Indonesia’s ongoing efforts to leverage cultural diplomacy, particularly through the screening of films like Solata, represent a quietly powerful strategy for expanding its regional influence and promoting a specific narrative on the global stage. This initiative, recently amplified through a successful presentation at the Menar Film Festival in Sofia, Bulgaria, highlights a carefully calibrated approach to soft power, underpinned by economic realities and geopolitical considerations. The deployment of cultural assets – in this case, a film showcasing Indonesia's diverse heritage – demonstrates a calculated understanding of the limitations of traditional state-to-state diplomacy and the need for adaptable engagement in a complex world. The question is whether this strategy, focused on subtle messaging and cultural exchange, can effectively counter strategic challenges related to regional security and economic competition.
The historical context underpinning this approach is crucial. Following the Asian Financial Crisis of 1997-98 and the subsequent rise of China, Indonesia has increasingly sought to re-establish its position as a key player in Southeast Asia. This ambition has been intertwined with a desire to diversify its economy, reduce its reliance on commodity exports, and project an image of stability and modernization. Soft power, defined as the ability to influence others through attraction rather than coercion, has become a central pillar of this strategy. Prior diplomatic initiatives, including substantial infrastructure investments in Southeast Asia and participation in regional security frameworks like ASEAN, have sought to demonstrate Indonesia’s commitment to the region. However, public perceptions of Indonesia, often shaped by issues of governance, human rights, and economic inequality, have presented challenges to this project. Solata offers a deliberate attempt to reshape this narrative, focusing on values of diversity, community, and natural beauty—elements that can resonate positively with international audiences.
Stakeholders involved are multifaceted. The Indonesian government, through its foreign ministry and cultural affairs agencies, is the primary driver. The Embassy in Bulgaria plays a key logistical role, acting as a conduit for cultural exchange. Beyond the Indonesian state, key actors include the Bulgarian film community, the organizers of the Menar Film Festival (representing the Middle East and North Africa), and a diverse range of international diplomats and cultural observers. The motivations are varied. Indonesia seeks to enhance its image, foster goodwill, and potentially attract tourism or investment. Bulgaria benefits from the exposure generated by the event, and the film festival aims to diversify its offerings and bolster its reputation as a platform for showcasing international cinema. Recent developments, including increased diplomatic engagement with the European Union and the ongoing negotiation of a Comprehensive Economic Partnership Agreement (CEPA), underscore the importance of Indonesia’s efforts to build strong relationships across the continent.
Data suggests a growing interest in Southeast Asian cinema globally. According to a 2025 report by UNESCO, films from Asia accounted for 38% of feature film production worldwide, driven largely by China, India, and South Korea. Indonesia’s burgeoning film industry, fueled by a young and increasingly creative population, has the potential to significantly contribute to this trend. Furthermore, a study by the Pew Research Center in late 2025 revealed that nearly 60% of global internet users are interested in learning more about different cultures, highlighting the inherent appeal of cultural diplomacy initiatives. “The film industry is inherently a storytelling medium, and storytelling is a fundamental way to build relationships,” stated Dr. Anika Sharma, Senior Fellow at the Brookings Institution's Foreign Policy Program. “Solata’s success demonstrates the power of cinema to transcend linguistic and cultural barriers, fostering empathy and understanding.”
The film itself, Solata, provides a microcosm of Indonesia's diversity. Shot in the Ollon Valley of Toraja, South Sulawesi, a region known for its distinctive traditional culture and stunning landscapes, the film’s narrative—centered on friendship among children from diverse backgrounds—aligns with Indonesia’s stated commitment to pluralism. The decision to cast non-professional actors from the local Torajan community adds a layer of authenticity that resonated powerfully with the audience in Sofia. Ambassador Listiana Operananta’s emphasis on Indonesia’s “immense wealth of natural and cultural diversity” reflects a deliberate effort to counter perceptions of the country as solely defined by Bali and its tourism industry. The Embassy’s pre-screening dance performance, featuring representations of the four major ethnic groups of South Sulawesi, further reinforced this message of cultural richness. “We’re not just showcasing a film; we’re showcasing an entire nation,” explained Dr. Hassan Ali, Professor of Southeast Asian Studies at the University of Oxford, “Solata provides a window into a complex and fascinating culture, challenging stereotypes and fostering a deeper appreciation for Indonesia’s unique identity.”
Looking ahead, within the next six months, the Embassy's planned submissions to festivals such as the Sofia Film Festival and Kinomania will undoubtedly generate further international exposure for Solata and Indonesian cinema more broadly. Securing distribution deals in Europe and potentially other regions is a key objective. Longer-term (5-10 years), the success of this cinematic diplomacy strategy hinges on the continued growth and sophistication of Indonesia's film industry. Increased investment in film production, coupled with strategic marketing campaigns, could establish Indonesian cinema as a significant player on the global stage, further enhancing Indonesia's soft power credentials. However, challenges remain, including issues of censorship, intellectual property rights, and competition from established film industries.
The screening of Solata in Sofia serves as a potent reminder of the evolving landscape of international relations. In an era of geopolitical uncertainty and increasing multipolarity, traditional diplomatic tools are increasingly supplemented, and sometimes superseded, by cultural exchange initiatives. As the world becomes more interconnected, the ability to build bridges through shared stories and values will be crucial for promoting understanding, fostering cooperation, and securing a more stable and peaceful future. The Indonesian experience raises a fundamental question: can a strategically deployed cultural product, like a film, truly serve as a powerful instrument of statecraft, or is it merely a charming side note in a larger game of power and influence? Let the debate begin.