Colorful bean bags sprawled across the floor of a hall at Istora Senayan, Jakarta, on Saturday afternoon, July 4, 2026. Hundreds of students and university attendees sat side-by-side, their institutional affiliations momentarily forgotten. Their collective attention was captivated by a large screen showcasing short films crafted by young finalists of the Jakarta Youth Film Festival (JYFF) 2026. This simple hall was more than just a screening venue; it was a crucible where the future of Jakarta’s burgeoning film industry was not merely displayed but actively being shaped.
In one corner of the bustling room, Satria Raka Mahendra, a 12th-grade broadcasting student from SMKN 45 Jakarta, observed the screen with a distinct focus. He wasn’t just following the narrative; his keen eyes meticulously absorbed camera movements, shot composition, and the director’s techniques for evoking audience emotion. Satria’s presence at the festival underscored his primary objective: to learn and deepen his understanding of cinematic arts.
One particular film resonated deeply with Satria, a compelling short that explored Betawi culture through the captivating story of ondel-ondel figures. Beyond the engaging plot, Satria meticulously analyzed every filmmaking technique employed by the young filmmakers and directors behind the work. He expressed his admiration to Katadata.co.id during a break in the screenings, stating, “The film was fascinating because it offered a perspective on how culture can thrive within film, imparting valuable insights to viewers.”
For Satria, the film festival, an integral component of the larger Jakarta Kreatif Festival (JKF) 2026 event, transcended mere entertainment. It provided an invaluable opportunity for students to engage in peer-to-peer learning. Participants could observe how different schools approached storytelling, selected themes, and translated their conceptual ideas into fully realized films. “Many schools showcased their creativity. From that, we learned how to make films and develop our ideas,” he elaborated, emphasizing the educational impact of such a platform on aspiring filmmakers.
Satria was not alone in his enthusiasm. Among the audience were three students from Indonesia Banking School (IBS): Sintia, Salma, and Dewi. They attended not as participants but as curious spectators eager to witness the works of emerging young filmmakers. Sintia articulated the critical importance of such festivals in preventing the Indonesian film scene from stagnating with repetitive narratives. She observed that the domestic film landscape, particularly in Jakarta, had become increasingly monotonous and lacked significant evolution. Sintia expressed hope that more frequent film festivals would foster the emergence of more valuable and innovative cinematic works.
Salma shared a similar sentiment. As an avid horror film enthusiast, she yearned for Indonesian filmmakers to exhibit greater courage in exploring diverse genres. “Indonesian horror often employs the same patterns. It would be truly captivating if more varied approaches emerged,” she remarked, highlighting the demand for fresh perspectives within popular genres. These student perspectives underscore the vital role of JYFF 2026 in stimulating creativity and challenging conventional storytelling within the Jakarta film industry.
The necessity for alternative entertainment and a vibrant film ecosystem is precisely what Bank Indonesia (BI) Representative Office for DKI Jakarta aims to cultivate through the Jakarta Youth Film Festival, an event strategically integrated into the broader Jakarta Kreatif Festival (JKF) 2026. Over a two-month registration period, the festival received an impressive 242 submissions from students and young filmmakers, demonstrating a robust interest in cinematic arts among the youth.
For Bank Indonesia, this festival is far more than a simple film appreciation event. JYFF serves as a crucial element in their strategy to expand Jakarta’s creative economy ecosystem. Festivals of this nature generate a significant multiplier effect, engaging an extensive value chain that spans scriptwriters, production houses, equipment rental services, hospitality (hotels), transportation, fashion, culinary arts, and even digital platforms. This comprehensive involvement highlights the deep economic impact of the Jakarta film industry.
Iwan Setiawan, Head of Bank Indonesia Representative Office for DKI Jakarta, emphasized BI’s commitment to maximizing this role. BI’s DKI Jakarta office is strategically positioning the creative industry as a new engine for Jakarta’s economic growth, especially following the capital’s transformation into a global service and knowledge-based city. “The creative economy is capable of generating extensive employment opportunities and transforming urban spaces into more attractive and innovative environments,” Iwan stated during the Jakarta Kreatif Festival.
Iwan further explained that this year’s JKF not only featured an exhibition for Micro, Small, and Medium Enterprises (MSMEs) but also skillfully integrated three creative sectors deemed to have substantial multiplier effects: sports, music, and film. He firmly believes that the growth of the film industry will stimulate numerous other sectors, from hospitality and transportation to culinary businesses and the myriad micro-enterprises involved in the production process. This holistic approach underscores BI’s vision for a dynamic and interconnected creative economy in Jakarta.
The burgeoning public interest in the film industry extends beyond the two-day run of the JYFF 2026. Increasingly, Jakarta hosts various events that seamlessly blend entertainment with open-air film screenings. A prime example was the Semasa Piknik event, which took place at Lapangan Banteng from June 26-28, 2026. The picnic theme, complemented by a diverse array of culinary delights, was further enhanced by a large screen provided by the Jakarta Film Commission. This outdoor format allowed visitors to comfortably relax on the grass while enjoying films, creating a unique and engaging experience for film enthusiasts.
Indar, a 32-year-old visitor who attended Semasa Piknik with his young family, found the event to be a delightful and family-friendly entertainment option. He believes Jakarta urgently needs more creative entertainment alternatives for its citizens. Outdoor film screenings, in his view, offer a distinct experience that should be implemented more frequently. “Jakarta residents need safe, comfortable, and family-friendly entertainment spaces, and outdoor film screenings in parks like this can certainly provide that,” Indar commented, reflecting the public’s desire for accessible and diverse cinematic experiences.
For Jakarta, which contributes approximately one-fifth of the national economic activity, the creative sector represents a critical new source of growth amid the city’s transformation into a service and knowledge-based economic hub. However, building a robust film industry requires more than just increasing production volumes. Film observer Hikmat Darmawan argues that Jakarta’s aspiration to become a “Cinema City” will remain elusive if film is solely viewed as an economic commodity. He posits that a “Cinema City” is not merely a city bustling with filming locations.
“We must build a cinema culture, not just its industry,” Hikmat emphasized. He elaborated that cinema culture encompasses a wide array of elements, including active film communities, vibrant discussion forums, dedicated film clubs, comprehensive film archives, diverse festivals, specialized education programs, and a continuously growing audience. Hikmat cautioned that the success of the film industry should not be measured solely by the number of tickets sold. “Don’t just fill cinema seats; figure out how to bring those seats to life,” he urged, advocating for a deeper engagement with film beyond commercial metrics.
Therefore, Jakarta needs more alternative screening venues to ensure the public can access films outside the mainstream. Festivals, Hikmat added, must also be positioned as learning spaces and crucial meeting points for filmmakers, communities, investors, and the general public. This integrated approach is essential for fostering a thriving and sustainable Jakarta film industry that prioritizes both artistic merit and community engagement.
Despite the prevailing optimism about developing Jakarta into a “Cinema City,” a fundamental challenge persists: the issue of film financing. Unlike the manufacturing industry, which relies on physical assets as collateral, the film industry is built upon intangible assets such as ideas, screenplays, character concepts, and intellectual property. Its economic value only fully materializes once a work is completed, finds its audience, and subsequently develops into a valuable intellectual property asset.
This unique characteristic often leads many financial institutions to perceive film as a high-risk sector. Consequently, a significant number of filmmakers are forced to abandon projects, not due to a lack of creative ideas, but because they exhaust their capital. Hikmat Darmawan firmly believes that the development of a comprehensive film ecosystem will remain incomplete unless the issue of funding is addressed from the very beginning of the creative process. He asserts that Jakarta requires more progressive financing mechanisms. These include the establishment of a dedicated film fund, robust support for documentary and experimental films, and innovative financing schemes that recognize intellectual property as an economically valuable asset.
Hikmat also strongly advocates for the creation of a cultural endowment fund. Such a fund would ensure that works possessing significant artistic and cultural value have the necessary space to develop, even if they may not generate immediate commercial profits. “If everything is solely measured by the market, we will lose the space to create new works. A Cinema City is built not only by blockbuster films but also by films that enrich culture,” he stated, underlining the importance of nurturing diverse cinematic arts that contribute to Jakarta’s cultural fabric.
The DKI Jakarta Provincial Government is actively paving the way for a more conducive film ecosystem. Through Governor’s Regulation Number 27 of 2025, the government offers a reduction of up to 50% on the Certain Goods and Services Tax (PBJT) for national film screenings in cinemas. Furthermore, the provincial government is establishing the Jakarta Film Commission as a single-window service for filming permits, streamlining bureaucratic processes. This commission is also developing a cash rebate scheme to incentivize productions that utilize local workforce and services, thereby boosting local employment and economic activity within the Jakarta film industry.
Fauzan Zidni, Chairman of the Indonesian Film Agency (BPI), lauded the establishment of the Jakarta Film Commission as a strategic move to enhance Jakarta’s competitiveness as a prime location for both national and international film productions. However, he cautioned that fiscal policies alone are insufficient. A truly thriving film ecosystem requires synchronized efforts from the government, industry players, financial institutions, communities, and educational institutions. This multi-stakeholder collaboration is paramount for sustainable growth.
In this context, Bank Indonesia’s role becomes exceptionally significant. BI acts not as a direct credit provider but as a vital catalyst, connecting creative industry players with the broader financing ecosystem. It also works to expand creative economy literacy and foster collaborative spaces through festivals that unite filmmakers, communities, investors, and the public. This strategic positioning allows BI to leverage its influence to bridge gaps and facilitate growth within the Jakarta film industry.
Iwan Setiawan highlighted Bank Indonesia’s studies, which indicate that every IDR 1 spent in the film industry generates IDR 1.38 in economic activity across other sectors. This impact cascades into hotels, catering, vehicle rentals, local MSMEs, creative workers, and the digital sector. Consequently, the film industry is recognized as one of the creative economy sectors with the highest multiplier effect, making it a powerful driver for economic growth in Jakarta.
Another crucial factor, Iwan noted, is that the film industry aligns perfectly with the unique characteristics of Jakarta’s populace. Moreover, Jakarta’s economic growth is not reliant on natural resources but is fundamentally driven by creativity and innovation. “Jakarta’s demographic character shows that 50% are young people, young talents. DKI Jakarta is also the source of the fastest digitalization growth,” Iwan emphasized, underscoring the city’s inherent advantages for fostering a dynamic creative economy.
The significant role of the creative industry in Jakarta’s economic growth was vividly demonstrated by the economic activity generated during the Jakarta Kreatif Festival. Over the two days of JKF 2026, transactions reached an impressive IDR 55 billion. This figure represents a substantial increase compared to the IDR 21 billion achieved in 2025. According to Iwan, this achievement is a clear indicator of growing optimism toward Jakarta’s creative economy, reflecting its expanding potential and market confidence.
Support for strengthening the film industry is also gaining traction at the policy level. Suhud Alynudin, Chairman of the DKI Jakarta Regional House of Representatives (DPRD), views film development as a vital component of Jakarta’s transformation into a global city and the realization of its vision as a “Cinema City.” Suhud believes Jakarta possesses immense potential, being the region with the largest audience for Indonesian films. This potential, he argues, must be matched by policies capable of reinforcing the entire film ecosystem chain, from production and distribution to human resource development.
“Film explains social life and serves as an example for society. Therefore, strengthening the film industry not only boosts the creative economy but also reinforces modern Jakarta’s culture,” Suhud stated in an official declaration, emphasizing the dual role of film in both economic and cultural development. The commitment from various government bodies, including the DPRD, signifies a concerted effort to nurture the Jakarta film industry as a strategic asset.
As the sun began its westward descent, the enthusiasm of the audience at the Jakarta Youth Film Festival remained undiminished. Spectators continued to eagerly watch the creative works of young filmmakers. For Satria, the festival ignited inspiration on how stories can be brought to life through the camera. Meanwhile, for Dewi and her friends, the event sparked hope that Indonesian cinema would become bolder in presenting new narratives and genres, pushing the boundaries of traditional storytelling.
The aspirations of these students and university attendees clearly illustrate that Jakarta is not lacking in talent. What is needed, however, are dedicated spaces for this talent to flourish. Iwan Setiawan stated that through the Jakarta Youth Film Festival, Bank Indonesia is not merely organizing a film competition. The festival serves as a crucial meeting point, connecting young talent, various communities, industry players, government representatives, and potential investors. This integrated approach is fundamental to building a robust film ecosystem.
From BI’s perspective, connecting all these links in the value chain is as vital as providing financing, because the creative industry can only truly thrive when its ecosystem is interconnected. Concurrently, the DKI Jakarta Provincial Government is actively preparing fiscal incentives to support the sector. At the same time, film communities, schools, universities, and industry players continue to foster cinema culture from the grassroots level. If these interconnected links are continuously strengthened, Jakarta stands a strong chance of becoming a city that produces more filmmakers, high-quality works, and creative innovations that drive economic growth.
This viewpoint aligns perfectly with Hikmat Darmawan’s concept of the importance of building a vibrant cinema culture. According to him, a “Cinema City” is not just a place bustling with filming locations, but a city where its people live in harmony with film, deeply integrating it into their daily lives and cultural identity. Hikmat believes that Jakarta’s aspiration to become a “Cinema City” cannot be realized solely through fiscal incentives or simplified filming permits. This grand vision requires sustained multi-party collaboration and a commitment beyond immediate economic gains.
“If the ecosystem is only interpreted as an industry, we will get caught in a circulation of capital. What is needed is long-term cultural investment,” Hikmat asserted, advocating for a broader, more sustainable approach that prioritizes cultural enrichment alongside economic growth. It is at this critical juncture that Bank Indonesia plays its pivotal role. While the government establishes regulatory frameworks and the DPRD strengthens policy support, and communities cultivate cinema culture, BI positions itself as a catalyst, harmonizing creativity with the economic ecosystem.
This role is entirely consistent with Bank Indonesia’s mandate to promote sustainable economic growth through the strengthening of new, high-value-added sectors. According to Iwan, through festivals, creative economy literacy programs, and the reinforcement of business networks, BI strives to ensure that young talents do not merely stop at generating ideas but also have the opportunity to grow into new creative economy players. This comprehensive support system is designed to transform potential into tangible economic contributions.
Previously, DKI Jakarta Governor Pramono Anung affirmed that the creative economy indeed represents a new engine for economic growth. Governor Pramono also expressed his appreciation to Bank Indonesia, OJK (Financial Services Authority), creative economy players, businesses, and all stakeholders who continue to build collaborations to strengthen Jakarta’s economy and enhance the city’s competitiveness. He emphasized that the increasing confidence of various parties in Jakarta is a positive indicator of the city’s growing competitiveness and appeal.
“One measure of a city’s success is when global stages are present in Jakarta, and both organizers and visitors feel safe and comfortable,” Governor Pramono stated, highlighting the importance of a welcoming and secure environment for international events and cultural exchanges. The screen that lit up Istora that day was not merely showing short films by students. From that simple room, furnished with bean bags, Jakarta was planting something whose value far surpasses a mere film festival. The city is nurturing its audience, empowering its young filmmakers, connecting them with the industry ecosystem, and opening pathways for creativity to evolve into significant economic activity.
When creativity successfully converges with a supportive ecosystem, as Bank Indonesia is beginning to build alongside various stakeholders, film transcends its role as mere entertainment. It transforms into one of Jakarta’s new economic engines, propelling the city toward its ambition of becoming a “Cinema City” and a leading creative economy hub in Asia.
