DPR and Industry Players Spotlight Alleged Cinema Screen Oligopoly, Filmmakers Demand Fair Regulation
Indonesia’s film ecosystem is under scrutiny amid complaints of alleged oligopolistic practices that restrict access for small production houses (PHs) and independent filmmakers to cinema screens. This has raised concerns about access inequality and potential threats to the diversity of national film works.
Lamhot Sinaga, Deputy Chairman of the DPR RI Commission VII, says that the dominance of a small number of large PHs in cinema screen access is already unhealthy. Based on data he has received, nearly half of the wide-screen access in Indonesia is controlled by fewer than 10% of PHs registered. ‘Until 2025 there are 113 PHs. But only 6-7 PHs, call it 10 PHs, means less than 10% control 50% of the screens. That’s our note,’ he said.
He added that the fundamental problem lies in the authority to determine screening by cinema networks. He indicated that monopsony or oligopoly potential is open if cinema operators have affiliations with certain production houses.
The tangible impact of this access inequality is felt by Faridsyah Zikri, a producer at Anak Bangsa Pictures. He says independent filmmakers often face bureaucratic hurdles to secure release dates and sufficient screen quotas, rather than it being about film quality. ‘As soon as we try to request a release date, it’s incredibly difficult. A month, two months, three months, even a year before we can screen,’ he said.
Faridsyah recounts his experience releasing his first film in 2016 when there were around 2,400 national cinema screens, but his film was allocated only 10 screens, while films from large PHs could be allocated up to 2,000 screens. This makes it hard for independent films to compete commercially because the number of screens is reduced and quickly cut in days.
He also criticised indications of vertical integration where major production houses are tightly linked with leading cinema networks. ‘Whenever a new production house rises a little, they are immediately linked. So you can really see the monopoly,’ he said.
Faridsyah notes a different experience overseas. In Malaysia, his film, as an Indonesian film, received better reception with allocated up to 80 screens. He explains that Malaysia has implemented more supportive screening regulations for local film and new filmmakers through standardised minimal screen quotas and circulation durations. ‘Malaysia, with its local films, has created regulations that are fair. That means with a minimum 100 screens and 7 days maintained. If our audience performance is poor, then fine — it means audiences don’t like our film. That’s fair,’ he said. (H-2)