By the late 19th century, cinema emerged as a technological innovation that transformed the world. In Southeast Asia—then still under the shadow of colonialism—cinema was introduced as a new form of entertainment.
Initially regarded merely as an attraction, it gradually evolved into a reflection of growing national identities and anti-colonial spirit. Though brought by European powers, cinema ultimately paved the way for local film industries, inspiring generations of filmmakers to project their own culture and identity onto the big screen.
The Philippines: Pioneer of Cinema in Southeast Asia
The history of cinema in Southeast Asia began in January 1897, at a small venue called Salon de Pertierra in Manila, Philippines. There, for the first time, the public witnessed imported films such as Espectaculo Scientifico, brought by a Spanish entrepreneur named Pertierra.
Soon after, Swiss entrepreneurs Liebman and Peritz introduced Lumière films on Escolta Street. Antonio Ramos, a Spanish soldier, also played a key role by importing cinema equipment and producing the first locally-made films such as Panorama de Manila.
Entering the early 1900s, a new era unfolded. Cine Walgrah became Manila’s first cinema, opened in 1900 by British entrepreneur Walgrah. Two years later, Gran Cinematografo Parisien was established in the Quiapo district by Samuel Rebarber.
However, a major milestone came in 1903, when José Jiménez opened Cinematograpo Rizal—the first cinema fully owned by a Filipino. This culminated in 1919, when José Nepomuceno released Dalagang Bukid, the first film entirely created by Filipino filmmakers.
Indonesia: The Early Footprints of Cinema in the Dutch East Indies
Cinema arrived in the Dutch East Indies on December 5, 1900, when De Nederlandsche Bioscope Maatschappij screened a documentary featuring the King and Queen of the Netherlands in Batavia. However, films had already been introduced earlier—around 1896, photographer Louis Talbot showed films in elite theaters, while traveling theater troupes like Victoria Parsi began incorporating films into their performances as early as 1898.
Local film production began around 1911, primarily in the form of cultural documentaries made by Dutch, French, and German filmmakers. A turning point came in 1926 with Loetoeng Kasaroeng, the first Indonesian silent feature film, which marked the early foundation of the national cinema.
Initially, films were shown in tents, public squares, or theaters owned by Chinese-Indonesians. Semi-permanent cinemas appeared in 1907, followed by grander establishments such as East Java Bioscope in Surabaya (1913) and Alhamra Theater in Jakarta (1931).
Chinese-Indonesian entrepreneurs played a crucial role in advancing the industry. They established some of the earliest studios, including Wong Brothers (1928), Tan’s Film (1929), and Cino Motion Picture (1931). Although the technology was imported from the Netherlands, the enthusiasm of local audiences grew thanks to the investments and determination of these entrepreneurs.
Nevertheless, colonial-era cinema was marked by inequality. Ticket prices and seating arrangements were segregated based on race—European, Chinese/Arab, and native—reflecting the colonial hierarchy. Despite this, early cinema laid an essential foundation for the emergence of Indonesia's film industry.
The First Cinemas in Malaya (Including Singapore)
Cinema made its way to Malaya in the late 19th century. In 1897, Singapore witnessed its first film screening by British producer Robert William Paul at the Alhambra. That same year, Arthur Sullivan brought cinematograph technology from Paris and showcased films at Adelphi Hall. Meanwhile, British films using Edison’s Projectoscope were screened in Kuala Lumpur on November 27, 1897.
The arrival of films was soon followed by the establishment of cinemas, such as Paris Cinematograph in Singapore (1904) and Coliseum Theatre in Kuala Lumpur (1920), which became central entertainment hubs for urban communities.
A significant milestone was achieved in 1933 with the release of Laila Majnun, the first Malay-language film, marking the birth of local film production. Malaya’s film industry flourished thanks to the contributions of Shaw Brothers and Cathay Organisation, who not only distributed foreign films but also played a vital role in shaping the identity of local cinema.
Thailand: From Royal Court to the Big Screen
Cinema was first introduced to Thailand (then Siam) in 1897 through screenings of the Parisian Cinematograph. That same year, the Lumière brothers also visited Bangkok as part of their Southeast Asian tour.
King Chulalongkorn, upon returning from Europe, brought back documentary films of his visit along with a camera, operated by Prince Thongthaem Sambassatra—widely regarded as the "Father of Thai Cinema."
The royal family was not merely passive spectators but actively participated in film production. Prince Kamphaengphet founded the State Railway Topical Film Service, which became a training ground for young Thai filmmakers. In 1905, following the abolition of the corvée labor system, Thailand’s first cinema—the Japanese Cinematograph—was established by a Japanese entrepreneur.
Thailand’s first local film, Chok Song Chun (Double Luck), appeared in the 1920s as a black-and-white silent film. Shortly after, in 1932, the Wasuwat brothers released Long Thang (Stray), the first Thai sound film.
Unlike neighboring countries shaped by colonialism, the development of Thai cinema was driven by the royal family’s enthusiasm and the involvement of global actors such as Japan.
Viet Nam: Between Propaganda and Identity
Cinema was introduced to Vietnam on April 28, 1899, when Gabriel Veyre, a student of the Lumière brothers, held free film screenings in Hanoi. The first permanent theater, Pathé, was opened in 1920 by a French expatriate named Aste.
To control the growing network of cinemas, the French established the Indochina Films and Cinema Society in 1923. By 1932, there were 51 cinemas spread across Tonkin, Annam, and Cochinchina.
From the outset, cinema in Vietnam was largely utilized as a tool of colonial propaganda. Under Governor-General Albert Sarraut, films served as a medium to promote the grandeur of France. Early films such as adaptations of Truyện Kiều (1923) and the short comedy A Penny for a Horse (1924) emerged within this context.
Although Vietnam was introduced to cinema earlier than many neighboring countries, the development of its local film industry was hindered by strict French control. It would take many years before Vietnamese cinema was able to truly find its own independent voice.
Cambodia: Hope, Gold, and Scars
Cinema entered Cambodia under the shadow of French protectorate rule. The country’s first cinema, Brignon, was established in Phnom Penh in 1909. Prior to that, foreign documentary films had been screened as early as 1899, but local film production only began to gain momentum in the 1950s.
One key figure was King Norodom Sihanouk, who started producing short films in the late 1940s after studying abroad.
The 1960s marked the golden age of Cambodian cinema. More than 300 films were produced in a single decade, bringing to life stories of folklore, local legends, and timeless romances that captivated audiences. However, this flourishing journey came to a tragic halt during the Khmer Rouge regime (1975-1979). Almost the entire cinematic heritage, along with the filmmakers themselves, was wiped out in the brutality of conflict.
Myanmar: Enthusiasm Amidst Colonialism
Cinema arrived in Myanmar (then Burma) in the late 1890s through traveling shows like the Victoria Parsi Theatrical Company and performances by Carl Hertz. Entrepreneur Abdulally Esoofally also popularized cinema with his traveling tent cinema, the “Royal Bioscope,” which toured various cities.
The year 1920 marked a significant milestone when Wazira, the first permanent cinema, opened in Rangoon. Soon after, local film production began. The earliest recorded film in Myanmar was a footage of Tun Shein’s funeral in 1911, followed by the first silent feature film Myitta Ne Thuya (Love and Liquor), released on October 13, 1920—a date now commemorated as Myanmar Film Day.
The 1920s and 1930s witnessed the growth of local film companies. The entrepreneurial spirit of the Burmese people shone through, even as the industry remained under the shadow of British colonial control. Myanmar’s first sound film, Ngwe Pay Lo Ma Ya (Money Can’t Buy It), was released in 1932, though it was produced in Bombay.
Lao: A Screen Slow to Light Up
The journey of cinema in Laos began later than in its neighboring countries. The history of film in Laos is sparsely documented, and the development of its local industry was interrupted by political turmoil.
Following the abolition of the monarchy in 1975, the government used film as a propaganda tool under the control of the Department of Cinema. Unfortunately, strict censorship limited film production. The first feature film of this era, Gun Voice from the Plain of Jars (1983), was never released to the public.
Cinemas such as Lao Chaleun Cinema in Savannakhet (1930s) and Rachinee Theater in Luang Prabang (1966) once served as entertainment venues for the public but were insufficient to foster a strong local film industry. In 1995, filmmaker Som Ock Southiponh even remarked, "Laotian cinema does not exist," reflecting the near-dormant state of the industry at the time.
New hope emerged in the 21st century. Through international collaboration, Sabaidee Luang Prabang (2008) became the first commercial film produced in Laos since 1975. Since then, Lao cinema has slowly begun to rediscover its voice, though it still relies heavily on external support.
Two Nations, Two Stories: Brunei and Timor-Leste
Brunei and Timor-Leste embarked on their cinematic journeys later than many of their Southeast Asian neighbors, each shaped by their distinct cultural and political dynamics.
In Brunei, the first cinema was established before World War I but was destroyed during the war. It wasn’t until the 1950s that cinemas like Boon Pang and Borneo were built in Bandar Seri Begawan, providing entertainment for the urban population. The first local feature film, Gema Dari Menara (1968), was produced by the Department of Religious Affairs, marking the government’s involvement in film production.
Afterward, Brunei’s film scene remained dormant for decades until a revival came with Ada Apa Dengan Rina (2013), a comedy film that received positive reception. The opening of Times Cineplex in 2012 also helped modernize the movie-going experience in Brunei.
In contrast, cinema in Timor-Leste grew from the spirit of identity and struggle. Film became a medium to record history and narratives of independence.
The first local feature film, A Guerra da Beatriz (2013), tells a personal story deeply intertwined with the nation’s journey. Prior to that, productions like Balibo (2009)—an international collaboration—also brought Timor-Leste’s painful history to the big screen.
