An Ambitious Indonesian Animated Film Faces Harsh Criticism Over Visuals, Copyright, and Funding Transparency

Indonesia’s 80th Independence Day was meant to be marked by the triumphant premiere of Merah Putih: One For All, a patriotic animated feature from Perfiki Kreasindo and producer Toto Soegriwo. Yet as its release date of 14 August 2025 approaches, the film has become engulfed in public controversy—its noble intentions overshadowed by blistering criticism over animation quality, contested funding sources, and allegations of intellectual property theft.

This editorial dissects the collision between creative ambition, public outrage, and questions of governmental transparency—revealing how what was intended to be a milestone in Indonesian children’s cinema has instead become a cautionary tale.

The Plot, Production, and Promises

Merah Putih: One For All follows eight children from across Indonesia’s cultural spectrum—Betawi, Papua, Medan, Tegal, Central Java, Makassar, Manado, and Chinese-Indonesian descent—united as the “Tim Merah Putih” to safeguard a revered ceremonial flag. Three days before the 17 August Independence Day ceremony, the flag mysteriously disappears, forcing the children to overcome their differences and embark on a perilous rescue mission.

Producers positioned the film as a rallying call for nationalism and unity, a cinematic gift to inspire the next generation. Yet the vision, critics say, falters in execution. From the first poster reveal to the official trailer, online audiences on Instagram, YouTube, and TikTok have flooded timelines with memes mocking the animation’s inconsistencies, awkward physics, and what many describe as “low-budget” visuals unsuitable for theatrical release.

Derisive commentary has ranged from technical dissections—such as one viral quip noting a “Burung Kakatua with a monkey’s voice”—to blunt attacks on the creative team’s competence. The trailer’s debut only intensified the backlash, with detractors warning that the film’s intended message risks being buried under the weight of relentless public mockery.

Budget Rumors

Public scrutiny over Merah Putih: One For All escalated after many viewers deemed its quality below expectations. Acclaimed director Hanung Bramantyo weighed in, clarifying that in his view, the shortcomings were not the fault of the film’s creators but of those who commissioned the project. “Saya yakin ini bukan salah kreatornya. Tapi salah yang ngasih proyek” (“I’m certain this is not the creators’ fault, but the fault of those who awarded the project”), Hanung wrote in an Instagram Story on 10 August 2025.

The animated film, produced by Perfiki Kreasindo, is set for release on 14 August 2025. Hanung speculated that the production may have been rushed to align with the Independence Day celebrations. “Maksain harus tayang 17 Agustus karena ngasih proyek ngejar momen ditonton pejabat kementerian yang masih bertugas. Kalo belain kualitas, keburu si pejabat turun” (“Forcing it to premiere on 17 August was about catching the moment for it to be seen by ministry officials still in office. If they prioritised quality, the official’s term would have ended”), he wrote.

Hanung also responded to a post by Bobby Batara on X regarding the film’s reported Rp6.7 billion budget (approximately SGD556,100). He argued that the figure was far too small to produce a high-quality animated film. “7 miliar untuk film animasi, potong pajak 13 persen kisaran 6 miliar, kalo toh tidak dikorupsi hasilnya tetap jelek!” (“Rp7 billion for an animated film, minus 13 percent tax leaves around Rp6 billion—even without corruption, the result would still be poor”), he explained.

According to Hanung, producing a competitive, high-quality animated film requires at least Rp30 billion (approximately SGD2.49 million) plus Rp10 billion (approximately SGD829,800) for promotion, with a production timeline of five years. He compared this to the Indonesian film Jumbo, which reportedly took five years to make and involved more than 400 local creators.

Copyright Storm: The Six “Stolen” Characters

Just as the uproar over animation quality appeared to reach its peak, fresh controversy emerged—this time over intellectual property. Pakistani 3D artist Junaid Miran alleged that six of his character assets, sold via Reallusion for USD149 (around Rp2,400,000 or SGD200), were used in Merah Putih: One For All without permission or credit.

“No one from the production team contacted or credited me. They took six of my characters,” Miran declared publicly, sparking outrage among Indonesian and international animators. Many called for legal action, arguing the case exemplifies weak enforcement of intellectual property rights in the creative sector.

When questioned, executive producer Endiarto acknowledged the similarities but dismissed them as “coincidental,” claiming such resemblances are common in the global animation industry. The remark only deepened concerns over asset sourcing ethics and legal protections for digital creators in Indonesia.

Reactions from Industry, Public, and Government

The filmmaking community remains divided. Hanung Bramantyo questioned how Merah Putih: One For All secured theatrical distribution while other, more established films struggled to obtain cinema slots—hinting at possible industry favoritism or political influence.

Government officials, however, maintain a clear distance from the production, reiterating that no official resources were involved.

Social media commentary has been particularly unforgiving. Critics liken the promotional poster to a “bootleg CD cover” and call the animation “an embarrassment” for the national film industry. Comparisons to the locally produced blockbuster Jumbo, which drew 10 million viewers, have been especially unflattering, with some claiming the new film risks lowering cinematic standards.

Beneath the hostility lies a genuine desire for higher artistic quality and honest representation in national storytelling. Yet the backlash also highlights how heightened public expectations—especially following recent domestic successes—can swiftly turn into collective disillusionment when cultural stakes are high.

What This Means for Indonesia—and Its Global Image

The Merah Putih: One For All saga captures Indonesia’s current crossroads in its quest to elevate creative industries. It demonstrates how the gap between aspiration and execution—whether visual, technical, or ethical—can erode public trust and tarnish international perceptions.

For the animation sector, the episode underscores the urgency of building technical capacity, strengthening professional standards, and enforcing transparent asset sourcing practices. The willingness of figures like Irene Umar to clarify the government’s role reflects a growing culture of accountability. But unless quality, transparency, and ethics become the foundation for future projects, Indonesia’s cinematic “firsts” risk becoming cautionary examples rather than moments of national pride.

Merah Putih: One For All set out to be an anthem of unity for the nation’s children. Instead, it has sparked a national debate over the state of Indonesia’s animation industry, the ethics of creative production, and the integrity of cultural storytelling.

While social media outrage dominates headlines, the underlying lessons—about safeguarding creative rights, managing resources responsibly, and ensuring artistic ambition is matched by craftsmanship—will linger long after the film leaves cinemas. In many ways, this film’s turbulent journey is less about one production and more about the growing pains of a nation determined to define its creative voice in the digital age.

Sources:
[1] Apa Peran Pemerintah di Film Animasi Merah Putih: One for All
[2] Kemenparekraf Klarifikasi Bantuan Dana Film Animasi Merah Putih: One For All
[3] Sinopsis Film Merah Putih One For All yang Banjir Kritik
[4] Produser Merah Putih Bantah Terima Dana Rp6,7 M: Itu Fitnah Keji
[5] Kreator 3D Pakistan Tuduh Film Merah Putih: One For All Gunakan Karakternya Tanpa Izin
[6] Karakter 3D Diduga Dipakai Tanpa Izin di Film Merah Putih One For All
[7] Enggak cuma banjir kritik, film animasi Merah Putih One For All diduga pakai karakter 3D tanpa izin

Keywords: Merah Putih One For All, Indonesian Animated Film Controversy, Indonesia Creative Industry Debate, Animated Film Copyright Allegations, Patriotic Film Public Backlash, Merah Putih Animation Criticism, Indonesia Film Industry Standards, Creative Economy Funding Transparency, National Unity Animated Story, Animation Quality Public Debate, Intellectual Property Rights Indonesia, Merah Putih Cinema Release, Government Role In Filmmaking, Indonesia Independence Day Film, Social Media Film Outrage