Indonesian-Australian producer Intan Kieflie will current a targeted style slate on the Cannes Film Market via her firms Kraken Leisure and Anak Negeri Movies, together with the market launch of “Ibu: Mother of the Lost,” a bilingual maternal horror undertaking in pre-production with expertise together with Yayan Ruhian and Christine Hakim.
Kieflie operates between Jakarta and Melbourne and has greater than 15 years of expertise throughout the Indonesian and Australian display screen industries. Her Cannes presentation is structured round three pillars: the finished supernatural horror “Sukma,” from director-actor Baim Wong; the ready-to-release ritual horror “Ritual Gaib: Nyai Randasura”; and “Ibu.”
“This is not only about selling one film,” Kieflie mentioned. “It is about building a pathway. Indonesian producers have powerful stories, but the international market needs to understand how to read them, how to position them, and where they can travel.”
“Ritual Gaib: Nyai Randasura” anchors a wider horror franchise known as “The Black Ritual Universe,” a multi-platform property constructed throughout a movie, a e-book, a video podcast and documentary content material. “Ibu,” which can also be related to that universe, follows a grieving mom named Dewi who withdraws to a dilapidated lakeside property she intends to rework into an orphanage. However as soon as there, she finds two lifeless youngsters already dwelling there and calling her by the titular title. The undertaking is being developed in each English and Bahasa Indonesia, with the forged additionally together with Alexander Wraith and Kieflie herself. It’s being delivered to Cannes for co-production, funding, strategic companions, and pre-sale.
“With ‘Ibu,’ we are building a horror film that does not only scare people,” Kieflie mentioned. “It breaks your heart first, then lets the horror grow from that wound.”
Kieflie based Anak Negeri Movies in Indonesia and Kraken Leisure in Australia with the intention of making a extra direct worldwide pathway for Indonesian style cinema — one which reduces reliance on abroad intermediaries which have traditionally launched Indonesian titles to international consumers following home success. The Cannes slate targets consumers throughout North America, Europe, U.Okay./Eire, Australia/New Zealand, Southeast Asia, Center East and North Africa, Latin America and Russia/CIS.
“Indonesia is not short of stories,” Kieflie added. “Every island has its own fear, ritual, ghost and emotional truth. The opportunity now is to bring those stories to the right global partners with the right packaging, the right strategy, and the right respect for where they come from.”
