Directors, producers keep conflict aflame
JAKARTA (JP): Film distribution is the most delicate aspect of the Indonesian movie business.
Producers often have to bow to distributors' will to get their movies distributed and screened so that they can recoup their spending.
By and large, theater owners will also do anything to please distributors to get movies on a regular basis and keep their businesses afloat.
Over the past few years, the movie business has been further complicated by the unfair business practice by which people who control distribution also control a powerful chain of movie theaters.
The Subentra Group, controlled by tycoon Sudwikadmono -- a relative of former president Soeharto -- monopolizes film importation and also runs the theaters under the banner of the 21 Group.
Some film directors say the practice hurts the development of the national film industry because the "cartel" prefers distributing and screening imported films, which promise more profit than locally made ones.
One of the victims is Slamet Rahardjo. His 1991 production Langitku Rumahku (My Sky is My Home) was successful at international festivals but a flop at home.
The 21 Group of movie theaters showed his film for only one day on the pretext that ticket sales were intolerably low.
Slamet and other critics believe the monopolistic practices have allowed the theaters to refuse locally made movies in favor of imported ones for the sake of money.
Slamet took the case to court but lost.
"We have no chance to get our movies distributed. We are gambling (when we make them)," Slamet says.
"The question should not be whether we can still make movies or not, but what should we make them for? There is nothing that can motivate one to make a film in this country. Only crazy people like me want to make movies."
Noted director Garin Nugroho, says that movie theaters think of nothing but money and they do not bother about developing infrastructure for the national film industry.
Garin says it is important that local film directors know they have a long way to go before local movies can be on a par with the imports.
"The system cannot be fought with rhetoric but with our work," he says.
Johan Tjasmadi, who has ruled the Association of Movie Theater Owners (GPBSI) unchallenged for 32 years, has come out in defense of the 21 Group cinemas. He charged that directors are not well- versed in the movie business.
"It is all a matter of management. To succeed, any movie theater has to have good management which knows how to take care of their audience," he says.
"These directors who are also artists do not know about the economic aspects. It's crazy to expect theater owners to screen movies that do not attract audiences, or movies that will make people bored."
To make a good, saleable movie, Johan advises that directors should know the market segment they want to address.
He points out that local directors lack a "pleasant state of mind" when making a film.
"For instance, when Slamet made Langitku Rumahku, he was apparently in a bad mood. He will not say this, of course. Any movie that conveys its director's anger won't sell."
The problem actually lies with the people involved in films' production, Johan says. Many movie theaters have closed down because they cannot get enough to screen. The number of locally produced movies have been decreasing at the same time as a falling supply of imported films.
Jimmy Harianto, director at the 21 group of cinemas, underlines Johan's opinions.
"How can we screen local films when they (producers) cannot afford to make copies?" he says.
Another executive at the 21 Group says some local producers intentionally limit the number of copies of their films.
Garin, for instance, only made two copies of his famous Daun Di Atas Bantal (A Leaf on a Pillow), which cost around Rp 700 million (US$60,000).
"The response from the public is extraordinary. We have already sold more than 31,000 tickets for Daun at Pondok Indah and Plaza Senayan theaters only. I don't know why Garin does not produce more copies," he said.
Quality, however, seems to be more important for Garin than the number of copies available. "Local film laboratories are unable to process film with excellent quality. Meanwhile, moviegoers demand local films have picture and sound quality comparable to Hollywood movies," said Garin.
To anticipate this, the producer of Daun Di Atas Bantal sent the movie to be processed in Australia, even though this means that they could only afford two copies for the local market. For the international market, the film's distributors from Japan and France supported the film by prepaying the processing fee for their own copies.
Another director, Marselli Sumarno, also has limited copies of his debut, Sri, which cost almost Rp 800 million.
"Ideally, a film needs 20 copies for one city. But I made only six. Three for the domestic market and three for the international market," Marselli said. (rid/ylt)