Enviro News Asia, Beverly Hills – Summer in the United States has long been associated with two things: holidays and the silver screen. As temperatures rise, movie theaters become a welcome refuge where audiences flock to enjoy the latest Hollywood releases. From action blockbusters to heartfelt dramas, the American film industry enters one of its busiest seasons, setting in motion the long journey toward cinema’s highest honor—the Academy Awards, or the Oscars.
Behind the glamour of summer premieres, the Academy of Motion Picture Arts and Sciences (AMPAS) in Beverly Hills begins assessing eligible films. The process culminates each March at the Dolby Theatre in Hollywood, where filmmakers, actors, and industry leaders from around the world gather for the Oscars. Beyond Hollywood productions, categories such as international feature films, documentaries, and short films offer opportunities for creators worldwide to compete for the coveted golden statuette.
Yet the spirit of summer cinema extends beyond Hollywood. In Washington, D.C., film enthusiasts are treated to EuroAsia Shorts, a distinctive short film festival jointly organized by embassies and cultural institutions from Europe and Asia. The festival offers free screenings accompanied by discussions and receptions, creating a space for cross-cultural dialogue through cinema.
The 2026 edition of EuroAsia Shorts adopted the theme “Past/Present/Future” and took place during the second week of June. It brought together prominent partners, including the Austrian Cultural Forum, Goethe-Institut, Embassy of Spain, Italian Cultural Institute, Japan Information and Culture Center, Korean Cultural Center, and the Embassy of the Republic of Indonesia.
One of the highlights was the Austrian-Indonesian Partner Film Night held on June 8, 2026, at the Embassy of Austria in Washington, D.C. The event also marked the 20th anniversary of EuroAsia Shorts and attracted approximately 500 attendees.
Austria presented Die Gemeinen Kleinigkeiten, a human-centered story about the struggle to lose weight, and Lebenslang, which follows Daniel Langbein as he traces the history of his grandfather, a survivor of the Auschwitz concentration camp during World War II.
Indonesia, meanwhile, showcased two films rich in meaning. Kepaten Obor, directed by Lukman Hakim, tells the story of Betari, who reconnects with her mother on the slopes of Mount Bromo amid the sacred Kasodo tradition. The film explores themes of family, loss, and acceptance.
The second film, Daly City, by Indonesian diaspora filmmaker Nick Hartanto, offers a different perspective. Presented as an autobiographical comedy-drama, the film follows an Indonesian child navigating identity and belonging in the United States. In one simple yet poignant scene, he and his mother bring Chinese takeout food to a church gathering and introduce it as Indonesian cuisine—a small but meaningful symbol of cultural adaptation and the search for identity.
Through the eyes of a child, Daly City examines broader issues of cultural assimilation, minority stereotypes, and the meaning of the “American Dream.” Combining humor and emotional depth, the film highlights themes of family and immigrant experiences that resonate with audiences far beyond the Indonesian diaspora.
Significantly, Daly City has earned Oscar-qualifying status, opening the possibility of competing for the Academy Awards, although it must still pass through a highly competitive selection process to secure one of the five final nominations. At present, only two Indonesian short films have reached this stage: Daly City and Anak Macan, directed by Amar Haikal.
Indonesia’s pursuit of Oscar recognition has been ongoing for years. Films such as Marlina the Murderer in Four Acts, Ngeri-Ngeri Sedap, and Letters from Prague have represented the country internationally. Although none has yet secured a nomination in the main categories, these efforts reflect the consistency and growing potential of Indonesian cinema.
Indonesian Ambassador to the United States, Indroyono Soesilo, who attended the event, emphasized the importance of continuously promoting Indonesian films on the global stage. He noted that the film industry represents a promising pillar of the creative economy.
By comparison, the U.S. film industry generated approximately US$8.75 billion in revenue in 2024, significantly higher than Indonesia’s estimated US$392 million. However, with a population exceeding 280 million and strong public appreciation for domestic productions—around 65 percent of Indonesian audiences prefer local films—the industry’s growth potential remains substantial.
EuroAsia Shorts 2026 demonstrated that cinema is far more than entertainment; it is a bridge connecting cultures, identities, and shared human experiences. From Washington, D.C., to Hollywood, from short films to the Oscar stage, storytelling continues to transcend borders. And Indonesia, step by step, is beginning to capture the attention of the world. (*)
