Indonesian New Wave

Indonesian New Wave is a movement in filmmaking associated with a new generation of directors and expanded production after the fall of Suharto’s New Order in 1998.

Fall of Suharto: The 1998 end of President Suharto’s rule in Indonesia after mass protests and political upheaval. The end of his New Order opened space for filmmaking beyond state censorship.
Riri Riza: An Indonesian film director and screenwriter known for works including Kuldesak and Ada Apa dengan Cinta?. His films helped define the movement’s independent beginnings and later popular reach.
Indonesian cinema: The body of films produced in Indonesia and the institutions, audiences, and practices surrounding them. The movement is a post-1998 phase within this longer national film history.
Ada Apa dengan Cinta?: A 2002 Indonesian romantic drama directed by Rudi Soedjarwo and produced by Mira Lesmana. Its commercial success showed that the new cinema could reach a large domestic audience.
New Order: The Indonesian authoritarian regime led by Suharto from 1966 to 1998. Its censorship and centralized film industry formed the conditions the movement departed from.
Nan Achnas: An Indonesian film director and screenwriter whose films include Kuldesak and Pasir Berbisik. Her work brought women’s perspectives and formal experimentation into the movement.
Film censorship in Indonesia: Government and institutional controls over film content and exhibition in Indonesia. The easing of censorship widened the subjects and forms available to filmmakers.
Pasir Berbisik: A 2001 Indonesian drama directed by Nan Achnas about a mother and daughter living in a desert landscape. Its visual style and female-centered story exemplify the movement’s art-house ambitions.
Reformasi: The period of political reform and democratization in Indonesia that began in 1998. Its freedoms and institutional changes enabled more independent film production.
Garin Nugroho: An Indonesian film director whose work includes Leaf on a Pillow and Opera Jawa. His internationally recognized films connected Indonesian cinema to art-house experimentation.

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