The Highs and Lows of Indonesia’s Spotlight at Cannes 2026

By: Icha Gyllian

In the global cinematic landscape, the Cannes Film Festival remains the pinnacle of prestige. Alongside Venice and Berlin, Cannes forms the “Big Three” of European film festivals, renowned for its notoriously rigorous curation.

Securing a spot is no small feat. So, when Indonesian cinema made its triumphant return to Cannes 2026, it naturally became a major talking point, sparking widespread national pride.

A Banner Year for Indonesia at Cannes

One of the biggest highlights came from acclaimed director Kamila Andini. At Cannes 2026, Andini was selected for the prestigious Women in Cinema Spotlight program, hosted by the Red Sea Film Foundation.

This milestone makes her the first female filmmaker from Southeast Asia to receive this recognition, and the region’s sole representative this year. The initiative is specifically designed to amplify the voices and works of female directors from Asia, Africa, and the Middle East.

For over a decade, Andini has consistently brought local Indonesian narratives to the global stage through critically acclaimed works like Yuni, Before, Now & Then (Nana), The Seen and Unseen, and the hit series Cigarette Girl (Gadis Kretek).

Reflecting on the honor, Andini emphasized its collective significance: “This award is not just mine, it belongs to all Indonesian female filmmakers who have fought to tell their stories with honesty and courage.” Her words carry profound weight; she is actively paving the way for the next generation of female storytellers, cementing Indonesian cinema’s place in the global cultural conversation.

Adding to the momentum, Indonesia also shone through the Next Step Studio Indonesia program. Four short films born from regional collaborations—Holy Crowd, Original Wound, Annisa, and Mothers Are Mothering—premiered at Cannes Critics’ Week. This marked a historic first, positioning Indonesia as the hub for creative collaboration among young Southeast Asian filmmakers. These films were presented within an international ecosystem that opens doors to global distribution, funding, and networking.

In the film industry, attending a prestigious festival like Cannes is about more than just trophies—it is about securing a gateway to the global market. For those wondering how Indonesian films can gain international traction, high-profile forums like these are the definitive answer.

When a Viral Dance Video Overshadows the Achievement

Yet, amidst these monumental milestones, the celebrations were met with a wave of online friction. Social media quickly became dominated by a viral video showing Indonesian filmmakers, actors, and government officials dancing together at Cannes.

The clip sparked intense debate. While some netizens viewed it as a harmless expression of joy, others felt it was tone-deaf given the grim systemic issues currently plaguing the domestic film industry.

The sharpest criticism focused on the assumption that the delegation’s trip was taxpayer-funded. This sentiment surged after the Instagram account @salahcetak posted a scathing critique, contrasting the lavish celebrations in France with the harsh, everyday realities of Indonesian film crews, who struggle with low wages, grueling working hours, and virtually non-existent labor protections.

“The ones dancing there are a cohort of the Director General of Culture, filmmakers, and celebrities who traveled to the Cannes Film Festival. Meanwhile, back home, the industry is in disarray. Film crews are struggling with meager pay and exhausting hours, yet they are partying in Cannes under the guise of ‘industry development’ using our tax money.”

Shortly after, @faim_ahmad, who was involved with the video, responded in the comments: “I was the one who told them to dance.” While this suggests the video was a lighthearted moment rather than a calculated slight, the damage was done. The incident ignited a broader, much-needed conversation: Who actually benefits from the global rise of Indonesian cinema?

Why the Debate Matters

At its core, this controversy isn’t just about a dance video. It is a debate about representation and the equitable distribution of progress.

On one side, proponents argue that celebrating Indonesia’s presence at Cannes is entirely justified. Building a global footprint requires physical representation, networking, and active participation in international markets. From this perspective, sending a delegation to Cannes is a long-term investment that builds crucial bridges for future co-productions, distribution deals, and industry growth.

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On the other hand, critics point out that the glamour of international red carpets masks a deeply flawed domestic ecosystem. Behind the world-class accolades, many local crew members work under precarious contracts, suffer from extreme burnout, and lack basic welfare support. When the public sees lavish celebrations abroad, it highlights a jarring disconnect between the prestige of the festival stage and the grueling reality of the local film set.

Both perspectives hold merit. Celebrating international success is vital, but demanding labor reforms and domestic accountability should not be dismissed as mere cynicism.

Pride Meets Progress

Fortunately, there is a glimmer of institutional hope. Amid the Cannes buzz, Indonesia’s Minister of Culture, Fadli Zon, reaffirmed the government’s commitment to strengthening the country’s film ecosystem from end to end. The goal is to build a more competitive, inclusive, and globally viable industry.

The Minister also met with festival organizers to discuss Indonesia’s potential selection as the “Guest of Honor” at the Cannes Film Festival in 2028. For the domestic industry, the hope is that these grand international ambitions will translate into concrete policies that resolve the systemic labor issues currently facing local film workers.

Cannes 2026 proved that Indonesian cinema is on an incredibly promising trajectory. The achievements of Kamila Andini and the young directors of Next Step Studio Indonesia demonstrate that Indonesian stories have a rightful place on the world stage.

However, global accolades do not erase the structural homework waiting back home. This debate serves as a crucial reminder that a thriving film industry is built on more than just red carpets, standing ovations, and glamorous photo-ops. It requires fair wages, safe working conditions, equitable funding, and a sustainable ecosystem.

It is entirely possible to be immensely proud of Indonesian cinema’s global triumphs while remaining fiercely critical of its domestic shortcomings. Supporting our filmmakers abroad must go hand-in-hand with advocating for the workers who make those films possible. What are your thoughts?