{"id":26509,"date":"2026-11-05T18:58:05","date_gmt":"2026-11-05T11:58:05","guid":{"rendered":"https:\/\/jakartafilmweek.com\/?p=26509"},"modified":"2026-11-05T18:58:30","modified_gmt":"2026-11-05T11:58:30","slug":"next-step-studio-indonesia-dari-cannes-ke-indonesia-empat-sutradara-muda-indonesia-suarakan-gagasan-lewat-film-omnibus","status":"publish","type":"post","link":"https:\/\/jakartafilmweek.com\/en\/article\/next-step-studio-indonesia-dari-cannes-ke-indonesia-empat-sutradara-muda-indonesia-suarakan-gagasan-lewat-film-omnibus\/%20","title":{"rendered":"Next Step Studio Indonesia: From Cannes to Indonesia, Four Young Indonesian Filmmakers Share Their Visions Through an Omnibus Film"},"content":{"rendered":"

Four stories exploring religion, family trauma, disability, and domestic violence come together in <\/span>Next Step Studio Indonesia<\/span><\/i>, an omnibus film screened at CGV Grand Indonesia on Thursday (October 22) as part of Jakarta Film Week 2026. Blending everyday realities with surrealism, the film invites audiences to explore the complexities of life across Southeast Asia.<\/span><\/p>\n

The screening marked the film\u2019s Indonesian premiere following its world premiere at La Semaine de la Critique (Cannes Critics\u2019 Week) during the Cannes Film Festival in France on May 14, 2026. Produced by KawanKawan Media, this Indonesian-French collaborative project brings together eight directors from Indonesia and other Southeast Asian countries.<\/span><\/p>\n

The omnibus features four short films, each offering a distinct perspective on social issues. <\/span>Holy Crowd<\/span><\/i> (2026), directed by Reza Fahriyansyah and Ananth Subramaniam, follows the chaos that unfolds in a village after Ratna suddenly rises from the dead during her funeral. The extraordinary event attracts villagers, opportunists, and religious leaders alike.<\/span><\/p>\n

Meanwhile, <\/span>Original Wound<\/span><\/i> (2026), directed by Shelby Kho and Sein Lyan Tun, follows two siblings struggling to reconcile their contrasting memories of their late mother. In <\/span>Annisa<\/span><\/i> (2026), Reza Rahadian and Sam Manacsa tell the story of a visually impaired teenage girl trying to find her place in a community that often overlooks her presence. <\/span>Mothers Are Mothering<\/span><\/i> (2026), directed by Khozy Rizal and Lam Li Shuen, explores the life of a woman trapped in an abusive marriage as memories, desires, and hallucinations begin to blur.<\/span><\/p>\n

Despite their different narratives, collaboration is the common thread connecting the four films. During a post-screening discussion, producer Yulia Evina Bhara explained that the directors were selected based on their festival experience and track records in feature filmmaking.<\/span><\/p>\n

The director pairings were also carefully considered to reflect shared interests and creative approaches. Actor and director Reza Rahadian was paired with Sam Manacsa, who also works as a production designer. Meanwhile, Shelby Kho and Sein Lyan Tun were brought together because of their strengths in dramatic storytelling.<\/span><\/p>\n

For Reza Fahriyansyah, the idea for <\/span>Holy Crowd<\/span><\/i> originated from a story about a carpenter who accidentally painted his own face to resemble Jesus. The incident reminded him of the Ponari phenomenon in Indonesia, inspiring him and Ananth to explore the relationship between society, religion, and those who profit from public belief.<\/span><\/p>\n

\u201cWe shared an interest in exploring these issues in a fun and humorous way,\u201d Reza said.<\/span><\/p>\n

Experimentation with cinematic form was central to Khozy Rizal\u2019s approach to <\/span>Mothers Are Mothering<\/span><\/i>. Initially conceived from a one-page synopsis about his mother as a straightforward black comedy, the story eventually evolved into a blend of black comedy and science fiction.<\/span><\/p>\n

\u201cMy co-director provided a lot of feedback and suggested scenes that could be explored experimentally,\u201d Khozy explained. One example was a dialogue scene deliberately staged to resemble an Indonesian television soap opera.<\/span><\/p>\n

Meanwhile, <\/span>Annisa<\/span><\/i> grew out of Reza Rahadian\u2019s real-life encounter with a visually impaired teenager named Annisa during the production of <\/span>Laut Bercerita<\/span><\/i>. According to producer Nazira C. Noer, Annisa\u2019s dream of becoming a singer left a lasting impression on Reza and eventually inspired the film. The production also presented unique challenges, including directing Annisa through physically demanding scenes that required repeated takes.<\/span><\/p>\n

For Yulia, the project represents an opportunity to explore new creative possibilities through international and interdisciplinary collaboration. She hopes the films will reach beyond the festival circuit and find wider audiences in Indonesia.<\/span><\/p>\n

\u201cThese films are our small effort to keep creating freely, starting something new, and contributing together,\u201d she said.<\/span><\/p>\n

Through Jakarta Film Week 2026, <\/span>Next Step Studio Indonesia<\/span><\/i> continues its journey from the international festival stage to audiences at home, creating space for Southeast Asian stories to meet, spark conversations, and reach new viewers.<\/span><\/p>\n

Writer: Dwi AN<\/b><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Four stories exploring religion, family trauma, disability, and domestic violence come together in Next Step Studio Indonesia, an omnibus film screened at CGV Grand Indonesia on Thursday (October 22) as part of Jakarta Film Week 2026. Blending everyday realities with surrealism, the film invites audiences to explore the complexities of life across Southeast Asia. The […]<\/p>\n","protected":false},"author":1,"featured_media":26338,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-26509","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-article"],"_links":{"self":[{"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/posts\/26509","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/comments?post=26509"}],"version-history":[{"count":2,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/posts\/26509\/revisions"}],"predecessor-version":[{"id":26511,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/posts\/26509\/revisions\/26511"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/media\/26338"}],"wp:attachment":[{"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/media?parent=26509"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/categories?post=26509"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jakartafilmweek.com\/en\/wp-json\/wp\/v2\/tags?post=26509"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}