Behind the silver screen: The struggle of film workers towards prosperity
Written by Alessandra Langit | Read in Indonesian
From the big screen, red carpet and trophies to international festivals: the film industry has always been a tempting and promising field for those who love cinema or just want to be in the entertainment industry. In the last few years, local films are showing their might, making their mark on the global stage.
The public’s interest in their countrymen’s work is growing along with the dreams of young people to have a career in the film industry. However, behind the silver screen, there are tons of issues that film industry workers and the associations that oversee each department have been trying to fix for years. Working hours, wages and worker safety remain the main demands of those who stay at the shooting location 24/7.
Since 2019, various film department associations in Indonesia have collaborated with the Media and Creative Industry Workers' Union for Democracy (SINDIKA) to conduct research related to the issues of working hours and job security in the film and advertising industries. The focus group discussion, which involved 22 sources and a survey of 401 film industry workers, found that working hours in the industries are very long. Around 54.11% of respondents said they are working 16 to 20 hours per day. Another 7.2% said they are working more than 20 hours per shooting day.
Problematic employment contracts also harm workers because they put them in a vulnerable position to violations of normative rights, such as wages not being paid on time and having no job security. On the other hand, there are no strict regulations regarding who can enter the film industry and what requirements must be met. Film school graduates in Indonesia have to compete with those who have been in the field for years without having a film degree.
Competition, seniority and collective work narratives in the film industry
Responding to this problem, TFR spoke with Annisa Adjam, a young film producer who is also a famous face at national and international film festivals. A young woman who always dreamed of working in the film industry, Annisa worked in a large production house and has established an independent production house called SINEMA5. Growing up far from the splendour of big cities like Jakarta, she initially didn't have the confidence to enter the film industry–until she obtained a master's film scholarship in the UK.
During her time working as a film production house worker, Annisa discovered that many of her colleagues did not get film education, but had been in the field for a long time. This did not dampen her confidence because she realised significant differences; that each had their own function.
“What makes the difference is the mindset. I graduated from a film school and I feel that my way of thinking leans towards long term sustainability. For example, when creating a project, I think about the purpose and the step-by-step. Perhaps, those who learn from field work will only see the present, the solution to the problem found at that time," Annisa explained.
She said there is nothing right or wrong with a film or non-film educational background when entering the industry. For her, it all comes back to each individual's goals when they pursue a career in the film industry.
However, communal experiences and opportunities in the film industry are being questioned once again because many production houses now depend on a sole individual who holds a high position, such as director and producer. Annisa sees this phenomenon as contradictory because collective work generally provides opportunities for everyone without the shadow of big names or seniors who feel that there is positional power in a film production.
In 2022, the public was shocked by the news that a director was suspected of committing verbal and physical violence against his crew members during a film production. This case went viral after the victim's friend shared the incident via Twitter.
"It all started with the pensi (school festival-ed) scene, with hundreds of extras, my telco was called and he questioned my telco; he was already in an emotional state, why are they wearing these kinds of clothes? My telco answered that the clothes were chosen by the wardrobe division, but he still didn't accept it; he asked again why the clothes were like this, he didn't like them. My telco said they didn't know because it was from the wardrobe division, the director slapped them and then pushed them right away!!!" @juandini tweeted.
Citing Konde.co, cinematographer Anggi Frisca said such violence could occur because of the perception that those with high positions in a film production, like the directors, could do anything to the crew. Anggi emphasised the importance of conveying work ethics before the film production begins. Unfortunately, there are still no written rules regarding ethics in the film industry, reporting mechanisms for violations, as well as guarantee of safety for the victims.
Even though several production houses have begun to have an awareness of ethics, Annisa said there must be freedom from seniority–which is still rampant in the film industry–to make room for the new generation and allow them to proceed without intimidation from those in senior or higher positions. On the other hand, the new generation must realise that seniority is a big challenge and not a culture that should be normalised.
"Not only do seniors have to be open-minded to teach and let the new generation do their job, but the new generation must also have an awareness of their own values. Both generations must have dynamic roles and understand that collective film work cannot be done alone," Annisa said.
The harsh reality of wages and employment contracts in the film industry and its future
Her experience working at a production house allowed Annisa to see the deeply-rooted problems related to work contracts and wages for film workers which was caused by the brittle economic ecosystem in the film industry. In Indonesia, film production is not seen as a long and expensive process by investors. For example, one feature film in Indonesia is usually valued at Rp10 billion with various managerial and artistic requirements. As a result, the pay of the crew is generally below the regional minimum wage (UMR).
Compared with countries with developed film industries, Annisa said that a film should be valued at double the figure generally given by investors in Indonesia. Producers should also implement a rate/hour work system plus insurance.
"Every project should be based on the number of people involved in it, then they look for investors who can meet the requirement, because films are that expensive. In Indonesia, it's the opposite; the budget–with a fixed amount–comes first, then the production house looks for people who are willing to compromise with a low pay," Annisa explained.
Annisa sees that the problem is not the absence of laws or associations that speak out and defend film workers. It is about how the market for this industry has long been damaged and lost its value.
“Many investors don't look beyond the number of viewers or its box office status. Films only bring profit for investors but do not humanise workers. It's not surprising that many people choose films only as a portfolio, not to earn a living," she added.
As a member of the new generation, Annisa feels that she is unable to change the root of the problem instantly. What she can do is not contribute to this unhealthy work environment and create a space for film production that humanises the workers. When building SINEMA5, Annisa envisioned the new generation in the film industry that is able to break the unhealthy film work culture by creating their own path.
“What I can do is whenever I do a production with SINEMA5, I am very aware of whether what I offer to the film workers is enough. When I look for investors or partners, I make sure they can provide value that matches the team I bring. It's not the team that adjusts to the budget, but the budget that is adjusted to the values of the workers."
Closing our conversation, Annisa emphasised that being “young” and “new” in this industry sometimes makes many young people afraid. However, "young" and "new" are two very strong and empowering capital to create a healthier space in the Indonesian film industry.