SPIN Productions

21/03/2026

bliss and love all the way

20/03/2026

another bliss and fun work: on site and online event (hybrid event management)

keep things neat and organised for the client. always pleasant to have a mutually trusting relationship

grateful to have this right before Ramadan Day ✨

03/03/2026

https://youtu.be/PusHalNrtIM?si=0PTksYUoYopDS5Sz

Client: Alibaba Cloud I Production House: Spin Productions I Director: George Arif I www.spin-pro.com

02/03/2026

Naga Bonar is not just a film.

On the surface, it's a comedy. But beneath its surface, it's an irony.

Asrul Sani didn't write this screenplay to make people laugh.

He wants us to see the absurdity of history when the common people are forced to play a major role. How power can become a stage play if it's not accompanied by awareness and conscience.

This film speaks to things people don't dare say out loud.

About independence that isn't necessarily just. About those who fight, even though they're never recognized. About how a pickpocket can be more honest than an official.

When Naga Bonar stands at his mother's grave and calls himself a general, we realize that this film is a statement.

Directed by M.T. Risyaf, starring Deddy Mizwar, and written by Asrul Sani, a poet and screenwriter.

Asrul Sani may not be with us in person. But his words remain. Not just in the archives. But in our consciousness today.

16/02/2026

full on, keep the fire this year 🔥🐴

12/02/2026

Babang Bradley

26/01/2026

get set, go!

21/01/2026

paving the pathway

17/01/2026

Usmar Ismail was the filmmaker to set a camera down on this land with freedom-state of mind.

In 1950, he directed Blood and Prayer - a story about Siliwangi soldiers returning to Java after the Renville Agreement. It was not just about war. It was about humans in war. About faith, loyalty, and wounds they brought home. Usmar never made a propaganda film. He made it from his heart, never from any orders.

March 30, 1950, the first day of shooting Blood and Prayer, is now
celebrated as National Film Day. For it is there that Indonesian cinema was truly born - for its own people.

Three years later, he directed Lewat Djam Malam - the masterpiece which tells the harrowing story of a revolutionary coming to terms with the new independent world. A world rife with compromise and corruption.

Through the character of Iskandar, we are presented with a psychological conflict of an idealist who lost faith in the reality of independence. The images are dark-harrowing, full of moral symbolism and shadows of unrest.

Narratively as well as aesthetically powerful, this film is a sharp critique dressed in cinematic poetry.

Followed by Pedjuang (1960), a film that transports us directly onto the
battlefield. But, as always, Usmar does not simply invite us to see bullets and explosions. He wants us to see the faces shaking in the woods. The faces holding the weapon with prayer, not hatred. It portrays the struggles of values among the young fighters - an argument seeking to comprehend
what independence means to them and what should be sacrificed in
achieving it.

Usmar Ismail did not merely made films. He built a sense of nationhood in the cinema.

25/12/2025

you are all the best ones. thank you for a shimmering 2025!

here's to 2026! 🍾

11/12/2025

go beyond