With roots in Jakarta and experience in Los Angeles, I approach theatrical marketing through audience, exhibitor and release strategy.
A mix of internship work, client work and original proposals, each built around a real audience or release problem. Choose a project to see what I made and why.
How could three films be positioned for Indonesian audiences, exhibitors and theatrical formats? Deliverable: an interactive casebook separating the planning, recommendations and launch execution I supported from later public rollout evidence.
Open case studyMy background spans studio distribution, premium-format releases, publicity, creative marketing and live event operations.
Supported exhibitor planning, audience and format research, and strategy decks for TRON: Ares, Zootopia 2 and Avatar: Fire and Ash, plus premiere and drone-show logistics for The Fantastic Four: First Steps.
Coordinated campaign workflows across 5+ international theatrical rollouts and developed executive decks and one-sheets for 20+ film projects.
Supported influencer, product-seeding and brand-partnership campaigns, while coordinating 600+ promotional shipments monthly.
Supported VIP arrivals, credentialing, transportation and front-of-house operations across four film premieres and industry events.
Developed PR and social recommendations for Shopee and Wuling Motors, informed by content trends and audience engagement.
Managed setup, logistics and day-of execution across 30+ campus events, while tracking budgets, resources, schedules and team deliverables.
The work I’m strongest at.
Film first entered my life through a camera and family premiere nights. It later became the work: formats, exhibitors, audiences and the details that make a release happen.
I was usually the friend taking the pictures, filming the room and catching the moment everyone else was in. That instinct to frame a story came long before the career plan.
NYFA’s Los Angeles summer camp gave me my first structured look at production. We shot scenes, edited them and watched the finished work together.
Going to premieres with my family showed me early that a film begins before the screen does. The arrival, crowd and room all shape the experience.
From campus events to film premieres, I worked on setup, guest entry, timing, team communication and the problems that had to be solved in real time.
My internship connected the creative side of a release to premium formats, campaign workflows and the business behind the screen.
I worked on the planning behind a release: exhibitor conversations, audience and format research, strategy decks and the practical details that keep a launch moving.
Walking the market floor made international distribution feel real: sales companies, buyers and films moving from one market to another.
The academic foundation behind my work, plus two experiences that shaped how I think about communication and film.
Communication Studies
Member of the National Communication Association’s official honor society for communication students, which recognizes academic achievement and encourages professional development in the field.
Created The Prankster for IASAS during COVID, working across directing, screenwriting, cinematography and editing. The project received an IASAS Southeast Asia Film Award.
Three questions I use to move from a campaign idea to a reason to buy a ticket.
I look beyond age and genre. I want to know who starts the plan, who influences the choice, who pays and where the group might drop out.
Dogs, the people I love, somewhere new and usually a camera in my hand.