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Merantau
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| Merantau | |
|---|---|
 | |
| Directed by | Gareth Huw Evans |
| Written by | Gareth Huw Evans |
| Produced by | Ario Sagantoro |
| Starring | |
| Cinematography |
|
| Edited by | Gareth Huw Evans |
| Music by |
|
Production company | PT. Merantau Films |
| Distributed by | SinemArt |
Release date |
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Running time |
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| Country | Indonesia |
| Languages | |
Merantau, released in some countries as Merantau Warrior, is a 2009 Indonesian martial arts action film written, directed and edited by Gareth Huw Evans, and starring Iko Uwais. The film marked Uwais' debut as an actor and was the first collaboration between director Evans and star Uwais. It also marks the acting debut of Yayan Ruhian, who, along with Uwais, Evans met while shooting for a documentary in Indonesia. It was this documentary which introduced Evans to the martial art of Pencak Silat.
The film showcases the Minangkabau tradition of "Merantau", a rite of passage where a man leaves his home to pursue a career or gain experience outside of the village, a culture where inheritance is largely matriarchal. It showcases Yuda who leaves his village in hopes of teaching Silat in Jakarta, only to be sidetracked as he attempts to save a girl from being kidnapped. The film showcases a style of Silat known as "Silek Harimau" (Tiger Silat).[1][2] It also features actors Donny Alamsyah and Alex Abbad who, along with Uwais and Ruhiyan, would later appear in Evans' subsequent films in The Raid (2011) and The Raid 2 (2014).
Evans' first major feature film, Merantau premiered at the Puchon International Fantastic Film Festival in South Korea on 23 July 2009, before being released theatrically on 6 August in Indonesia. It won the Jury Award for Best Film at the inaugural 2010 ActionFest in North Carolina.[3]
Plot
[edit]Yuda is a Minangkabau from West Sumatra and an expert in silat. As part of the merantau (journeying) tradition, he leaves his hometown to seek a career. Initially he plans to go to Jakarta and teach silat to children. On a bus, he meets Eric, another silat expert. Eric somberly warns Yuda that the city is quite different from what he is used to, and it will be difficult to make a living teaching silat. (They attend an audition for bodyguards that Eric has heard about. Eric decisively defeats his opponent, winning him the job; he asks Yuda to join him, but Yuda, uncomfortable with the situation, declines. - Indonesian version only)
The apartment where Yuda was meant to stay was torn down, leaving him homeless. The next day, his wallet is stolen by a kid named Adit. Chasing him, Yuda encounters his sister Astri arguing with her boss Johnny. When Johnny begins abusing Astri, Yuda steps in, causing her to get fired. The next day, Yuda sees Astri being beaten by Johnny again. He intervenes, and gets mobbed by Johnny's thugs. He fights them off and flees with Astri, in the process brutally scarring Ratger, Johnny's boss. An enraged Ratger vows to hunt down Astri and Yuda.
Yuda takes Astri and Adit to the construction site where he is staying. Yuda explains why he came to the city and talks about his older brother, who used to always beat him up. Astri explains how her parents abandoned her and Adit a few years ago, and she has been taking care of him ever since.
The next day, Yuda goes to Astri's home to retrieve her savings money. Ambushed by Ratger's thugs, he manages to defeat them all. Meanwhile, Astri and Adit are spotted and chased by several thugs through the streets. Astri helps Adit hide before she is kidnapped. Yuda promises Adit to find his sister. Yuda confronts Johnny's henchmen in his club to learn Ratger's whereabouts.
Yuda arrives at an apartment building as Ratger takes Astri to his room, dispatching a guard to wait downstairs. Yuda enters the elevator and encounters the guard, who turns out to be Eric. Yuda tries to convince him to walk away. Eric is ashamed of what he has become, but feels he has no way out. After a brutal fight in the elevator, Yuda defeats Eric, but spares his life. Ratger rapes Astri and takes her to the parking garage, leaving two guards watching the elevator. As the elevator opens, Eric pushes Yuda to cover before getting gunned down by the guards. Yuda jumps on a car to chase after Ratger and Astri.
At a shipping dock, Ratger puts Astri in a storage container with other women. Yuda fights his way through Ratger's thugs before confronting Ratger and his associate Luc. After a gruelling two-on-one fight, Yuda accidentally causes Luc to impale himself with the crowbar, and subdues Ratger. Yuda frees the women from the container. As Yuda and Astri reunite, Ratger stabs Yuda in the stomach. Yuda kills Ratger, and tells Astri his final wishes before he dies.
Astri reunites with Adit, and the two eventually go to Yuda's hometown and live with Yuda's family. The story ends with Yuda's mother standing in the doorway watching Adit go to school; her perspective changes as she sees Adit as her son, Yuda.
Cast
[edit]- Iko Uwais as Yuda
- Sisca Jessica as Astri
- Mads Koudal as Ratger
- Laurent Buson as Luc
- Yusuf Aulia as Adit, Astri's brother
- Alex Abbad as Johni, Astri's pimp
- Yayan Ruhian as Eric
- Christine Hakim as Wulan, Yuda's mother
- Donny Alamsyah as Yayan, Yuda's brother
- Ratna Galih as Ayi
Release
[edit]The film premiered at the Puchon International Fantastic Film Festival in South Korea as the opening film of the closing ceremony on 23 July 2009.[4] It was released theatrically on 6 August 2009 in Indonesia. The film made its US debut at the Austin Fantastic Fest on 24 September 2009, where it was nominated for the Audience Award.[5]
It made its Europe debut at the Sitges Film Festival in Spain on 9 October 2009, and in France at the Festival Mauvais Genre on 3 April 2010. It was screened at the inaugural ActionFest on 17 April 2010, where it won the Jury Award for Best Film.[6][7] The jury included the likes of Chuck Norris, Drew McWeeny of HitFix, Todd Brown of TwitchFilm, Devin Faraci of CHUD, and Colin Geddes of TIFF's Midnight Madness.[6]
Critical response
[edit]Merantau received generally positive reviews from film critics.[8][9][10]
Cole Abaius of Film School Rejects calls the film a "Mind-exploding action sequences coupled with genuine emotional impact."[11]
Harry Knowles of Ain't It Cool opines that the film is "a tremendous martial arts film"; noting it as an "outstanding" film.[11]
Moises Chiullan of Hollywood Elsewhere wrote that the film is "one of the more compelling and powerful martial arts films" he has seen.[11]
Andrew Mack, reviewing for Twitch Film, wrote that the film "is the next great martial arts film to come out and one of the best this past decade."[11]
Todd Brown, on another review for Twitch Film, praises the film by saying that it "serves very loud notice that Indonesia is back in the action game."[11]
Mike Leeder of Impact Magazine expresses his excitement toward the film, saying that it "proves Indonesian action cinema can stand alongside the best of the rest of the world."[11]
Accolades
[edit]| Year | Award | Category | Nominee(s) | Result |
|---|---|---|---|---|
| 2009 | Austin Fantastic Fest | Audience Award | Merantau | Nominated |
| 2010 | ActionFest | Best Film | Merantau | Won |
References
[edit]- ^ "Gareth Evans and Iko Uwais talk Merantau". Twitch Film. Archived from the original on 2012-03-09. Retrieved 2011-03-21.
- ^ Brown, Todd (2009-07-23). "Nearly Three Minutes Of Extreme Ass-Whuppery! The Trailer For Merantau Arrives!". Twitch Film. Archived from the original on 2010-01-01.
- ^ "Scenes We Love: Iko Uwais Shows What He Can Do In 'Merantau'". Film School Rejects. Archived from the original on 2013-05-12.
- ^ "PIFAN Opening/Closing Ceremony". July 2009. Retrieved 28 May 2017.
- ^ "Jury Winners & Audience Winner at FANTASTIC FEST 2009 Announced!". Ain't It Cool News. Retrieved 2011-07-06.
- ^ a b "ActionFest 2010". ActionMovieFreak.com. April 2010. Retrieved 29 May 2017.
- ^ Marsh, James. "News: UNDISPUTED 3, 14 BLADES and MERANTAU Win At ActionFest 2010. Chuck Norris Declines Lifetime Achievement Award!". Twitch Film. Archived from the original on 2010-06-16. Retrieved 2011-07-06.
- ^ Brown, Todd (2009-07-23). "PiFan 09 Review: MERANTAU". Twitch Film. Archived from the original on 2009-07-27.
- ^ Kurniasari, Triwik (2009-08-02). "'MERANTAU' revives Indonesia's martial arts in film". The Jakarta Post.
- ^ "Merantau Warrior". Fortean Times. Archived from the original on 2013-10-29. Retrieved 2012-05-10.
- ^ a b c d e f "Merantau: Reviews". PT Merantau Films. Retrieved 22 December 2014.
External links
[edit]- Official website (Archived)
- Merantau at IMDb
- Merantau at Rotten Tomatoes
Merantau
View on Grokipediafrom Grokipedia
Merantau is a longstanding cultural tradition of voluntary out-migration practiced by the Minangkabau people of West Sumatra, Indonesia, in which young individuals, primarily men, leave their homeland to seek knowledge, experience, economic opportunities, and personal independence, often with the intention of eventually returning to contribute to their matrilineal communities.[1][2]
Rooted in the Minangkabau's matrilineal social structure and adat (customary law), merantau addresses limited arable land and population pressures by encouraging mobility, transforming it from mere economic necessity into an institutionalized rite of passage that instills self-reliance and social status.[1][2] Historically dating back centuries, the practice has evolved with Indonesia's urbanization and transportation improvements, shifting destinations from nearby regions to major cities like Jakarta and Medan, as well as international locations such as Malaysia, where migrants often engage in trade, education, or entrepreneurship.[1][2][3]
The goals of merantau encompass not only personal prosperity but also cultural reproduction, such as remitting earnings to build family homes or support community welfare, thereby reinforcing ties to the homeland despite physical distance.[1][4] Demographically, it predominantly involves males aged 15–49, though family units and women also participate, leading to significant contributions to Indonesia's national development, including producing a disproportionate share of the country's intellectual and political elite in the mid-20th century.[2] In contemporary times, merantau persists as a dynamic force, blending traditional values with modern aspirations amid globalization and economic challenges, including its role in entrepreneurship and the Indonesian diaspora as of 2025.[1][5][6]
Production
Development
Gareth Evans, a Welsh filmmaker born in 1980, relocated to Indonesia in 2007 after his wife, Rangga Maya Barack-Evans, suggested the move to explore her Indonesian heritage. Initially, Evans had worked in the UK film industry on low-budget projects, including his directorial debut Footsteps (2006), but sought new opportunities abroad. Upon arrival, he was hired by Christine Hakim Films to direct an episode of the documentary series Land of Moving Shadows: The Mystic Arts of Indonesia, focusing on the martial art of pencak silat. During the 2007 production of this documentary, Evans first encountered Iko Uwais, a skilled silat practitioner and truck driver, whose fluid movements and cultural knowledge left a lasting impression and sparked Evans' interest in integrating authentic Indonesian martial arts into narrative filmmaking.[7][8] Inspired by the documentary's exploration of silat's cultural roots, particularly the Minangkabau tradition of merantau—a rite of passage where young men venture from their villages to seek experience and fortune—Evans conceived the screenplay for Merantau as a vehicle to showcase this heritage through action drama. He collaborated closely with Uwais from the outset, drawing on the actor's expertise in silat harimau (tiger style) to ensure the fight sequences reflected genuine techniques rather than stylized Hollywood approximations, emphasizing grounded, brutal realism over wirework or exaggerated effects. Budget limitations shaped the project's indie ethos, with Evans opting for a lean production that prioritized practical stunts and minimal resources, avoiding the need for extensive special effects or large crews.[7][9] Development formally began in late 2007, immediately following the documentary, with Evans writing the script over the subsequent months while securing commitments from Uwais and other local talents. By 2008, financing was obtained through a combination of Indonesian private investors and support from PT Merantau Films, the production company co-founded that year by Evans and his wife to champion silat-focused stories. International sales rights were handled by Golden Network Asia, which helped bridge funding gaps typical of low-budget Asian action films. Evans assumed multiple roles—director, writer, and editor—to streamline the process and maintain creative control amid these constraints, culminating in pre-production wrapping by mid-2008 ahead of principal photography.[7][10]Filming
Principal photography for Merantau commenced in late 2008, entering its fourth week by November of that year, and wrapped prior to the film's premiere in July 2009. Shooting occurred primarily on location in West Sumatra for rural village scenes and in Jakarta for urban sequences, utilizing practical settings such as narrow alleys, warehouses, and shipping containers to highlight the stark contrast between traditional countryside life and the chaotic city environment.[11] The film was captured using a Panasonic HPX500 P2 HD camcorder fitted with a 35mm ground glass adaptor to emulate a cinematic film look, with minimal use of CGI to maintain a grounded, realistic aesthetic. Director Gareth Evans emphasized a natural handheld and Steadicam approach for the action sequences, favoring extended long takes—such as a five-minute 2-on-1 fight—to immerse viewers in the fluid, unedited flow of the Silat choreography rather than relying on rapid cuts. This technique demanded precision, often requiring 15 or more takes per shot to align camera movements with performers' actions.[12][9] Produced on a modest budget, the shoot presented logistical hurdles, including the physical toll of prolonged action filming that fatigued the cast and crew. Safety concerns arose from the authentic Silat sequences, which incorporated real impacts and throws; minimal wirework was employed only for high-risk elements like falls from heights or vehicle stunts to protect performers, while Uwais moderated his strikes to prevent injuries to less experienced actors. Field editing on location helped mitigate inefficiencies, but the demanding schedule still led to burnout from the intensive, repetitive nature of capturing the combat scenes.[13][9][14] Key crew members included cinematographer Matt Flannery, whose steady visuals enhanced the intensity of the practical action. Fight choreography was crafted by lead actor Iko Uwais and Yayan Ruhian, drawing directly from their Silat expertise to integrate traditional techniques seamlessly. Line producer Daiwanne P. Ralie managed on-set operations, while producer Ario Sagantoro oversaw the overall production. In post-production, Evans personally edited the footage to amplify tension through rhythmic pacing in the fight montages.[15][15]Narrative and Cast
Plot
Merantau centers on Yuda, a young and skilled practitioner of the Indonesian martial art Silat from rural West Sumatra, who undertakes the traditional merantau—a rite of passage involving travel to seek independence and opportunity—to Jakarta, where he hopes to establish his own Silat school. Instead of fulfilling his aspirations, Yuda finds himself drawn into the city's criminal underbelly, employing his combat skills to shield vulnerable people from a brutal human trafficking syndicate.[16][10][17] The story begins with Yuda's arrival in Jakarta, where his initial idealism clashes with urban hardships, leaving him homeless and searching for work. He soon encounters orphaned siblings Astri, a bar dancer, and her younger brother Adit, who survives by begging and petty theft after being abandoned by their parents. When Astri faces abuse from her exploitative manager Johni, Yuda steps in to protect her, sparking a violent altercation that draws unwanted attention.[16][10] Johni, operating under the orders of the ruthless European brothers Ratger and Luc who head a human trafficking and prostitution ring, kidnaps Astri to deliver her to their operations. Yuda mounts a daring rescue, injuring Ratger in the process and forcing him, Astri, and Adit to flee as retribution escalates. The trio evades pursuers through a series of tense escapes and skirmishes across the city, including a perilous rooftop chase and an intense elevator confrontation, all while Yuda teaches the siblings basic self-defense amid mounting threats.[16][10][17] The narrative escalates to a climactic showdown in a warehouse by the docks, where Yuda confronts Ratger, Luc, and their enforcers in a fierce battle, utilizing Silat techniques such as joint locks and strikes to overcome the odds. In the resolution, Yuda's determination leads to the dismantling of the trafficking threat, marking his evolution from an idealistic newcomer to a hardened guardian who secures a future for Astri and Adit. The film unfolds in a three-act structure: Yuda's departure from village life, his immersion in Jakarta's dangers, and his climactic redemptive stand against evil.[10][17]Cast
The principal cast of Merantau features Iko Uwais in the lead role of Yuda, a young Silat practitioner embarking on his journey to Jakarta. Uwais, a trained expert in Pencak Silat from the Tiga Berantai school since 1993, was cast for his authentic martial arts skills, marking his acting debut after being discovered by director Gareth Evans during the filming of a documentary for Christine Hakim Films.[9][15] Uwais also contributed to the film's fight choreography, leveraging his expertise to ensure realistic depictions of Silat techniques.[9] Sisca Jessica portrays Astri, Yuda's ally in the story, in her film debut, selected for her ability to convey emotional vulnerability in the role.[15][18] Christine Hakim plays Wulan, Yuda's mother and a maternal figure, drawing on her extensive experience as an Indonesian actress and producer; her involvement began with the aforementioned documentary produced under her company, Christine Hakim Films, which influenced her casting to add depth to the familial elements.[9][15] Mads Koudal, a Danish actor known for physical roles, stars as Ratger, the film's primary antagonist, bringing intensity through his imposing presence and combat scenes.[15][16] Supporting roles include Yusuf Aulia as Adit, Astri's young brother; Alex Abbad as Johni, a key antagonistic figure; Yayan Ruhian as Eric, another Silat practitioner cast for his martial arts background; and Donny Alamsyah as Yayan, Yuda's brother.[15][19] Ruhian, like Uwais, was among the Silat experts Evans met during his documentary work and contributed to choreography.[9] Evans' casting decisions emphasized authenticity in the action sequences, prioritizing actual Silat practitioners for fighter roles to ground the film's martial arts in real technique rather than stylized performance.[9] This approach extended from his initial encounters with Indonesian martial artists while producing the documentary, which shaped the selection of both combatants and established performers like Hakim.[9]Style and Themes
Action Choreography
The action choreography in Merantau was led by Iko Uwais and Yayan Ruhian of Team Silat Harimau, in collaboration with martial arts master Edwel Datuk Rajo Gampo Alam, drawing on authentic Indonesian pencak silat techniques to create grounded, practical fight sequences.[15][11][20] Uwais, a practitioner since 1993, adapted his tournament-style silat for screen combat, while Ruhian, a pencak silat instructor specializing in Harimau and Minang styles, contributed to both choreography and his on-screen role as Eric.[9][21] Influenced by classic martial arts films such as Ong-Bak (2003), the choreography emphasized raw, unadorned combat over acrobatics, incorporating elements like environmental interaction and group dynamics to mirror real-world altercations.[9][22] The core style utilized pencak silat Harimau (tiger style), characterized by fluid, animalistic movements including low, crouched stances, claw-like hand grips, and explosive leg strikes for unbalancing opponents.[23][24] This approach allowed for dynamic, predatory flows in fights, distinguishing it from more performative silat demonstrations.[9] Key sequences highlight the choreography's versatility. The opening rural training montage depicts Yuda (Uwais) practicing silat forms and sparring with his father, establishing the Harimau style's foundational precision and power generation.[23] Street brawls integrate improvised weapons, such as in the nightclub confrontation where Yuda disarms assailants with bottles and chairs, and the elevator melee against Eric (Ruhian) using close-quarters grapples and strikes.[25][26] The climactic multi-opponent fight in an industrial container yard features a prolonged five-minute sequence with Yuda facing Ratger (Mads Koudal) and Luc (Laurent Buson), employing long takes to capture continuous throws, kicks off metal surfaces, and tactical positioning amid stacked crates.[9][27] Practical effects, including real impacts and minimal digital enhancements, underscore the physicality of these encounters.[28] Director Gareth Evans prioritized realism through minimal editing and long takes, avoiding the rapid cuts common in contemporary action cinema to showcase performers' skills and timing.[28][29] Actor safety was maintained via controlled contact—kicks pulled short of full force—and limited wirework only for high-risk stunts like falls from containers or motorcycle flips.[9] Non-martial artists, including Danish actor Koudal with prior experience in jiu-jitsu and karate, underwent a targeted training regimen under Uwais and the team to execute realistic defensive maneuvers and grapples without stunt doubles.[30][31] This preparation ensured seamless integration of performers into the choreography, enhancing the film's authentic intensity.[32]Cultural Elements
The film Merantau draws deeply from Minangkabau cultural traditions, centering its narrative on the ancient rite of merantau, a customary practice among the Minangkabau people of West Sumatra where young men, upon reaching maturity, leave their villages to seek knowledge, experience, and self-reliance before returning home. This rite of passage, rooted in the society's matrilineal kinship system, encourages independence and personal growth, often lasting from several months to years, and is seen as essential for achieving social status and economic contribution to the family. In the story, protagonist Yuda's departure from his rural home in Bukittinggi to Jakarta embodies this tradition, framing his journey not merely as physical travel but as a quest for maturity amid challenges that test his resolve.[33][34] Pencak Silat, Indonesia's traditional martial art, is portrayed in Merantau as both a physical discipline and a philosophical embodiment of Minangkabau values like patience and justice, though the film's action-oriented lens emphasizes its practical application over deeper introspection. Specifically, the style of Silek Harimau (Tiger Silat) is showcased through Yuda's training sequences, highlighting fluid, animal-inspired movements that symbolize harmony with nature and inner strength. The narrative contrasts rural Silat practice in traditional settings like the rumah gadang (traditional house) with its urban adaptation in Jakarta, underscoring a symbolic loss of cultural purity as the art becomes commodified amid modern chaos. This rural-urban divide is amplified by the human trafficking subplot, where Yuda confronts exploitative forces in the city, critiquing the darker consequences of rapid modernization on traditional Indonesian society.[35] Additional cultural motifs enrich the film's authenticity, including representations of Minangkabau family structures through Wulan, Yuda's mother, who embodies the matrilineal system's emphasis on women's central role in inheritance and household authority, providing emotional grounding for his merantau voyage. Visual elements feature authentic Minangkabau attire, such as sarongs and songket fabrics in rural scenes, alongside architectural nods to rumah gadang (traditional horned-roof houses) and rangkiang (rice barns), evoking communal heritage. The soundtrack, composed by Aria Prayogi and Fajar Yuskemal, incorporates dramatone elements with percussive rhythms inspired by gamelan traditions to heighten tension during Silat sequences, while the dialogue is conducted entirely in Bahasa Indonesia, relying on subtitles to preserve linguistic nuances for international audiences.[35][33][10]Release and Reception
Distribution
Merantau had its world premiere as the closing film at the Puchon International Fantastic Film Festival in South Korea on July 23, 2009. The film received its domestic theatrical release in Indonesia on August 6, 2009. Internationally, Merantau screened at several prominent film festivals, including the Austin Fantastic Fest in 2009. In North America, Magnet Releasing acquired the rights and issued a limited theatrical release in 2010 under the title Merantau Warrior. Home video distribution followed through Magnolia Home Entertainment, with Blu-ray and DVD editions available from late 2010. On a low production budget, the film achieved modest box office success, earning approximately $154,660 worldwide, with the majority from international markets. While its performance in Indonesia was tempered, the strong festival buzz helped establish director Gareth Evans and star Iko Uwais as rising figures in genre filmmaking.Critical Response
Merantau received mixed reviews from critics, who praised its authentic depiction of Indonesian pencak silat martial arts and visceral action sequences while critiquing its thin plot and uneven pacing. On Rotten Tomatoes, the film holds an audience score of 62% based on over 2,500 ratings, reflecting a generally favorable response from viewers appreciative of its fight choreography, though professional critic reviews are limited, with only two aggregated thus far (one positive, one negative).[16] In a review for Variety, critic Maggie Lee commended director Gareth Evans for introducing Iko Uwais as a compelling action lead and highlighted standout sequences such as the rooftop chase and elevator fight, which showcase the raw intensity of silat techniques, though she noted the narrative's lack of depth in character backstories and suggested trimming about 15 minutes to improve flow in the international cut.[10] Similarly, Panos Kotzathanasis of Asian Movie Pulse lauded the film's pencak silat choreography by Uwais and Yayan Ruhian as exciting and authentic, emphasizing the brutal realism of the combat that elevates the action beyond typical genre fare.[36] However, Brian Orndorf criticized the non-action scenes as lethargic and overly drawn out, arguing that the film becomes a "chore to sit through" between bursts of violence despite its strengths in fight design.[37] Audience reception has been stronger among martial arts enthusiasts, who have spread positive word-of-mouth for its innovative use of silat and themes of rural-to-urban adaptation, contributing to an IMDb rating of 6.7 out of 10 from over 11,900 users.[38] In Indonesia, the film drew significant local viewership.Accolades
Merantau received several nominations and awards at international and local film festivals and ceremonies between 2009 and 2010, highlighting its impact on the action genre and recognition for its performers and direction. The film earned approximately five nominations and two wins across these events.[39][40] At the inaugural ActionFest in 2010, Merantau won the Jury Award for Best Film, with the jury comprising action cinema luminaries such as Chuck Norris and Isaac Florentine. The film also garnered an Honorable Mention for the Audience Award at the 2009 Austin Fantastic Fest.[39] In Indonesia, at the 2010 Indonesian Movie Awards, Iko Uwais was nominated for Best Actor, while Yayan Ruhian received nominations for both Best Supporting Actor and Best Newcomer Actor.[40] Additionally, Merantau served as the closing film at the 2009 Puchon International Fantastic Film Festival (PiFan) in South Korea, where lead actor Iko Uwais was highlighted as a breakout talent in Indonesia's martial arts cinema revival.| Year | Award | Category | Recipient | Result | Source |
|---|---|---|---|---|---|
| 2009 | Austin Fantastic Fest | Audience Award | Merantau | Honorable Mention | LoveHKFilm |
| 2009 | Puchon International Fantastic Film Festival | Closing Film Screening | - | Selected | Screen Daily |
| 2010 | ActionFest | Best Film (Jury Award) | Merantau | Won | IMDb News |
| 2010 | Indonesian Movie Awards | Best Actor | Iko Uwais | Nominated | IMDb |
| 2010 | Indonesian Movie Awards | Best Supporting Actor | Yayan Ruhian | Nominated | IMDb |
| 2010 | Indonesian Movie Awards | Best Newcomer Actor | Yayan Ruhian | Nominated | IMDb |