Angga Yunanda: The Life Story Behind Indonesia's Rising Star
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Angga Yunanda is a young Indonesian actor who did not start in Jakarta, and that fact matters to his story. He was born on the island of Lombok, far from the film studios, the casting offices, and the crowds of the capital, and he had to travel a long way, in every sense, to become a star. He did it not by shouting, but by working steadily, by taking roles that asked him to grow, and by letting audiences watch him grow from a teenage model into an actor who could carry a serious film. His rise was not overnight. It was step by step, and that is why it has lasted.
His full name is Angga Yunanda, and he was born on 16 May 2000 in Lombok, in West Nusa Tenggara province. Lombok is known for its beaches, its mountains, and its quiet towns, and a boy growing up there learns a different pace of life from a boy growing up in Jakarta. He learns to be patient, to know his neighbours, and to live close to nature. Angga carried that patience with him when he moved to Jakarta, and it showed in the way he worked. He did not rush. He listened, he learned, and he waited for the right chance.
What makes his story stand out is the film that changed everything for him: Dua Garis Biru, released in 2019. It was a film about two teenagers, a pregnancy, and the hard choices that follow, and it asked its young actors to play a story that many adults would find difficult. Angga played Bima, a teenage boy who must grow up very fast, and he played him with an honesty that made audiences take notice. It was not a light teen romance. It was a serious film about real life, and Angga was at its centre.
A Boy from Lombok
Lombok is an island east of Bali, with a culture of its own, a language of its own, and a life that moves more slowly than Jakarta. Angga Yunanda grew up in that setting, in a family that lived an ordinary life, far from cameras. He was not born into a film family. He did not grow up on a set. He grew up going to school, playing with friends, and dreaming the way many Indonesian boys dream: of a bigger life, somewhere else, without knowing exactly what that life would look like.
As a teenager, he began modelling, and modelling took him to Jakarta. A model must learn to stand, to walk, to look at a camera, and to be comfortable being watched, and Angga learned those lessons early. Modelling also gave him his first taste of the entertainment world, and it showed him that there was a life beyond Lombok. He was tall, good looking, and calm in front of a camera, and people in Jakarta noticed him. But modelling alone was not enough for him. He wanted to act, and acting asks for more than a good photograph. It asks for feelings, for words, and for truth.
The move from Lombok to Jakarta was a big change. Jakarta is crowded, noisy, and fast, and a boy from a quiet island can feel lost there. Angga did not get lost. He found work, he found friends, and he found teachers who helped him learn acting. He appeared in television series, known in Indonesia as sinetron, and he learned how to work on a set, how to remember lines, and how to perform day after day. Television is a hard school, because it moves fast and it does not wait for you to be ready. Angga learned to be ready, and that readiness would help him when film roles came.
His early television work also taught him how Indonesian audiences worked. They liked stories about young people, about love, about family, and about the struggle to grow up. Angga learned to play those stories without making them feel fake. He kept his performances simple and direct, and that simplicity became his strength. He did not overact. He let the story do the work, and he stayed inside it, which is harder than it sounds for a young actor.
Dua Garis Biru and Growing Up Fast
In 2019, Angga Yunanda appeared in Dua Garis Biru, which means Two Blue Lines, a film about two high school students, Bima and Dara, whose lives change when Dara becomes pregnant. The film was directed by Gina S. Noer, and it became one of the most talked about Indonesian films of its year, because it dealt with a subject that many families find hard to talk about: teenage pregnancy, and what it means for a boy, a girl, and their families. Angga played Bima, the boy, and he had to show a teenager who is frightened, confused, and yet trying to be responsible.
Bima is not a hero in the simple sense. He is a boy who made a mistake, and who must live with it. He must face his parents, Dara’s parents, his school, and himself, and he must learn what it means to be a father when he is still almost a child. Angga played him with a quiet honesty that made audiences feel for him, even when they disagreed with his choices. He did not play Bima as a villain, and he did not play him as a saint. He played him as a real boy, and that is why the film worked.
The film was a commercial success, and it won praise from critics and from audiences, including many parents and teachers who saw it as a way to start a difficult conversation. For Angga, it was a turning point. He was nineteen, and he was now known as a serious young actor, not only as a model or a television star. Directors began to see him as someone who could carry a difficult role, and the offers that followed were bigger and more varied.
Dua Garis Biru also showed that Indonesian cinema could talk about hard subjects in a gentle, honest way. It did not shout, and it did not lecture. It showed a family, a school, and a young couple, and it let the audience think for themselves. Angga was at the centre of that quiet honesty, and his performance is still remembered as one of the best by a young Indonesian actor in recent years.
Mariposa and a Lighter Love
In 2020, Angga appeared in Mariposa, a teen romance based on a popular novel, in which he played Iqbal, a clever, serious boy who is loved by a girl named Acha. The film was lighter than Dua Garis Biru, and it gave Angga a chance to show a different side: funny, warm, and romantic, in a story about school, friendship, and first love. It was a film for young audiences, and it was popular with them, because it spoke their language and showed their world.
Mariposa was a good choice after Dua Garis Biru, because it showed that Angga was not only a serious actor. He could also be a romantic lead, and he could make audiences smile. A young actor who only plays serious roles can become heavy, and a young actor who only plays light roles can become shallow. Angga was building a balance, and Mariposa helped him find it. He played Iqbal with a calm charm that fitted the character, and he let the audience enjoy the story without making it feel fake.
The film also came at a time when Indonesian teen films were very popular, and Angga was becoming one of the faces of that generation. He was in his early twenties, he was handsome, he was talented, and he was in films that young people loved. That is a powerful combination, and it could easily have led him to make the same film again and again. He did not. He kept choosing different roles, and the next ones would be darker, harder, and more adult.
Working in Mariposa also taught him how to handle fame among young fans. Teenage fans are loyal, loud, and loving, and they can make a star feel invincible. Angga handled that fame with a quiet manner that many people admired. He did not act as if he was above his fans. He thanked them, he worked hard, and he kept his private life mostly private. That calm is part of why he has lasted while other teen stars have faded.
Mencuri Raden Saleh and a Heist
In 2022, Angga Yunanda appeared in Mencuri Raden Saleh, which means Stealing Raden Saleh, a heist film about a group of young people who plan to steal a famous painting. He played Ucup, one of the group, a young man with a special skill, and the film was a big, exciting, modern Indonesian film, with action, humour, and a cast of young stars. It was very different from Dua Garis Biru, and it showed that Angga could work in a large ensemble, in a fast, fun film, without losing himself.
A heist film is a team film. No one actor carries it alone. Each member of the group must be believable, and each must bring something different. Angga brought a quiet, clever energy to Ucup, and he fitted into the group well. The film was a commercial success, and it became one of the most popular Indonesian films of 2022, watched by millions. It also showed that Indonesian cinema could make a modern heist film that felt Indonesian, not like a copy of a Hollywood film, and Angga was part of that achievement.
The success of Mencuri Raden Saleh gave Angga a new kind of fame. He was no longer only a teen star. He was a star in a big, popular film that adults enjoyed as well as teenagers. He had crossed from youth cinema into mainstream cinema, and that crossing is important. Many young actors never cross it. They stay in teen films until the audience grows up and leaves them behind. Angga crossed it, and he did it by choosing a film that was fun, smart, and well made.
The film also brought him new fans, and new offers, and it showed directors that he could handle action, comedy, and drama in the same story. That range is valuable, and it is one of the reasons his career has kept growing. He was no longer only Bima from Dua Garis Biru. He was also Ucup from Mencuri Raden Saleh, and those two roles together gave him a fuller picture in the public mind.
Budi Pekerti and a Darker Turn
In 2023, Angga appeared in Budi Pekerti, known in English as Andragogy, a drama directed by Wregas Bhanuteja about a teacher whose life falls apart after a video of her arguing in public goes viral. Angga played a young man in that story, in a film that was serious, slow, and thoughtful, and very different from a heist film. It was shown at film festivals, including the Toronto International Film Festival, and it was praised by critics for its honesty about modern Indonesian life, about social media, and about how quickly a person’s life can be judged online.
Working in Budi Pekerti showed a new side of Angga. He was willing to be in a film that was not a big commercial hit, but a serious work of art, and he was willing to play a smaller part in a larger story. That willingness is a sign of maturity. A young star who only wants big, popular films will often miss the films that matter most. Angga did not miss Budi Pekerti, and his part in it, though not the lead, added to his reputation as an actor who cares about good cinema, not only about fame.
The film’s theme, that a video can ruin a life, is one that many young Indonesians understand well, because they live online. Angga, who is himself followed by millions online, understood it from the inside. He knew what it felt like to be watched, judged, and talked about, and he brought that understanding to his role. The film did not offer easy answers, and Angga did not try to give them. He played his part honestly, and he let the audience think.
Budi Pekerti also connected him with a different kind of director and a different kind of audience: festival audiences, critics, and people who love serious cinema. That connection is valuable, because it gives an actor a second home, beyond the commercial cinema. An actor who has both a commercial home and a festival home can have a longer, richer career, and Angga was building both.
Marriage and a Steady Life
In February 2025, Angga Yunanda married Shenina Cinnamon, an actress, in a ceremony that was widely reported in Indonesia. He was twenty-four, she was also a young actress, and their marriage marked a new stage in both their lives. For a young star, marriage is a big decision, and it changes the way the public sees you. Angga handled it with the same calm he had shown in his work. He shared the happy news, he thanked his fans, and he kept the details of his private life mostly private.
His marriage also showed how much he had grown since Lombok. He was no longer a teenage model who had just arrived in Jakarta. He was a married man, a working actor, and a person with a life beyond film. That growth is visible in his recent work, which has become more mature, more thoughtful, and more varied. He is no longer only playing teenagers. He is playing young adults, with adult problems, adult choices, and adult feelings, and he is playing them well.
He has continued to work after marriage, in film and in public life, and he remains one of the most followed young Indonesian actors. His fans continue to ask about his next film, and about what he will do next, and those questions show how lasting his impact has been. A star who is forgotten is not asked about. A star who is remembered is asked about for years, and Angga is remembered, for Bima, for Iqbal, for Ucup, and for the many roles that followed.
His story is also a story about Lombok, and about how a boy from a quiet island can become a star in a big city without losing himself. He did not forget where he came from, and he did not pretend to be someone else. He carried Lombok with him, in his calm, in his patience, and in his way of working, and Jakarta accepted him for it. That is a hopeful message for any young person from a small town who dreams of a bigger life.
A Rising Star with Room to Grow
Today, Angga Yunanda is in his mid-twenties, with a career that is still rising. He has played a teenage father, a romantic lead, a heist member, and a young man in a serious festival film, and he has done it all before he was twenty-five. That is a wide range for a young actor, and it shows that directors trust him with different kinds of stories. He is not being kept in one box. He is being asked to grow, and he is growing.
His story also shows how Indonesian cinema has changed. When he started, teen films were the main market for young actors. Now, Indonesian cinema makes heist films, festival dramas, horror films, and superhero films, and young actors can move between them. Angga has moved between them, and he has done it well. He is a sign of a new generation of Indonesian actors: young, talented, and willing to try many things.
For young Indonesians from small towns, Angga is a useful example. He shows that you do not have to be born in Jakarta to succeed in Jakarta. You can be born in Lombok, you can work hard, you can learn, and you can build a career, step by step. You do not have to be loud. You can be steady, and steady can last longer than loud. That is a lesson worth remembering.
In the end, Angga Yunanda’s story is still being written, and that is part of its charm. He is not a finished legend. He is a working actor in the middle of his life, with a past he can be proud of and a future he can still shape. The boy from Lombok who became Bima, Iqbal, and Ucup is still here, still working, and still growing. That is a story worth following, not only for what he has done, but for what he may do next.
What a Small-Town Start Can Give
Angga Yunanda’s journey shows that a small-town start is not a weakness. It can be a strength. A boy from Lombok learns patience, learns to know people, and learns to live close to nature, and those lessons can make an actor more honest. Angga’s performances feel honest, and I think his Lombok childhood is part of why. He did not grow up in a hurry. He grew up in a place where life moves slowly, and he carried that slowness into his work, where it became a strength.
His journey also shows that a career does not have to be built in one jump. It can be built step by step: modelling, television, a serious film, a romance, a heist, a festival drama. Each step taught him something, and each step made the next one possible. Young people who want everything at once should look at Angga and see that steps work. A step is small, but many steps make a long journey, and Angga has already walked a long way.
The Film That Started Conversations
Dua Garis Biru did more than make Angga Yunanda famous. It started conversations in Indonesian homes, schools, and families, about a subject that is often avoided: teenage pregnancy, and what it means for a boy, a girl, and their parents. The film did not shout, and it did not lecture. It showed a family, a school, and a young couple, and it let the audience think for themselves. That quiet honesty is why teachers, parents, and students talked about it, long after they had left the cinema.
Angga’s role in that conversation was central, because he played Bima, the boy, and he played him as a real person, not as a villain. A boy in Bima’s situation can easily be judged, by his parents, by his school, and by the audience, and Angga’s performance asked the audience not to judge too quickly, but to understand. He showed Bima’s fear, his confusion, and his wish to be responsible, and that understanding made the conversation possible. A film that only blames cannot start a conversation. A film that understands can, and Dua Garis Biru understood.
The film was also used in schools and in discussions about sex education, about responsibility, and about the choices young people make. That is a large responsibility for a film, and it is a large responsibility for a young actor, but Angga carried it well. He did not treat the film as a stepping stone. He treated it as a story that mattered, and that attitude is one of the reasons the film is still remembered. A young actor who takes a serious subject seriously will be remembered for it, long after the teen romance has faded.
In the years since Dua Garis Biru, Angga has spoken about the film with pride, and with a clear sense that it was more than a hit. It was a film that helped people talk, and helping people talk is a valuable thing for a film to do. He was nineteen when he made it, and he was already part of a national conversation, not only a youth conversation. That is a remarkable achievement for a young actor, and it is one that has shaped the rest of his career, because it showed him that a film can be more than entertainment. It can be a beginning of a conversation.
My Take:
I like Angga Yunanda’s story because it feels honest, and honesty is the first thing I look for in a young actor. He did not arrive with a loud promise. He arrived quietly, from Lombok, and he worked. He modelled, he did television, he played Bima, he played Iqbal, he played Ucup, and he kept learning. That quiet, steady way of working is something I respect a great deal, because it is harder than it looks. It is easy to be loud for a year. It is hard to be steady for many years, and Angga has been steady.
What strikes me first is Dua Garis Biru, because it is such a hard film for a nineteen-year-old. Playing a teenage boy who becomes a father is not a light job. It asks you to show fear, confusion, and a wish to be responsible, all at the same time, and to do it without making the boy into a hero or a villain. Angga did that, and he did it with a calm that surprised me. I think about Bima often, because Bima is a boy many people know: a boy who made a mistake, and who must live with it. Angga gave that boy a face, and he gave him dignity, and that is a kind thing to do for a character who could easily have been judged.
I also think about Lombok, because I think where you grow up shapes how you act. Lombok is not Jakarta. It is quieter, slower, and closer to nature, and a boy who grows up there learns patience. I see that patience in Angga. He does not rush his performances. He does not try to win a scene by being the loudest person in it. He listens, he watches, and then he speaks, and when he speaks, you believe him. That kind of acting looks easy, and it is not easy at all. It takes confidence to be quiet, and Angga has that confidence.
Mariposa is a film I enjoy for a different reason. It is light, romantic, and fun, and it shows that Angga can make people smile. A young actor who only plays serious roles can become heavy, and a young actor who only plays light roles can become shallow. Angga played both, and he played both well. That balance is important, and it is one of the reasons I think his career will last. He is not a one-note actor. He is an actor with many notes, and he is still learning new ones.
Mencuri Raden Saleh is the film that made me think of him as a mainstream star, not only a teen star. A heist film is a team film, and it asks each actor to be part of a group, not the centre of everything. Angga was part of that group, and he fitted in well. He did not try to steal scenes. He played Ucup as a clever, quiet member of the team, and he let the story work. That generosity is underrated. Many young actors want to be the centre of every scene. Angga was willing to be part of a team, and that willingness made the film better.
Budi Pekerti is the film that made me respect him most as an artist. It is a serious, slow film about a teacher whose life is ruined by a viral video, and it is not a film that will make a star rich. It is a film that will make a star respected. Angga chose to be in it, and he played his part honestly, even though it was not the lead. That choice tells me something about his values. He does not only want fame. He wants good cinema, and he is willing to work in a film that matters, even if it does not make him more famous. I wish more young stars thought that way.
I also think about his marriage, because it shows his sense of timing. He married at twenty-four, after he had built a career, after he had played Bima, Iqbal, and Ucup, and after he had become a star. He did not marry because the world told him to. He married when he was ready, and he did it in his own way. That is a good order of things. Build yourself first, then build a life with someone else. I hope his marriage is happy, and I hope he keeps working, because Indonesian cinema needs actors like him, actors who are steady, honest, and willing to learn.
One lesson I take from his story is about steps. He did not become a star in one jump. He modelled, he did television, he played a serious role, he played a romance, he played a heist, he played a festival drama. Each step taught him something, and each step made the next one possible. Young people who want everything at once should look at Angga and see that steps work. A step is small, but many steps make a long journey, and Angga has already walked a long way, from Lombok to Jakarta, from a model to an actor, from a teenager to a married man.
Another lesson is about being from a small town. Many young people from small towns feel as if they are at a disadvantage, as if they must hide where they come from to succeed in a big city. Angga did not hide Lombok. He carried it with him, in his calm, in his patience, and in his way of working, and Jakarta accepted him for it. That is a hopeful message. You do not have to forget your home to succeed. You can carry your home with you, and it can make you stronger.
If I could say one thing to a young person from Lombok, or from any small town, who admires Angga, it would be this: work steadily, learn quietly, and do not be in a hurry. Fame that comes fast often goes fast. Fame that comes step by step often stays. Angga’s fame came step by step, and it has stayed, because it was built on work, not on noise. That is a good way to build a life, in acting or in any job.
In the end, my feeling about Angga Yunanda is warm and hopeful. He is not a finished legend. He is a young actor in the middle of his life, with a past he can be proud of and a future he can still shape. I started by seeing a boy from Lombok, and I ended by seeing an actor who has played a father, a lover, a thief, and a young man in a serious drama, and who has done it with honesty and patience. That is a good story, and I look forward to its next chapter.
I also think about the conversations that Dua Garis Biru started, because they are the part of the film that lasts longest. A film can be a hit for a month, and then it is forgotten, but a film that starts a conversation in a family, in a school, or between parents and children, can last for years. Dua Garis Biru started those conversations, because it dealt with a subject that many families find hard to talk about, and it dealt with it gently, honestly, and without blame. Angga was at the centre of that gentleness, as Bima, a boy who is frightened and trying to be responsible, and I think that is a kind thing for a young actor to do: to play a boy who could easily be judged, and to make the audience understand him instead.
There is a lesson in that for any young actor: a film can be more than entertainment. It can be a way to help people talk about hard things, and that is a valuable thing to do. Angga learned that lesson at nineteen, and he has carried it with him since. He chooses roles that matter, not only roles that are popular, and that choice is visible in his film list. He played Bima, he played Iqbal, he played Ucup, and he played a young man in Budi Pekerti, and each of those roles mattered in a different way, because each one said something true about young Indonesian life.
I also think about his fans, because they have grown up with him, from teenagers to young adults, and they have watched him grow from a model to an actor, from a boy to a married man. That shared growth creates a bond that is hard to break, because the fans feel as if they have grown up together. I think Angga understands that bond, and he respects it, by working hard, by choosing good films, and by not taking his fans for granted. That respect is a sign of maturity, and it is one of the reasons his fans have stayed loyal.
If I could give one piece of advice to a young person from a small town who admires Angga, it would be this: do not be in a hurry to leave your home behind. Carry it with you, in your calm, in your patience, and in your way of working, and let it make you stronger. Angga carried Lombok with him to Jakarta, and Jakarta accepted him for it, because his calm was different, and it was refreshing. A person who forgets where they come from can easily get lost in a big city. A person who remembers where they come from has a compass, and Angga has that compass, and it has guided him well.
Finally, I want to say that I am excited about his future, because he is still young, he is still learning, and he has already shown that he can play many different kinds of roles. He could play a father, a leader, a villain, or a man in a completely new kind of story, and I think he would play it well, because he has the experience, the calm, and the range. He only needs the right script, and I believe it will come. I hope it comes soon, because I would like to see what he does next, and I think many Indonesians would too.
I also think about the way Angga handles fame among young fans, because it is a skill that many teen stars never learn. His fans are young, they are loyal, and they are loud, and they can make a star feel invincible, as if he will always be loved, no matter what he does. Angga does not seem to believe that feeling. He thanks his fans, he works hard, and he keeps his private life mostly private, and that balance is wise. A star who believes his own fame will soon lose it. A star who respects his fans, and who works for them, will keep them, and Angga has kept his fans for many years, by respecting them and by working hard.
There is another thought that stays with me about him: he is a young man who has grown up in public, from a teenage model to a married actor, and he has done it without a public scandal, without a fall, and without a fuss. That is not a small thing. Many young stars fall, or burn out, or get tired, and Angga has not. He has grown, step by step, with a calm that many people admire. That calm is not an accident. It comes from his home in Lombok, from his family, and from a way of living that is steady, patient, and honest. I hope he keeps that calm, because it will carry him through the next ten years, as it has carried him through the last ten.
I also wonder about the films he has not yet made, because I think his best work is still ahead of him. He has played a teenage father, a romantic lead, a thief, and a young man in a serious drama, and he has played them all well, before he was twenty-five. What will he play at thirty? At thirty-five? At forty? I do not know, and I do not want to guess, but I think he has the range, the experience, and the calm to play many different kinds of men, in many different kinds of stories. He only needs the right script, and I believe it will come, because directors trust him, and audiences trust him, and trust is a valuable thing for an actor to have.
Finally, I want to say that Angga’s story gives me hope for young people from small towns. He was born in Lombok, far from Jakarta, and he became a star in the capital, without forgetting where he came from, and without pretending to be someone else. That is a hopeful message for any young person who dreams of a bigger life: you do not have to forget your home to succeed. You can carry your home with you, and it can make you stronger, and it can help you stand out in a crowded city, because your calm is different, and it is refreshing. Angga proves that, and I am glad he does.
I also think about Dua Garis Biru, because it asked a young actor to carry a subject that many films avoid. The film tells the story of two teenagers facing a pregnancy, and it does so without shouting, without preaching, and without turning the young people into villains. Angga played Bima as a boy who is frightened, confused, and trying to be responsible, and that honesty is what made the film start conversations in schools and homes across Indonesia. A film that starts a conversation is worth more than a film that only entertains, and I think Angga understood that, even at nineteen. He did not play the role for applause. He played it for truth, and the truth reached people.
Mencuri Raden Saleh is another film I think about, because it showed Angga working as part of a team of young actors, each one with a different skill, stealing a famous painting in a story full of tension and fun. A heist film needs trust between its actors, because every scene depends on timing, on listening, and on knowing when to step forward and when to step back. Angga played his part with a lightness that suited the film, and he showed that he could be part of an ensemble, not only a leading man on his own. That is an important skill for an actor, because most great films are made by teams, not by one star alone.
Budi Pekerti is the film that showed me his darker side, and I mean that as praise. In that film he plays a young man in a story about anger, about a video that goes viral, and about how quickly a life can be judged by strangers. It is a serious film about modern Indonesia, about phones, about shame, and about the pressure of being watched, and Angga played it with a quiet intensity that was very different from his romantic roles. That range, from a teenage father to a thief to a young man in trouble, is rare in an actor under twenty-five, and it tells me his best work is still ahead of him.
If a young person from a small town asked me what to learn from Angga, I would say this: your calm is a strength, not a weakness. Jakarta is loud, fast, and crowded, and many young people arrive there and try to become loud and fast too. Angga arrived from Lombok and stayed calm, and that calm made him stand out. He listened, he learned, he married young and built a steady life, and he let his work speak. A steady life and a calm manner are not boring. They are the ground on which a long career is built, and Angga is building his on that ground, one good film at a time.
Frequently Asked Questions
When was Angga Yunanda born?
Angga Yunanda was born on 16 May 2000 in Lombok, West Nusa Tenggara, Indonesia. He grew up on the island before moving to Jakarta to work as a model and then as an actor.
How did Angga Yunanda start acting?
He began as a model and then worked in Indonesian television series, known as sinetron, where he learned how to work on a set and perform day after day. His film breakthrough came with Dua Garis Biru in 2019.
What role did Angga Yunanda play in Dua Garis Biru?
He played Bima, a high school student whose girlfriend Dara becomes pregnant, and who must face his family, his school, and the responsibility of becoming a father while still a teenager. The film became one of the most talked about Indonesian films of 2019.
What other films is Angga Yunanda known for?
He is known for Mariposa in 2020, in which he played Iqbal, for Mencuri Raden Saleh in 2022, in which he played Ucup in a heist story, and for Budi Pekerti in 2023, a serious festival drama about a teacher whose life is changed by a viral video.
Is Angga Yunanda married?
Yes, he married Shenina Cinnamon, an actress, in February 2025. He has continued to work in film after his marriage, and he remains one of the most followed young Indonesian actors.
What is Angga Yunanda doing now?
He is in his mid-twenties and remains an active actor in Indonesian film, with a career that includes teen drama, romance, heist, and festival films. His fans continue to follow his next projects, and his earlier films are still widely watched.
