Box Office Trends of Asian Films in the Indonesian Market

Until the early 2010s, the term “Asian cinema” in Indonesia was virtually synonymous with Indian and Hong Kong films. While Japanese films did make occasional appearances, they were mostly limited to animations. Since entering the 2020s, however, the landscape of Asian films imported into Indonesia has changed significantly compared to a decade ago.

Among the Asian films imported in recent years, Korean films have stood out the most. This is largely due to the consistent efforts of CGV, a Korean cinema chain that holds the second-largest market share in Indonesia, which has been importing Korean films since its days as a stakeholder in Blitz Megaplex. However, the influence of Korean cinema still lags behind that of K-pop and K-dramas.

Since Indonesia’s film industry opened to foreign capital in 2016, the import and local remakes of Korean films have gained momentum. Cinema XXI, which had previously never screened Korean films, began doing so in 2023. The success of Exhuma in early 2024, which attracted 2.6 million viewers, dramatically changed the local film landscape. In 2023, Cinema XXI screened just three Korean films, but by the end of 2024, that number is projected to reach 15 (including one yet to be released). As Cinema XXI accounts for approximately 60% of Indonesia’s total theaters and screens, this shift has allowed Korean films, previously shown on only up to 40% of screens, to now access the full range of cinemas.

Notably, Thai films have been making remarkable progress. While fewer in number than Korean films, they have generally performed better at the box office.

[Current Screening Status by Country]

Thai Films

The 2013 Thai horror-comedy Pee Mak, which drew 10 million admissions in Thailand, was the first Thai film to be remade in Indonesia. While its local box office numbers remain unclear, based on reports that The Medium surpassed all previous Thai film records in Indonesia with 165,000 admissions in 2021, it is estimated that Pee Mak attracted around 160,000 viewers. The Medium (2021), produced by GDH 559, ultimately drew 795,732 viewers in Indonesia—surpassing Parasite, which had benefited from the Cannes Palme d'Or and an Oscar for Best Picture and attracted around 600,000 viewers locally.

In May 2024, How to Make Millions Before Grandma Dies broke The Medium’s record within just eight days of its release in Indonesia. According to a Liputan6 article dated June 7, 2024, the film recorded a total of 3,039,605 admissions, making it the highest-grossing Asian film ever released in Indonesia. It also had the widest Thai film release in the country, screening on over 2,553 screens. Within three weeks, it drew 3 million viewers—an even faster pace than Exhuma, indicating strong audience reception.

Analysts attribute the film’s success to its dynamic storytelling, complex characters, and strong moral themes, which resonated particularly well with both teenagers and adult viewers in Indonesia. Despite Exhuma’s appeal as a horror film— a genre popular among Indonesian audiences—How to Make Millions Before Grandma Dies surpassed it thanks to its emotionally moving drama, which aligned more closely with the cultural and emotional sensibilities shared between Thailand and Indonesia. It also rekindled awareness of the traditional family values that are fading amid modernization.

Korean Films

Korean cinema was first introduced to the Indonesian market in earnest when Blitz Megaplex entered the theatrical industry in February 2004, breaking the longstanding monopoly held by Cineplex 21 (now Cinema XXI) since 1987 over theater operations, film import, distribution, and exhibition. CJ CGV began managing Blitz Megaplex in 2013 and became a major stakeholder by acquiring a 14.75% share during its IPO in April 2014. The company rebranded to CGV Blitz and later changed its name to CGV Cinemas in 2017, which remains in use today.

From the outset, Blitz Megaplex occasionally screened Korean films such as The Host, Shadowless Sword, and The Restless, followed by titles like The Berlin File, Ode to My Father, and Master. Through its distribution arm CBI Pictures, CGV has continued to import and screen one to two Korean films monthly. While Train to Busan and The Battleship Island each drew over 200,000 viewers and Parasite attracted over 600,000, few others achieved significant box office success.

There has been extensive analysis of why Korean blockbusters have underperformed in Indonesia. A major factor is that Cinema XXI, which controls around 60% of the country’s theaters and screens, had never shown a single Korean film for decades—even Parasite was excluded. This changed in 2023 when Cinema XXI began screening Korean films. The Childe and The Moon, both shown at Cinema XXI, drew over 240,000 and 370,000 viewers, respectively—modest but respectable numbers that clearly benefited from broader distribution.

With Exhuma drawing 2.6 million viewers in 2024, any lingering doubts or resistance Cinema XXI had toward Korean films appear to have vanished. Following its three Korean film screenings in 2023, Cinema XXI plans to screen about 15 Korean films in 2024.

Malaysian Films

The recent success of Sheriff: Narko Integriti (hereafter referred to as Sheriff), which earned MYR 60 million (approximately KRW 19.4 billion), sparked attention when it screened in Indonesia and other countries. However, when it opened in Indonesia on May 23, 2024, the film received a lukewarm response and was pulled from 100 theaters within a week.

Several reasons have been cited for the lackluster performance of Malaysian blockbusters in Indonesia:

1. Poor timing: Sheriff was released during the peak runs of the Indonesian film Vina: Sebelum 7 Hari and the Thai film How to Make Millions Before Grandma Dies.

2. Insufficient marketing: Despite the linguistic and religious similarities between Malaysia and Indonesia, Malaysian films lack even the niche following that Indian cinema enjoys in the country. This makes strategic marketing and promotion essential.

3. Differences in audience taste: While Indonesia has seen a surge in traditional horror films, even local films experimenting with new genres have struggled to gain traction.

4. Rise of Indonesian cinema: Most crucially, local audiences have shown growing preference for domestic films. As of September 2024, Indonesian films had surpassed 60 million admissions—a record-breaking achievement. Rather than a rejection of Malaysian films, this reflects the strength and appeal of the local industry, which is expanding through collaborations with various streaming platforms to produce more films, series, and documentaries. In contrast, Malaysia’s relatively underdeveloped film industry has not been able to keep pace, and a few quality films cannot bridge this gap.

Vietnamese Films

Vietnamese films that performed well domestically have also made their way into Indonesian cinemas, though they have received comparatively less attention than those from other Asian countries. Mai, which opened in Indonesia on February 10, 2024, was reported to have earned IDR 315 billion (approximately KRW 28.1 billion), though this likely includes global earnings, including those from Vietnam.

The Vietnamese horror film Mada: The Drowning Spirit, released in Vietnam in August 2024, was screened in Indonesia under the title Ma Da: Arwah Penunggu Sungai on September 14, 2024. Additionally, the horror-comedy Betting With Ghost premiered at CGV Indonesia on November 13, 2024.

The full report titled KOFIC Correspondent Report 2024_Vol.55: Box Office Trends of Asian Films in the Indonesian Market is available on the Korean Film Council’s Policy Research bulletin board.

Baek Dong-sun, KOFIC Correspondent in Indonesia

KOFIC Correspondent Report – Full Text in Korean (Click)