In Indonesia, we were once familiar with the term layar tancap. Perhaps still are.
A layar tancap may not be a movie theater per se. Essentially an open air cinema, it is actually closer to a drive by, minus the ”drive” part. Nonetheless, layar tancap has become one of the earlier means for Indonesians to watch movies together, especially in rural areas and small towns.
The history of Indonesians going to watch a movie en masse can be dated to as early as the beginning of the 20th century. Introduced mostly by colonial Europe, the habit of going to watch movies in cinemas has generally lasted for more than a hundred years in Asia. So, is it fair to say that cinema-going is truly an “Asian value”?
What are Asian Values?
In theory, Asian values refer to the cultural norms and social practices that are deeply rooted in the collective identity of Asian societies. Unlike the widely-known individualistic values of the West, this term heavily emphasizes discipline, hard work, frugality, and balancing individual and societal needs, which shape the way people interact and engage in various activities, including leisure and entertainment.
In many Asian countries, these values manifest in the preference for shared experiences. They manifest in activities like dining, celebrating, or even watching movies, which are enjoyed in groups rather than alone. Indonesians can certainly relate, what with the common saying makan nggak makan kumpul—eating or not, what is important is to gather.
Examining Cinema-Going as an “Asian Value”
The latest Timeout! Episode 4 Redefining Indonesian Film Genre: Between Money-Making Movies vs. Idealism (10/08) brought an interesting bit to the discussion whether or not cinema-going counts as an “Asian value”. Edwin Nazir, Chairman of the Indonesian Film Producers Association (APROFI) who was also one of the speakers in the event shared an insight that he learned regarding how cinema-going is perceived by cultures in different parts of the world.
“In countries like the United States, cinema habits are shaped by patriotism. Whereas in Europe, the focus is on intellectual stimulation, often leading to solitary viewings. In contrast, for Asians, including in Southeast Asia, the cinema is seen as an outing,” Edwin said.
“It is a shared experience that brings friends and families together. This communal approach is reflected in the popularity of genres such as drama, horror, and comedy—genres that are easily digestible, relatable, and most importantly, enjoyable in a group setting,” he continued.
Now We Talk About Genres
Timeout! Episode 4 discussion centered around the variation of genres in the Indonesian movie industry—or lack thereof. For decades, horror has dominated the local box office. In fact, the most watched movies in 2022 and 2023 are both part of this genre. A spine-chilling horror movie like KKN di Desa Penari (2022) successfully gained more than 10 million viewers, while Sewu Dino (2023) gained 4,89 million viewers in the following year.
Things, however, start to make more sense when we look at the local cultural context. Horror, with its ties to local myths and folklore, taps into the shared cultural psyche. Kuntilanak, pocong, sundel bolong, and other garden varieties of local ghosts are popular features in virtually every region in the country.
“The success of these genres isn’t just about their content but also about how they fit into the broader cultural habits of the audience,” said Alexander Matius, Program Director of the Jogja-NETPAC Asian Film Festival (JAFF) who also came as a speaker.
As experiences are meant to be shared, being scared together at the cinema provides some sort of entertainment while reinforcing connections among the moviegoers. This would certainly align with the communal values of Indonesian society.
Conclusion
The communal nature of cinema-going may be an “Asian value”. However, it is one that is rather precarious and must adapt to changing times, especially as digital OTT (Over The Top) platforms continue to grow.
It is a fact that cinema infrastructure across Indonesia is unevenly distributed. While cities on the island of Java enjoy the majority of the country’s screens, rural areas are left with limited or no access, creating a significant cultural and economic divide. This disparity not only restricts the exposure of diverse stories from across the archipelago, but also undermines the potential for cinema to serve as a unifying cultural practice.
As Lukman Sardi points out, understanding whether there is a demand for cinemas in underserved regions is crucial. Without addressing this gap, the rich diversity of Indonesia’s stories remains untapped, and the communal value of cinema as a cultural practice risks being eroded.
Therefore, the development of more cinemas across Indonesia is not just about expanding the film market. It is also about preserving and strengthening the communal nature of film-watching as an essential Asian value. By improving cinema infrastructure, we can ensure that this cultural practice continues to connect communities, enrich lives, and contribute to the growth of the Indonesian film industry.
Writer: Khalid Rismoyo & Ramos M. Y. Siahaan
Editor: K. Langit Rinesti
