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As I doom-scrolled through Netflix’s endless catalog of movies and TV shows, my goal was simple: to find something exciting that I had not seen before but not so gripping that it would keep me from falling asleep.
On a whim, I landed on Ngeri-Ngeri Sedap (Missing Home). Instead of sleep, I ended up with a pile of wet tissues, over an hour of anxiety about the future and throbbing eyes from squinting at the English subtitles without my glasses.
I clicked on it partly because I was curious about the rave reviews from my family, who, like me, have little knowledge of local films and series. But as it turns out, I was not alone in my discovery.
Indonesian cinema has been quietly making its way onto the global stage, and streaming platforms are accelerating that shift in ways we have never seen before.
The rise of Indonesian content
Indonesian films and series have increasingly found success on international streaming charts. In recent years, several local titles have gone beyond niche audiences and broken into Netflix’s Global Top 10.
Take Cigarette Girl, for example. Released in 2023, the drama spent two weeks in Netflix’s Global Top 10, ranking in the Top 10 in nine countries and amassing 29 million viewing hours. Then there’s The Big 4, a 2022 action-comedy directed by Timo Tjahjanto that stayed in the Global Top 10 for three weeks and charted in 65 countries.
Even sci-fi, one of the toughest genres for any industry to break into, has found international recognition. In June 2024, Joko Anwar’s Nightmares and Daydreams, a series about creatures from the Earth’s core trying to reach the surface, spent two weeks in Netflix’s Global Top 10. Most notably, it reached the Top 10 in the United States, a market notoriously difficult for non-English content.
Indonesia is rich with folklore, mysticism and cultural depth—elements that have helped other countries succeed internationally. South Korean dramas, for example, have dominated global streaming platforms, and Spain’s Money Heist proved that language is no longer a barrier. If the storytelling is compelling enough, audiences will come.
So, with all this momentum, the big question is: Can Indonesia sustain it? And more importantly, can the industry claim the international spotlight for itself?
Horror leads the way
Indonesian films have long been recognized at international festivals, but horror has emerged as the strongest contender for mainstream global success.
Joko Anwar points out that since 2017, the international film community has referred to an “Indonesian horror wave”.
“If we look at Indonesian films, especially in international festivals, they have often been in the spotlight and have even won awards,” he says.
The country’s deep-rooted beliefs in mysticism and superstition have created a unique horror identity that resonates beyond its borders.
Netflix agrees.
“Horror as a genre—Indonesia has really done it. The box office is a great testament to that because of the volume of horror films coming out of Indonesia,” says Malobika Banerji, Netflix’s Senior Director of Content for Southeast Asia.
“We are also seeing traction for that category globally because horror is language-agnostic.”
That last point is crucial.
Horror works across cultures because its appeal is not tied to dialogue. It is about the atmosphere, tension and universal fears. That is why movies like Pengabdi Setan (Satan’s Slaves) or KKN di Desa Penari (Student Study Service in Dancer’s Village) can scare audiences worldwide, even if they don’t speak a word of Indonesian.
But sustaining global interest requires more than just relying on what works. Joko says the stories and issues explored on screen need to evolve to keep audiences engaged.
Innovation is key
Streaming platforms have given Indonesian filmmakers the freedom to experiment in ways traditional platforms never could.
“When making content for theaters or TV, there are inherent limitations, such as ratings and box office revenue considerations, that restrict how much you can experiment,” Malobika explains.
Streaming changes that.
She points to Cigarette Girl and Ice Cold: Murder, Coffee and Jessica Wongso as examples of unconventional storytelling that might not have thrived on traditional platforms. These projects found success on Netflix because streaming allows for niche content to reach the right audience, rather than needing mass-market appeal.
Even local streaming service Vidio, which primarily caters to Indonesian audiences, recognizes the need for innovation. It has embraced everything from teen dramas to zombie thrillers.
“We need to balance finding fresh ideas to broaden our content variety while also delivering what already works,” says Sutanto Hartono, CEO of Vidio.
“Local content has to be a priority because we are competing with global platforms. So if we are competing, let's say, for Korean dramas, how can we win the battle? So the one thing that we can compete effectively on is local content.”
Vidio is now expanding its viewership to eight countries, including Malaysia, Japan and Singapore, which will test whether its local hits can resonate with international audiences.
Can Indonesia sustain this growth?
This innovation is something experts say the local film industry sorely needs. But for Indonesia to truly compete globally, it also needs to invest in talent and resources.
“In Indonesia, I think we are just starting on that journey. The talent is definitely there. But I think for us, the key to success would be really looking within and at what our strengths are,” Malobika said.
She emphasizes that local, authentic stories that are able to resonate with people all over the world will put more Indonesian movies, and culture, on the map.
Netflix has been working toward this by launching writing fellowships and job training programs to develop fresh voices in Indonesian cinema.
Malobika’s team has set an ambitious goal where local content will dominate the top 10 shows on Netflix Indonesia, a feat she believes is achievable now that Netflix has ramped up licensed content and launched a few originals that have really resonated with audiences.
Vidio, meanwhile, experiments by pairing well-known industry names with emerging talent to see what works.
Sutanto also believes Indonesia has the talent to compete globally—it just needs the right support system, the government included.
According to a 2023 study on Indonesia’s screen industry by PwC Indonesia and the University of Indonesia’s Institute of Economic and Social Research, issues ranging from limited workforce size and skills gaps to insufficient infrastructure, regulatory hurdles and limited funding can prevent the industry from reaching its full potential.
To overcome these, the government can work with various organizations to provide vocational training and standardize professions in the film industry, according to the report. Like Malaysia, Thailand and Singapore, Indonesia can also offer incentives or cash rebates to encourage more foreign investors to produce movies using local crews.
With the right support, Indonesia has the potential to create films that rival Western productions. Whether through fresh narratives or innovative filmmaking, the country’s film industry is at a turning point.
Personally, a KKN di Desa Penari horror scene sends chills down my spine much faster than another Blumhouse release, though, to be fair, my ophidiophobia (fear of snakes) might have something to do with that.
One thing is clear: Streaming platforms in Indonesia are not just reviving films that leave cinemas too soon. They are shaping a new generation of filmmakers willing to take risks and of viewers who take pride in locally made art.
And if Indonesia continues to nurture its industry, this moment could be the start of something much bigger.
