Indonesia’s Film Agency Chief Aims to Turn Local Dominance into Global Presence

Fauzan Zidni, the newly elected chair of the Indonesian Film Agency (BPI), made a bold statement at Cannes this year. With his agency’s program “Next Step Studio Indonesia” premiering in Critics’ Week, he declared that Indonesian cinema is ready to take its place on the global stage. But can he overcome the structural obstacles that have held back local productions for so long?

Zidni attributes Indonesia’s lack of international recognition and funding to inadequate financing frameworks, legal infrastructure, and distribution architecture – essential components that would give local filmmakers a fair chance to compete globally. This gap is particularly striking given Indonesia’s dominance in the domestic market, with a 67% share of box office revenue.

For decades, Indonesian filmmakers have struggled to break into global markets despite producing high-quality films that resonate with local audiences. Zidni’s solution is to bridge the gap between the local audience and the international industry – a task he deems crucial during his four-year tenure as BPI chair.

To achieve this goal, Zidni has outlined several key strategies. He plans to establish bilateral co-production treaties with France and Korea, as well as an audiovisual co-production agreement with the Netherlands. These partnerships will allow Indonesian filmmakers to access new financing mechanisms, share costs, and tap into international funds. The agency is also supporting a matching-fund mechanism recently relaunched by the Indonesian Ministry of Culture, which promises to accelerate outbound co-productions.

However, Indonesia’s exhibition landscape remains fragmented, with a single exhibitor controlling 60% of the market. Zidni acknowledges that even the biggest hits often leave money on the table, while smaller films struggle to get a fair window at all. His experience at Walt Disney Company has taught him the importance of maintaining control over distribution – a crucial lesson for an industry struggling to assert its dominance.

Zidni also faces significant legislative challenges. BPI is advocating for a revision of Indonesia’s Film Law, which will give the agency a clearer role in international co-production and provide a defined framework for national film funding. This task will not be easy, but if successful, it will mark a major turning point for Indonesian cinema.

For now, Zidni remains focused on Cannes 2026 – a crucial test of his strategy. If he can secure two or three meaningful co-production conversations, establish a strong presence at the Marché du Film, and lay the groundwork for international partnerships, then he’ll have achieved what others before him could not: transforming Indonesia’s film industry into a global force to be reckoned with.

Zidni himself acknowledges that “the policy work we are doing now will not produce results next year.” Yet, if his vision takes hold, it would mark a seismic shift in the international film landscape – one that would have far-reaching implications for filmmakers across Asia and beyond.