Merah Putih: One for All, an Indonesian animated film claimed to be the first animation with a nationalist theme, reportedly cost around Rp6.7 billion [1] to produce. Instead of earning national pride, the film has drawn scrutiny. Rather than applause, it received criticism that sparked debate.
“Production time: 1 month. Budget for Merah Putih One For All film: 6.7 billion🗿 this budget needs to be checked, it’s huge but the result is awikwowk” – @membuahimu [2]
“About the film Merah Putih ‘one for all’ Regarding the 6.7 billion fund but the quality of the result is terrible” – @selalusenin [3]
The question is: is Rp6.7 billion “enough” to produce an animated film worthy of cinema release?
The Reality of Animated Film Production Costs
Imagine the behind-the-scenes process of animated films. From ideas on paper, developing into character sketches, storyboards, until characters come to life through movement. Every stroke, color, and expression is the result of a massive team collaboration: story writers, animators, voice actors, music composers, to editors. Everything must work harmoniously so the story can invite all viewers to speak on the same frequency.
This process is neither quick nor cheap. Director Hanung Bramantyo mentioned that the ideal budget for a feature-length animation is around Rp30-40 billion with a production time of 4-5 years. Compare that to the Rp6-7 billion budget, an amount often considered ‘sufficient’. In reality, funds of that size can only bring animation to the previs stage, which is colored storyboards animated as a guide for animators [4].
Other Indonesian animated films are recorded to have much larger production costs, such as Si Juki The Movie (2017) costing Rp10 billion, Nussa (2021) spending Rp25 billion, while Jumbo (2025), which has now become Indonesia’s highest-grossing film, consumed production costs reaching Rp48.8 billion [5].
When Production Costs Speak: Jumbo’s Success
With such a large investment, Jumbo not only succeeded in attracting attention but also conveyed messages through visuals that stirred emotions in its audience, from children to adults. Many viewers shed tears because they felt deeply connected to their childhood experiences.
Some highly detailed visuals include when Don, the main character always called “Jumbo”, tries to prove his abilities by participating in an art performance in his village. The visual showing Don in front of the mic in the middle of silence successfully invites viewers to feel Don’s desire to conquer the stage and win the show.
Additionally, small details worked on seriously are also visible in the scene where Don and Nurman debate about the name of sunflowers. Instead of just focusing on these two characters, the animator still presents Mae as a mediator who turns and glances according to the speaker’s direction. Touches like this make Jumbo’s world feel alive, approaching reality, so viewers feel close and immersed in the story.
Visual Rhetoric: The Power of Visuals in Conveying Messages
In communication studies, a film’s strength lies in its ability to present narratives that audiences believe. Narrative is not just a storyline, but a message wrapped in emotions, visuals, and experiences that viewers can feel. When visual execution is not optimal, messages risk being distracted or even lost.
Jumbo succeeded because its message was conveyed through scenes that “speak for themselves”. One very strong narrative was delivered through Atta, the antagonist character who often bullies Don. Behind that behavior, Atta turns out to be an orphan, struggling with his older brother and living simply. He longs to be accepted. The scene showing Atta’s face gradually changing as he enters Don’s comfortable room successfully invites viewers to feel Atta’s longing for a warm atmosphere. Everything becomes non-verbal codes that viewers immediately understand without explanation. This is called visual rhetoric, which is conveying meaning through symbols and imagery that can shape audience perception without needing explicit explanation [6].
Conversely, Merah Putih: One for All with its limited budget made its communication suboptimal. Poor visual quality actually diverted focus from the nationalist message it wanted to convey. Instead of stirring emotions, the film generated more comments about technical issues.
Therefore, if a brand wants to use film as a campaign medium, it must be ready with full commitment: budget, time, and strategy. Film is not just content on screen, but a complex communication tool that is only effective when executed seriously. If resources are limited, there are still many other communication mediums that can be used without having to “force” entry into film format.
Writer: Alifvia Aisy Kurniawan, Associate ID COMM
Editor: Dewi Bastina, Senior Account Manager ID COMM.
Source:
[1] https://www.instagram.com/p/DNGILCNzRnT/?img_index=1
[2]https://www.tempo.co/teroka/dilan-1990-habiskan-rp-11-miliar-targetkan-3-juta-penonton-984885
[3] https://www.inilah.com/film-termahal-di-indonesia
[5]https://www.instagram.com/p/DNNqmeFSZ5g/
[6] https://jicnusantara.com/index.php/jiic/article/download/454/523
