Studio

Why we publish first

A production house normally starts by optioning something. That means a negotiation, a clock on the rights, and a story you did not shape.

We start earlier. MIM Yudiarto writes the novels, we publish them, and the screen rights never leave the building. When a scene turns out to be unshootable as written, we can change the book rather than open a licensing conversation about it. When a series needs a fourth title to make the arc work, we can commission it.

That is the whole reason the company is arranged this way.

What we make

Fiction for the screen. Feature films and series developed from our own novels, rooted in the legends, myths and chronicles of a specific place in the archipelago. If the film would work just as well with the setting swapped out, we have not found the story yet.

Documentary. History, true accounts, major figures and events. These are separate commissions with their own standards of evidence, not offcuts from the fiction research.

Commercial production. Brand and campaign work, handled by the same crew and held to the same standard as everything else we shoot.

How we work

Research is a real line in the budget and a real block in the schedule, not something compressed when the numbers move. Where material belongs to a living community, the location conversation and the permission conversation are the same conversation, and it happens during development rather than after the schedule is locked.

Working with us from abroad

If you are producing from outside Indonesia, the parts that usually go wrong are permits, location clearance, crew, kit movement and the gap between what a schedule assumes and what the wet season allows. We can carry that side for a production that is not ours.

Tell us the dates and the format and we will give you a straight answer about what is possible.