Name: Jumbo
Director: Ryan Adriandhy
Genre: Animation, Comedy, Drama, Family, Fantasy
Released: 2026-07-24T00:00:00+00:00
Duration: 102 min
Cast: Prince Poetiray, Quinn Salman, Graciella Abigail, M. Yusuf Ozkan, Muhammad Adhiyat

A round-faced boy plants himself in the middle of a sun-warmed street and lifts an illustrated storybook over his head like a trophy, two friends pulling at his sleeves. The image is bright, hand-tooled and unmistakably homemade, and it is the whole promise of Jumbo, an Indonesian animated feature about a lonely orphan named Don who guards an inherited book of fairy tales as though it were the last warm thing left to him.

The look is the argument. Every surface in Jumbo, from the peeling paint of a small coastal town to the dust hanging in the afternoon light and the soft weight of the characters’ faces, was built from the ground up by a homegrown studio, more than four hundred animators and engineers working across half a decade to make something that could stand on a screen beside the American cartoons filling the same multiplex. That ambition paid off at home on a scale nobody there had seen: the film became the highest-grossing title Indonesia has ever produced, and the biggest animated release Southeast Asia has ever sent to cinemas.

The voices tell you what kind of film this wants to be. Don is carried by Prince Poetiray, a young performer asked to hold an entire feature on the thin line between comedy and grief, and the supporting roster leans on names Indonesian families already trust, among them the singer Ariel of the band NOAH and the actress and singer Bunga Citra Lestari. That is the casting of a mainstream, four-quadrant bid rather than an arthouse experiment. Around Don, his friends Mae and Nurman and a small ghost named Meri are voiced mostly by young performers, keeping the register close to the age of the children the film was made for.

Behind it is Ryan Adriandhy, a stand-up comedian and internet performer stepping into a feature director’s chair for the first time. The move is a genuine leap, from short comic bits to a full-length animated drama about loss, and the film wears that reach openly. Adriandhy, who co-wrote the script with Widya Arifianti, builds the story around Indonesian folklore and a child’s private mythology instead of importing a Hollywood template, and that decision is the reason the film reads as something local rather than a copy of anything.

What holds it together is the book. Don’s inherited fairy tales bleed into the film’s palette, warm reds and dusk golds, a storybook-within-the-story that lets the animators leave the naturalistic town for something more painterly whenever the boy retreats into his imagination. Grief runs under all of it. Don has lost his parents, and the film keeps returning to the ache of being small and overlooked, of being underestimated for his size, without quite letting the sentiment tip into a lecture. The friendship that pulls him back out, his grandmother, Mae and Nurman, and a ghost with unfinished business of her own, is the engine, and the visual world does most of the emotional carrying.

The numbers are the reason the film is touring the world at all. At home it drew audiences in the millions and outgrossed every local title before it, then began a staggered international rollout, through Russia, Turkey, Vietnam, Taiwan, Malaysia and a string of other markets, that turned a national success story into an export. A global streaming deal followed, putting the film in front of viewers who had never heard of its studio. The Spanish theatrical booking sits at the tail end of that campaign, and it is one of the few Western cinema releases a contemporary Indonesian animation has ever secured.

None of that guarantees the film travels. Jumbo was tuned for an Indonesian audience, released to coincide with Eid, steeped in local idiom and a specifically national pride in watching a homemade blockbuster outrun the imported giants, and a Spanish multiplex crowd raised on Pixar and DreamWorks arrives with none of that context. The sentiment that played as catharsis at home can read as saccharine abroad, and the film’s biggest obstacle in Spain may not be its quality at all. It has already been available to stream, dubbed and subtitled, on a global platform for months, which leaves an obvious question about who still buys a ticket.

Don in a street scene from the animated film Jumbo, 2025 — Don in Jumbo (2025)

The credited principals are Prince Poetiray as Don, with Quinn Salman, Graciella Abigail, M. Yusuf Ozkan and Muhammad Adhiyat filling out the young ensemble. Jumbo was produced by Visinema Studios with Springboard Entertainment and Anami Films, written by Adriandhy and Arifianti, and runs a hundred and two minutes, long for a children’s film and a sign of how much story it is trying to carry.

Jumbo reaches Spanish cinemas on 24 July 2026, a theatrical bow that lands well over a year after its record-breaking run at home and roughly seven months after the film arrived on Netflix worldwide. For audiences who missed the streaming drop, or who simply want to see a hand-built animated world at the scale its makers intended, the big screen is arguably where it belonged all along.