “The East” and seize fresh opportunities afforded by the treaty framework.
Yulia Evina Bhara, the producer, highlighted that the treaty grants us legal power over status and financial contributions. In simpler terms, this means we can obtain more resources, not just from the Hubert Bals Fund – a competitive international fund from the Netherlands that receives over a thousand applications per round.
As a fervent advocate for cross-cultural understanding through cinema, I’m eagerly anticipating the potential impact of the upcoming treaty. The theatrical landscape in Indonesia is thriving, with domestic films accounting for an impressive 68% of the market share this year, equating to approximately 80 million admissions. On the other hand, Dutch films hold a steady 30-40% of their home market. This treaty presents a unique opportunity to bridge the gap in distribution, allowing Asian films to reach Dutch audiences and vice versa.
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2024-12-05 03:16