What They Don’t Talk About When They Talk About JAFF 2024
Jogja-NETPAC Asian Film Festival 2024 delivered ground-breaking programs. Discover insights into the festival’s highlights and areas for growth.

Jogja-NETPAC Asian Film Festival (JAFF) 2024 was a spectacle to remember, blending cinematic celebration with community spirit. From Indonesia’s first-ever film market to rumors about Hannah Al Rashid’s residence, the festival offered more than just screenings. It featured glamorous opening nights, Jakartan celebrities mingling at parties, and deep conversations over late-night gudeg.
This was my third time attending JAFF, but it stood out because I experienced it as an industry professional. I currently work at Goodwork, a Jakarta-based film publicity agency known for handling acclaimed films like Home Sweet Loans and Jatuh Cinta Seperti di Film-Film (Falling in Love Like in Movies), which won seven Citra Awards—the Indonesian equivalent of the Oscars. Representing MAGMA Entertainment at the inaugural JAFF Market gave me valuable insight into the challenges and opportunities in shaping Indonesia’s film industry.
Also read: Wanted: Better Representation of Indonesians on Films and TV
Community over commerce
The country’s film industry faces challenges that are difficult to ignore: limited infrastructure, a lack of agents or residual fees, and a cinema landscape dominated by mainstream movies. However, one thing that sets it apart is the sense of community.
The JAFF Market is a bold initiative to establish Indonesia’s first platform for filmmakers and investors to connect. From a business standpoint, the market raised questions: Would exhibitors see a return on their investment? Could JAFF attract the right kind of attendees to make it worthwhile?
Initially, these concerns felt valid. But as I spent time at the festival, I realized JAFF Market is not about immediate financial returns. Instead, it’s an investment in relationships and a shared vision for the future. Conversations with colleagues revealed how JAFF’s early editions were built on communal spirit. Filmmakers who once attended as emerging talents now lead the industry, and their stories embody the festival’s transformative impact.
The market is still in its infancy, and exhibitors may not see immediate results. But like the festival itself, which took years to grow into a cornerstone of Southeast Asian cinema, the market has the potential to evolve. It represents a step toward building an ecosystem where business and creativity intersect.

Also read: The Conversation With the Composer of “How to Make Millions Before Grandma Dies”
Honoring legacy, exclusive sneak peeks
A major highlight of this year’s JAFF was a tribute to the late Hendrick Gozali, a filmmaker whose work often confronted social taboos. One of his most notable films, Perempuan dalam Pasungan (Lady in Trap), tackled the stigma surrounding mental illness. Despite resistance from the government, Gozali persisted, conducting investigations to expose the ongoing practice of shackling people with mental illness. His dedication paid off when the film won four Citra Awards, including Best Picture.
The tribute program included screenings of his iconic works, attended by his children, producer Linda Gozali and director Charles Gozali, who shared personal stories about their father’s journey. While the screenings were profoundly moving, the tribute could have gone further. A dedicated exhibition or talk could have offered attendees a broader understanding of Gozali’s influence and legacy.
This year, JAFF introduced exclusive sneak peeks of upcoming films like Jumbo by Visinema and Qodrat 2 by MAGMA Entertainment. This new program generated excitement and allowed filmmakers to preview their work without compromising their official premieres.
Sneak peeks are a clever marketing tool, especially for mainstream films. They create buzz while preserving the mystery of the final product. For arthouse films, however, the challenge lies in sustaining momentum after a festival screening. Films like Yohanna gained attention at JAFF but risk fading from public memory without a strategic release plan. Aligning releases with awards seasons or leveraging festival buzz could help such films reach a wider audience.
Also read: Revisiting Femme Fatales in Indonesian Cinema
Media coverage and local representation
JAFF successfully attracted international outlets like Variety and Screen Daily, but Jakarta-based media presence was lacking. This gap limited the festival’s reach, particularly for programs like JAFF Market, which rely on visibility to attract investors and partners. Engaging business-focused media, which is predominantly based in Jakarta, could be a strategic move for future editions.
Local representation is another area where JAFF could expand. While the Jogja showcase highlighted regional filmmakers, the festival could introduce a “Spotlight Region” program to promote voices from underrepresented areas like Eastern Indonesia or Sumatra. Such initiatives would not only enrich JAFF’s programming but also challenge the perception of the industry as Java-centric.

Breaking down barriers
A recurring concern this year was reports of moderators encouraging audiences to ask “smart questions” during Q&A sessions. This approach undermines the inclusive spirit of JAFF. Film festivals should be spaces for open dialogue, where all questions—regardless of perceived sophistication—are welcome.
By discouraging certain types of questions, the festival risks alienating its audience and creating an unwelcoming atmosphere. Maintaining JAFF’s ethos of accessibility and community engagement means fostering an environment where everyone feels comfortable participating.
Meanwhile, this year’s theme, “Metanoia,” which symbolizes transformation and renewed perspectives, is a fitting representation of JAFF’s evolution. The festival has grown from a small, community-driven event to an internationally recognized platform for Southeast Asian cinema.
I’ve witnessed this growth first-hand as someone who has attended JAFF multiple times. While the festival continues to innovate, there’s always room for reflection and improvement. Criticism stems from love, and my observations are an invitation to strengthen what makes JAFF special: its commitment to community, creativity, and collaboration.
The journey ahead is long, but the spirit of “Metanoia” reminds us that transformation is always possible. With each edition, JAFF has the opportunity to inspire and shape the future of cinema, not just in Indonesia but across Asia.
Reza Mardian has been writing for film reviews and commentaries since 2017. He writes in The Jakarta Post, The Next Best Picture, Magdalene, and his TikTok Channel @kelitikfilm. He received the best film critic award in Festival Film Indonesia (FFI) 2024.
