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What about the Indonesian film industry? This old topic has been the subject of discussion for two decades in Indonesian film circles. Indonesian films during the past two decades (1980s and 1990s) have fallen deeply. It seems that Indonesian film people cannot handle the flow of imported films. Admittedly, the problems faced are very complex. Starting from the issue of funds, human resources, to government policies. This problem from year to year has widened the distance between films, cinemas and the audience, three components that should have the same understanding of a film industry.

At the beginning of the new millennium, there seems to be a new passion in the Indonesian film industry. The works of filmmakers such as Garin Nugroho, Riri Reza, Rizal Mantovani, Jose Purnomo and several other filmmakers have given a new spirit to the Indonesian film industry. This fact is quite encouraging, because apart from occurring at the same time as the rise of films from the third world, it does not feel like the film industry has actually been known in Indonesia for a hundred years.

In Indonesia, the film was first introduced on December 5, 1900 in Batavia (Jakarta). At that time the film was called "Picture of Idoep". The first film show was held in Tanah Abang. The film is a documentary film depicting the journey of the Queen and King of the Netherlands in The Hague. This first show was not a success because the ticket price was considered too high. So that on January 1, 1901, ticket prices were reduced by 75% to stimulate audience interest.

Story films were first known in Indonesia in 1905 which were imported from America. These imported films changed their titles to Malay. This imported story film is selling well in Indonesia. The number of viewers and cinemas has also increased. The attraction of this new spectacle is astonishing. Local film was first produced in 1926. A film with a silent story. It's a little late. Because in that year, in other parts of the world, sound films have started to be produced.

The first local story film, entitled Loetoeng Kasaroeng, was produced by NV Java Film Company. The next local film is Eulis Atjih which is produced by the same company. After this second film was produced, other film companies emerged, such as Halimun Film Bandung, which made Lily van Java and Central Java Film Coy (Semarang), which produced Blood-smeared Handlebars.

The local film industry itself was only able to make a sound film in 1931. This film was produced by Tans Film Company in collaboration with Kruegers Film Bedrif in Bandung under the title Atma de Vischer. During that period (1926-1931), 21 film titles (silent and voice) were produced. The number of cinemas is increasing rapidly. Filmrueve (the film magazine at that time) in 1936 recorded 227 theaters.

To further popularize Indonesian films, Djamaludin Malik encouraged the 1st Indonesian Film Festival (FFI) on March 30-April 5 1955, after previously forming the PPFI (Indonesian Film Companies Association) on 30 August 1954. Usmar Ismail's Jam Malam (Jam Malam) is the best film in this festival. This film was also selected to represent Indonesia in the II Asian Film Festival in Singapore. This film is considered Usmar Ismail's best work. A film that delivers a very sharp social critique of former combatants after independence.

In the 80s, local film production increased. From 604 in the '70s to 721 film titles. The number of actors and actresses has also increased rapidly. Likewise, the audience who came to the cinema. Themes of comedy, sex, sex horror and music dominated film production in those years. A number of films and movie stars have had great success in reaching audiences. Warkop and H. Rhoma Irama are two names that the audience is always waiting for. The film Notes Si Boy and Lupus were even made several times because they succeeded in gaining profits from the number of viewers which reached a separate record. But the most monumental in terms of the number of viewers is the film Pengkhianatan G-30S / PKI whose audience (despite the intervention of the New Order government) was 699,282, which is still very difficult to match other local films.

If at the beginning of the emergence of cinemas, one cinema had several audience classes, in the '80s the cinema became classy. Cinemascope later became known as cinema 21. With the arrival of bisokop 21, local films began to be displaced in small cinemas and suburban cinemas. Especially with the film's theme which tends to be monotonous and tends to be made just for profit, without considering the quality of the film.

Another thing that cannot be denied has also played a role in the deterioration of this national film, is the import and distribution of films handed over to private parties. Cinemas 21 even only screen Hollywood-produced films, refusing to screen local films. As a result, at the end of the 80s, the condition of national films was getting worse with the presence of private television stations presenting imported films and electronic cinemas and telenovelas.

 The history of film in Indonesia is indeed long. In addition, nowadays many developed countries have made more interesting films, including the films "DETECTIVE CHINATOWN 3 2021", "The Legend of Shaolin Temple", "Below Zero", "PRINCESS PRINCIPAL CROWN HANDLER "," Raya and The Last Dragon ", and many more.

Even though he was in "dying" condition, several works such as Cinta dalam Sepotong Roti, Daun on a Pillow by Garin Nugroho were able to win various awards at international film festivals. In the mid '90s, national films facing an economic crisis had to compete hard with the proliferation of soap operas on private television stations. Practically all actors and actresses on stage and big screen turn to the small screen. Especially with the presence of Laser Discs, VCDs and DVDs which make it easier for people to enjoy imported films.

But on the other hand, the presence of digital cameras also has a positive impact on the Indonesian film world. Start building independent film communities. Films made outside the existing standard regulations. Films began to be produced with a militant spirit. Although many films look amateurish, there are also films with good cinematographic quality. Unfortunately these independent films still do not have a good distribution network. So that these films can only be seen on a limited basis and at festival events.

Now, Indonesian films have started to crack again. Some films are even booming with huge audiences. Call it, What's up with Love, which revived the Indonesian film industry. Some other films that sell well and lead audiences to theaters such as Sherina's Adventure, Jelangkung, Ayat-Ayat Cinta, When Cinta Bertasbih, Laskar Pelangi and Naga Bonar Becomes 2. The genre of films is also increasingly varied, although the themes are sometimes talkative, if horror is busy, many of which take horror themes, as well as themes of teenagers / school children.

With the variety that it carries, it provides an opportunity for film media to become a learning tool and a motivator for the community. Like the film King, Garuda di Dadaku, and Laskar Pelangi. In fact, Indonesia has even started to enter the animation industry. Although it is not the first time, there was an animation of Huma before, now there is an animated film Meraih Mimpi, which is planned to go international.