logo
'Jumbo': the animated Indonesian film smashing records

'Jumbo': the animated Indonesian film smashing records

Japan Times08-05-2025

An Indonesian animated movie is smashing regional box-office records and could be set for wider success as it prepares to open beyond the Southeast Asian archipelago's silver screens.
"Jumbo" — a film based on the adventures of main character Don, a large orphaned Indonesian boy facing bullying at school — last month became the highest-grossing Southeast Asian animated film, raking in more than $8 million.
Released at the end of March to coincide with the Eid holidays after the Islamic fasting month of Ramadan, the movie has hit 8 million ticket sales, the third-highest in Indonesian cinema history, according to Film Indonesia.
The film explores "what we've lost in life and the strength we need to overcome it," says director Ryan Adriandhy Halim.
"We hope to encourage a change, it is for people to treat (each other) more kindly and we want 'Jumbo' to be a reminder that everyone deserves respect, no matter what is your background, whatever age group you are."
In the film, Don has a storybook filled with magical tales — including a meeting with a fairy who wants him to help her reconnect with her family.
"This film is for us, for our children, and for the child within us," Ryan says.
For weeks after its release, 'Jumbo' kept theaters packed across Indonesia. The movie — which began production five years ago and called on the help of 400 local creators — surpassed the regional record set by Malaysia's "Mechamato Movie" in 2022.
Its success has caught many in the Indonesian film industry by surprise.
"I predicted the film would be popular — but not this much," says Petrus Kristianto Prayitno Santoso, film programming supervisor for operator Flix Cinema.
Ryan Adriandhy Halim, director of the animated film "Jumbo," says he hopes his work proves to be a stepping stone for Indonesian animation. |
AFP-JIJI
However, the film's wider appeal will be tested when it opens in more than 17 countries in June, including Malaysia, Singapore, Turkey and Mongolia, says Anggia Kharisma, chief content officer at Visinema Studios, the film's production house. The company says other release dates are still in discussion, meaning it could be set for a global rollout.
In an industry flooded with Hollywood blockbusters and local horror movies, "Jumbo" has stood out.
"It's been a long time since we've had an Indonesian family film," says Adi, 38, who watched the movie with his wife, Ria, and their two young children. But he added that "in Southeast Asia, it will work because the culture is similar, but I'm not sure about regions beyond that."
The film has given hope to Indonesian audiences that their local productions could see more global success. Cinemagoer Dika, 27, said she believes "the film could rival Disney productions."
Ryan himself has more modest ambitions, hoping simply that his debut feature will become "a stepping stone and a benchmark for Indonesian animation" in the future.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Kokuho' finds riveting drama on and off the kabuki stage
‘Kokuho' finds riveting drama on and off the kabuki stage

Japan Times

time17 hours ago

  • Japan Times

‘Kokuho' finds riveting drama on and off the kabuki stage

Films set in the kabuki world are few, understandably so since the challenge of getting it right is so great. Daniel Schmid's "The Written Face" (1995) and Yukiko Takayama's 'The Maid of Dojoji Temple' (2004) managed it by casting real-life onnagata, players of female roles in all-male kabuki, as leads: Bando Tamasaburo V in the former film, Nakamura Fukusuke VIII in the latter. Based on Shuichi Yoshida's two-part novel, Lee Sang-il's monumentally ambitious and visually sumptuous 'Kokuho' takes another approach, with two young non-kabuki actors playing rivals-slash-friends in Kamigata kabuki, which once flourished in the Kansai region that encompasses Osaka, Kyoto and Kobe. The film, which was made with kabuki star Nakamura Ganjiro IV as adviser, brilliantly solves the authenticity problem, at least to the eyes of this non-expert. Stars Ryo Yoshizawa and Ryusei Yokohama spent months training to deliver stage performances that, captured by cinematographer Sofian El Fani's fluid and insinuating camerawork, are both convincing as kabuki and arresting as drama. Also, the glimpses of their off-stage lives, from the application of their elaborate make-up to backstage tensions and business calculations, feel like insider immersions, however brief. The film's story, scripted by Satoko Okudera, may turn shouty and even violent at times, but transforms Yoshida's doorstop of a novel into a tightly focused, if episodic, narrative that under Lee's assured direction rarely flags despite the film's nearly three-hour running time. Covering a span of five decades, it begins in 1964 with the shocking killing of a Nagasaki yakuza boss (Masatoshi Nagase) by a rival gang as his teenage son Kikuo (Soya Kurokawa) looks on. Fast forward a year to Osaka, after the boy's failed attempt at revenge, when he is accepted as an apprentice by Hanjiro Hanai (a fierce-eyed Ken Watanabe), the head of a local kabuki troupe. Starting leagues behind Hanjiro's son, Shunsuke (Keitatsu Koshiyama), who was born into the kabuki world, Kikuo quickly and enthusiastically catches up, even though Hanjiro is a harsh taskmaster. Jump head again to 1972, when Kikuo (Yoshizawa) and Shunsuke (Yokohama) create a sensation appearing together as onnagata in the kabuki dance 'Futari Fuji Musume' ('Two Wisteria Maidens'). But it is Kikuo, with his pop-idol good looks and burning passion for kabuki, whose star shines brighter. Nonetheless, he and the talented, if not as driven, Shunsuke remain close friends, like comrades in arms who know each other as no outsiders can. This friendship, however, is shaken when Hanjiro chooses Kikuo to star solo in the classic Chikamatsu Monzaemon play 'The Love Suicides at Sonezaki.' He is again a hit with audiences, but a disappointed Shunsuke departs from the troupe. From this point, not halfway in the story, it seems obvious that Kikuo, not Shunsuke, is destined to become the title ningen kokuhō (living national treasure) — a high honor awarded by the national government to masters of a traditional art or craft. Kikuo's path to this pinnacle is anything but smooth, however, and Shunsuke later resurfaces, his dream of kabuki glory still alive, if not well. Both men have women in their lives, but whether as a wife (Shunsuke's) or lover (Kikuo's) they leave little impression. Instead, the film's central relationship remains that between Kikuo and Shunsuke, through illness, setbacks and, in Kikuo's case, growing isolation as his art becomes both his life and the core of his being. 'Kokuho' gorgeously and starkly shows us both his triumph and tragedy.

LGBTQ Thai ghost story wins prize in Cannes
LGBTQ Thai ghost story wins prize in Cannes

Japan Times

time22-05-2025

  • Japan Times

LGBTQ Thai ghost story wins prize in Cannes

Film director Ratchapoom Boonbunchachoke, who won a top prize at the Cannes Festival on Wednesday, recruited a major influencer for his off-the-wall gay comedy with a political punch. In "A Useful Ghost," Davika "Mai" Hoorne — a model and actor with 18 million followers on Instagram — plays a woman who returns from the dead and haunts a vacuum cleaner to comfort her husband. The film features sexy ghosts and a brawl between electrical appliances, but is also a meditation on sweeping unpleasant political events under the carpet. It won the top prize in the Critics' Week sidebar section of the Cannes film festival on Wednesday. In Thailand, LGBTQ love or coming-out stories are common, Ratchapoom said during the festival. "But I want queer characters to do more than that, to do more politics as well," he said. "We need more diverse queer stories to be told." In his wacky satire, the ghost's in-laws are at first deeply displeased that she has returned, but then they put her to work hunting down another lost soul disturbing the family factory. A minister takes note of her talent, and brings her in to find and terminate the dissident ghosts that are haunting his home, including people killed in real-life deadly protests. In 2010, more than 90 people were killed, the vast majority of them civilians, when the army cracked down on so-called "Red Shirt" protests demanding new elections after former Prime Minister Thaksin Shinawatra was ousted in a coup. After the demonstrations, there was "a lot of debris, mess on the street and the city of Bangkok started this campaign to cleanse" it, the filmmaker said. People with water and brooms appeared out of nowhere "to cleanse the blood, the dirt ... all the evidence, and I found it pretty weird." He recounted once reading a story about authorities cutting down a mango tree to ensure no one would remember an officer executing a suspected Communist under it. "In Thailand, the state always tries to erase something they don't like," he said. The film's lead actress Davika — who also starred as a ghost more than a decade ago in Thailand's highest-grossing film "Pee Mak" — is among his fans. You have to be "very brave to shoot this kind of story, to speak up globally," she said. "Because in Thailand, most of us are not allowed to say this," she added, without elaborating. Thaksin, some of whose supporters were killed in 2010, returned from exile to Thailand in 2023, with his party taking over government that year and his daughter Paetongtarn Shinawatra becoming prime minister the following year. He remains popular with his support base, but he has long been disliked by Thailand's pro-royalist and military establishment. Thaksin is due to appear in court in July in a royal defamation case. Thailand legalized same-sex marriage in January, the largest nation in Asia to do so.

Adaptation of Kazuo Ishiguro's first novel premieres at Cannes
Adaptation of Kazuo Ishiguro's first novel premieres at Cannes

Japan Times

time21-05-2025

  • Japan Times

Adaptation of Kazuo Ishiguro's first novel premieres at Cannes

Nobel Prize-winning author Kazuo Ishiguro's first novel, set in postwar Nagasaki and 1980s England, needed to be made into a film while there were still some of Japan's World War II generation alive to share their stories, director Kei Ishikawa says. "The hurdles were high, but I felt strongly that if I had the chance to make the movie, I should do it now," Ishikawa says at the Cannes Film Festival, where "A Pale View of Hills" is competing in the Un Certain Regard category. The 78th edition of the film festival kicked off on May 13 and will conclude Saturday. "In a few years' time, we might not be able to get to hear their stories, and that weighed heavily on me," says the Japanese director, whose 2022 film "A Man" premiered at the Venice Film Festival. "A Pale View of Hills" intertwines the central character Etsuko's memories of life in Nagasaki after the atomic bombing in 1945 with her interactions with her daughter in 1980s Britain. The film, which stars Suzu Hirose and Yoh Yoshida, premiered on May 16, with The Hollywood Reporter describing it as a Cannes hidden gem. Ishiguro, an executive producer on the film, is also in Cannes. He says that adapting the novel, which he wrote when he was 25, was different from taking his other books, including "The Remains of the Day" and "Never Let Me Go," to the big screen. "Not just because it's so very personal, but because at the time when I wrote the book, it was just 35 years after the end of the Second World II," the 70-year-old Japanese-born British author says. Now there have been at least two generations since the one that experienced the war that ended 80 years ago, he adds. "For me, that's a very special thing. Possibly this is the first time maybe the Japanese people are prepared to look carefully at those experiences," says Ishiguro. He praises Ishikawa, 47, for making a film that was relevant to younger audiences from what he called an "apprentice book." "He's made the movie really for today's audience, for his generation and the generation actually even younger than him," says Ishiguro, who won the Nobel Prize for Literature in 2017. Director Ishikawa says he hopes the film would also alter foreign perceptions of Japanese women, who "are often seen as demure, walking a step behind their husbands." But that's not the case at all, he says. "There were definitely such strong women in that era," he says. "We've made this film from our own lived experiences and I believe that if many people see it, it could really refresh the image of Japan itself."

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store