Amidst the buzz of global cinema innovations, one name stood out from Southeast Asia-Sam Studios. A brand wholeheartedly dedicated to broadening access to Indonesian cinema throughout the peninsula. TheatreWorld’s Editor-Publisher, Raghav’s conversation with Sonu Samtani, Film Producer, President Director of Mega Kreasi Films and Proprietor of Sam’s Studios, Indonesia unveiled a captivating journey sparked by a deep-seated respect for local audiences and an unwavering commitment to delivering high-quality cinematic experience. Read more to know about his journey and how the spark for curating Indonesian films for the locales and getting the content recognised on International platforms drives Sonu to ace nothing but better further…
Sonu Samtani, a prominent figure in the Indonesian film industry, known for his extensive work as a Producer and Director. He has been instrumental in bringing a variety of films to the Indonesian audience, contributing significantly to the country’s cinematic landscape. As the President Director of Mega Kreasi Films and Mega Kreasi Tech, Sonu Samtani has overseen numerous productions that span various genres, showcasing his versatility and commitment to storytelling. His filmography includes titles such as Love in Bombay and Alena reflecting his ability to engage audiences with diverse narratives. Samtani’s leadership at Mega Kreasi Films has not only produced commercially successful films but has also nurtured emerging talent in the Indonesian film scene. His dedication to the industry is evident in his continuous efforts to innovate and adapt to the evolving cinematic environment. Beyond his professional endeavours, Samtani is recognised for his commitment to enhancing the quality and reach of Indonesian cinema, making significant strides in both domestic and international markets.
Tell us about the history of Pak Sam and your family’s heritage…
Sonu: My father, Shankar Samtani, originally came from Tandu Adam. After the partition in 1947, he migrated to Indonesia around 1948. By 1963, he started building his own businesses here, including a small film company. He began producing films, and people started calling him ‘Pak Sam’-‘Pak’ means Mister, and they shortened his name. He was well-loved by Local Artists, Cinematographers, Directors-everyone admired his vision, which was to elevate Indonesian cinema. He even managed to get Indonesian films shown in Europe, selling them so international audiences could experience our stories. I became interested in film and went to study at FTII in Pune, India, in 1981, graduating in 1984. I returned home and began working in film alongside my father. Before he passed away in September 2010, he shared a dream with me-that all Indonesians could watch local films on the big screen. He said, ‘Not on TV. On screen.’ It took us 13 years, but in 2024, we began building cinemas under the name Sam Studios to realise that dream. I founded Mega Kreasi Films in 2012. We started with TV films standalone 80-90 minute stories. Today, we’ve produced around 6,000 of them. I’ve directed many serials and films, including Alena, which recently aired in Studio 21, and another one titled Silence is coming soon. Filmmaking has always been in my blood-and even though it’s tiring, I truly love directing.
Could you give us an overview of Sam’s Studios and explain its core mission?
Sonu: The core mission of Sam’s Studios is to promote Indonesian films and expand access to cinema, especially in smaller cities that currently don’t have theatres. Indonesia is a vast country with a large population, yet we only have around 2,000 cinema screens. That’s simply not enough. With Sam’s Studios, our goal is to place theatres in underserved areas so local communities can enjoy films. That was the main vision behind creating Sam’s Studios.
How does Sam’s Studios embody the late Pak Sam’s vision of providing quality cinema experiences?
Sonu: We don’t compromise on quality at all. We’ve installed top-of the-line Barco projectors, a 7.1 surround sound system, and silver screens. Even the seating is specially designed. Our goal is to ensure that, even in smaller cities, people enjoy a full cinematic experience that matches what you’d find in major urban centres. We’ve also rethought the overall environment. Most cinemas are quite congested-you go in, watch a movie, grab some popcorn, and leave. But at Sam Studios, we’ve created spaces where people can relax before or after the film. There are sit-out areas, places to have coffee, and for those who smoke especially since many Indonesians do-we’ve provided designated outdoor spots. It’s more than just watching a movie; it’s a lifestyle experience we’re offering.
What factors motivated the decision to focus specifically on Indonesian films?
Sonu: Before building our cinemas, we conducted thorough research about a year and a half-across all the proposed sites. What we found was quite clear: the majority of local communities in these areas strongly prefer Indonesian films over foreign ones. One of the main reasons is accessibility. Many of the audiences in these regions may not have had higher levels of education, so reading subtitles becomes a challenge. It interrupts their experience. Indonesian films, on the other hand, are easier for them to relate to and enjoy without that barrier. So, based on that insight, we made a conscious decision to focus on showcasing local films.
What is the reasoning behind Sam’s Studios’ use of conventional, container, and balloon cinema models?
Sonu: When we built our first conventional cinema in Cibadak, we quickly realised how expensive the process was. Conventional buildings require a lot of materials bricks, cement, manpower-and the design is very rigid. It’s just a block structure with a screen, and there’s no flexibility. That’s when one of our Directors, Indrani Banerjee had the idea of container cinemas. But containers are made of steel, which created a major acoustic challenge. We had to go through a lot of trial and error to figure out how to make the sound work properly. Eventually, we got it right and launched our container cinema model. After that, we looked into balloon cinemas. I first heard of one being used in Ladakh, India, but we wanted to create something unique. The balloon cinema we developed uses a special material designed by a German scientist and manufactured in China. It’s fire resistant, scratch-proof, and has an ARS-an automatic refilling system that maintains air pressure. If the pressure drops, it fills itself; if it’s too much, it releases air. It’s completely self-regulating. We also designed a hidden metal framework to anchor the structure securely, so it doesn’t fly off, but you won’t even notice it’s there. Our engineers worked closely with Chinese counterparts to stitch the material and finalise the design. I even visited China personally to inspect the prototype before we moved ahead. Now, we’re working on new concepts using alternative materials-but acoustics remain a top priority in every design we explore.
You mentioned significant technical challenges. Could you elaborate on those, particularly concerning the innovative balloon cinema?
Sonu: The technical challenges were significant-especially with the balloon cinema. We had to work out extremely precise measurements for everything. Just getting the design right took us around six to eight months. It wasn’t simple; we had to keep cross-checking with our Chinese counterparts, and also with the German scientist who originally developed the material. He had actually designed how air could be filled into this special structure. The material itself is air-inflated, but we also had to integrate various internal components to ensure proper acoustics. That added to the complexity. So, it involved a lot of back-and-forth travel between China and Germany. It was a long process-testing, failing, adjusting but in the end, we got it right. Apart from the technical side, we also faced regulatory hurdles. Building a stand-alone theatre is very different from setting one up inside a mall. In a mall, most of the management. But with a stand-alone cinema, you’re responsible for securing every single permit yourself. And at the time, we were still quite new to this part of the business. Hence, we had to figure everything out from scratch-what authorities to approach, what kind of documentation was needed, how to navigate the local regulations in each region. Fortunately, once the government understood what we were trying to do, things became easier. The Minister of Culture, Mr Fadli Zon, saw that we were doing this for the people-bringing cinema to areas that had no access to it. He even made a public press release announcing that the government would support Sam’s Studios in building more theatres. That announcement helped open doors. After that, securing permits became much smoother. People began to recognise that this was a meaningful cultural initiative-not just a business project. In the end, every technical and bureaucratic challenge we faced became part of the learning process. It was tough, but it helped shape the innovative model that Sam Studios is known for today.
How does this unique concept enhance the movie-watching experience for the audience?
Sonu: The first thing you notice when you step into a balloon cinema is the unique atmosphere it’s an entirely different feeling. You’re walking into what looks like a balloon from the outside, and suddenly, you’re in a full fledged theatre. That initial ‘wow’ moment really enhances the overall experience. Another big advantage is the sound quality. Inside the balloon, we’ve achieved almost zero echo because of the way it’s rigged. The sound you hear is clean and pure, giving a much more immersive, cinematic experience. In conventional theatres, like the one you visited, we use bricks and add rock wool for acoustics, but it doesn’t absorb sound nearly as well. With the balloon, there’s a natural air gap-and in an air gap, sound doesn’t travel easily. That alone makes a big difference. We also wanted the balloon cinemas to stand out visually-to set ourselves apart from the typical brick-and-mortar theatres. The design offers a fresh, modern aesthetic that’s memorable for the audience. In terms of construction, it was surprisingly smooth. Of course, we faced some technical challenges, but those were more part of the learning curve. Our servers, projectors, and speakers are all customised. So, we had to fine-tune everything-from ratios to acoustics-adjusting continuously until we got the exact feel we wanted. But I wouldn’t call it a hurdle. It was more of a creative process, figuring out what worked best for this innovative format.
Can you share the current scale of Sam Studios’ operations and outline your plans for future expansion?
Sonu: We currently have 51 Screens across 17 sites and our 18th site work is on-going. Our goal is to have at least 100 sites-again, not screens, but sites-just on Java Island. After that, we’ll move into Sumatra, Sulawesi, Kalimantan, and other islands. This year alone, we’re targeting another 23 sites. Sam Studios also operates on a franchise model, which is gaining traction. Many investors and film producers are showing interest-they want to have their own theatres. So, we share the technology with them, train them, and guide them through the process. For example, we’ve got one franchise in Labuan Bajo, near Bali. A film producer there took our layout and is currently building her own theatre. We’ve had a strong response because the model is affordable, efficient, and unique. We also send our teams to any proposed site. They assess the land, check permit feasibility, and determine zoning restrictions-green zones, red zones, and so on. Once the location is approved, we do a full feasibility study, including audience profiling. We’re not too concerned about whether other cinemas exist in the area, but we definitely prioritise places with no theatres. That’s the heart of our mission-bringing cinematic access to underserved communities.
What is Sam’s Studios programming strategy for independent and foreign films?
Sonu: Sam’s Studios contributes significantly to local communities. Firstly, we generate local tax revenue and create job opportunities by hiring and training staff from nearby areas. We run a dedicated training centre where employees learn ticketing and cinema operations, followed by a two-month trial period at our theatres. We also support education through Nobar-group screenings for schools that lack access to cinemas. On weekends, we offer special children’s film screenings. Beyond this, we provide a vital platform for local artists and filmmakers including those in MP4 format thanks to our servers that support both DCP and MP4. This allows local filmmakers to showcase their work without the cost of creating DCPs. While we warn about piracy risks with MP4s, the choice is theirs. We also maintain an in-house DCP centre for added support.
Could you briefly outline Sam Studios’ future plans for utilising innovative cinema construction materials?
Sonu: We’re planning a new batch of theatres in 2025 using an innovative material called powder marble-a thin slab of marble bonded to thick foam. I discovered this in China, where it was originally designed for housing, not acoustics. But I saw potential in adapting it for cinemas and developed an acoustic setup to suit it. Our 2026 cinemas will use yet another new material as we aim to offer diverse cinema experiences to audiences. For example, with our balloon cinemas, when lit at night, they create a carnival-like atmosphere-bright, colourful, and festive. This appeals strongly to smaller cities where people enjoy that vibrant, celebratory environment. Each concept we build is designed not only to offer high-quality screenings but also to connect with the cultural tastes and lifestyle of local communities.
Are you currently directing, and how many film projects are in the pipeline across your banners?
Sonu: Yes, I still direct, but now I choose my projects, unlike earlier when I worked under my father’s company and had to direct assigned scripts. With my own company now, I have more freedom. Under Rain Creation, led by Indrani Banerjee, we plan to produce around 12-13 films this year. We follow a system developed in 2013 that allows multiple teams to work on different films simultaneously, enabling us to complete a film in just twelve days. Everything is pre-planned from the start