Prilly Latuconsina: The Life Story Behind Indonesia's Popular Star

Prilly Latuconsina is one of the hardest working young stars in Indonesia, and hard work is the right phrase for her. She started as a child actress, she became a television star as a teenager, she became a horror film star, she became a singer, she became an author, and then she became a producer. Each of those steps took effort, and she took them one after another, without stopping for long. Her story is not about one lucky break. It is about many small breaks, earned by showing up, day after day, year after year, and doing the work.

She was born on 15 October 1996 in Tangerang, in Banten province, near Jakarta, Indonesia. Tangerang is a busy city on the edge of the capital, a place where many families live and work, and a girl growing up there learns to be practical, to work hard, and to dream big. Prilly learned those lessons early. She was not born into a film family. She was born into an ordinary family, and she entered acting as a child, with a family behind her, and she grew up in front of an audience that watched her become a teenager, a young woman, and a producer.

What makes her story stand out is how early she started and how long she has lasted. Many child stars fade when they grow up. Prilly did not fade. She grew, she changed, and she found new work, new audiences, and new skills. She is now in her late twenties, with more than fifteen years in the entertainment world, and she is still working, still learning, and still building. That longevity, at such a young age, is remarkable, and it is the result of work, not luck.

A Child Actress in Tangerang

Prilly Latuconsina grew up in Tangerang, a city that is close to Jakarta but has its own life, its own streets, and its own pace. She was a bright, lively child, and she was interested in performing from a young age. Her family supported her, and she began appearing in television as a child, in small roles that taught her how a set worked. A child actor must learn to remember lines, to take direction, and to perform in front of adults, and Prilly learned those lessons early, while she was still going to school.

Her early work was in sinetron, the Indonesian television series that are watched by millions every day. Sinetron is a hard school, because it moves fast, it shoots many scenes in a day, and it does not wait for you to be ready. A young actor in sinetron must learn to be ready, to be quick, and to be consistent, and Prilly learned those skills as a child. That early training gave her a work ethic that stayed with her for the rest of her career. She learned to show up, to work hard, and to keep going, even when she was tired.

She also learned how Indonesian audiences worked. They liked stories about family, about love, about young people, and about the struggle to grow up. Prilly learned to play those stories without making them feel fake. She kept her performances simple and direct, and that simplicity became her strength. She did not overact. She let the story do the work, and she stayed inside it, which is harder than it sounds for a young actress.

Growing up in Tangerang, near Jakarta, also gave her a practical view of fame. She was not living in a bubble. She was living in a real city, with real people, and she went to school, spent time with family, and lived a normal life between jobs. That normality protected her. A child star who lives only in fame can lose touch with real life. Prilly did not lose touch, because she lived a real life alongside her fame, and that balance helped her grow up well.

Ganteng-Ganteng Serigala and Teenage Fame

Prilly Latuconsina’s breakthrough as a teenager came in 2014, in Ganteng-Ganteng Serigala, which means Handsome Handsome Wolves, a television series about high school students, vampires, and werewolves, with a mix of romance, comedy, and fantasy. She played Sisi, a young woman at the centre of the story, and the series became very popular with teenagers across Indonesia. It was a fun, light series, and it made Prilly a star among young audiences, who loved her character, her humour, and her warmth.

The series was a phenomenon among teenagers, and it gave Prilly a fan base that stayed with her for years. Teenage fans are loyal, loud, and loving, and they can make a star feel invincible. Prilly handled that fame with a calm that many people admired. She did not act as if she was above her fans. She thanked them, she worked hard, and she kept her private life mostly private. That calm is part of why she has lasted while other teen stars have faded.

Ganteng-Ganteng Serigala also showed that Prilly could carry a popular series. She was not only a supporting actress. She was a lead, and she held the story together, episode after episode, with a performance that was funny, warm, and believable. That is a hard job, because a television series shoots for months, and an actor must keep a character fresh for a long time. Prilly did it, and she did it while she was still a teenager, which is a remarkable achievement.

The series also taught her how to handle fame among young people. She learned to be friendly, to be accessible, and to be kind, without letting fame take over her life. She continued to go to school, to spend time with family, and to work on other projects, and she kept her life in balance. That balance is one of the reasons she was able to move from television to film, and from acting to producing, without burning out.

Danur and the Horror That Made Her a Film Star

In 2017, Prilly appeared in Danur, a horror film based on a book by Risa Saraswati, about a young woman who can see ghosts and who lives with them as friends. Prilly played Risa, the young woman at the centre of the story, and the film became a huge hit, one of the most successful Indonesian horror films of its time. It was a different kind of role from Sisi in Ganteng-Ganteng Serigala. It was darker, scarier, and more serious, and it asked Prilly to play a woman who is afraid, brave, and lonely, all at the same time.

Danur was based on a true story, as told by Risa Saraswati, a writer who said she could see ghosts as a child. That claim gave the film a special feeling, because audiences knew the story came from a real person’s life. Prilly played Risa with a quiet honesty that made the film feel real, not silly. She did not overact the fear. She let it show in her face, in her voice, and in her body, and the audience felt it with her. That is a hard thing to do in horror, because horror can easily become silly, and Prilly stopped it becoming silly by taking it seriously.

A sequel followed, Danur 2: Maddah, in 2018, and Prilly returned as Risa, continuing the story. The sequel also succeeded, and it gave her a second famous film role to stand beside her television work. She was now known as a horror star, as well as a television star, and that wider fame gave her more choices. She was no longer only Sisi. She was also Risa, and those two characters together gave her a fuller picture in the public mind.

Danur also showed that Indonesian horror could be a big commercial success, and that a young actress could carry it. Prilly was at the centre of that success, and she handled it well. She did not let the horror fame trap her. She used it as a step to the next stage of her career, which would be producing, writing, and building her own work, rather than only acting in other people’s films.

Singing, Writing and a Second Voice

Prilly Latuconsina has always been more than an actress. She is also a singer, and she released songs that were popular with young audiences, including songs about love, hope, and growing up. Her voice is clear and gentle, and her songs sound like a friend talking, not like a star performing. That friendliness is part of why her music connected with listeners. She did not sing to show off. She sang to share feelings, and young Indonesians recognised those feelings as their own.

She is also an author. She wrote books, including 5 Detik dan Rasa Rindu, which means 5 Seconds and a Feeling of Longing, a collection of poems and thoughts about love, loss, and youth. The book was popular with young readers, because it spoke in a simple, honest way about feelings that are hard to put into words. Prilly wrote it as a young woman, not as a distant star, and readers felt that closeness. A book by a star can often feel like a product. Prilly’s book felt like a conversation, and that is why it worked.

Writing also gave her a different kind of voice. An actress speaks words that someone else wrote. An author writes her own words, and that is a more personal act. Prilly’s writing showed that she had thoughts of her own, feelings of her own, and a way of expressing them that was clear and direct. That is a valuable skill, and it is one that helped her later as a producer, when she had to choose stories, work with writers, and shape a film from an idea.

Her work as a singer and a writer showed that she was not only an actress who sang. She was an artist who used different forms to say the same thing: that young people should dream, love, and work hard, and that their feelings matter. A film, a song, and a book are different tools, but they can carry the same message, and Prilly used them all. That is why her public image is wider than a television screen. She is a singer, a writer, and a thinker, as well as an actress.

Kukira Kau Rumah and a More Adult Role

In 2022, Prilly appeared in Kukira Kau Rumah, which means I Thought You Were Home, a drama about a young man with mental health struggles and a young woman who tries to help him. Prilly played a woman in that story, in a film that was serious, quiet, and thoughtful, and very different from a horror film or a teen series. It was a film about pain, about care, and about the difficulty of helping someone you love, and Prilly played her part with a maturity that showed how much she had grown as an actress.

The film was praised for its honesty about mental health, a subject that is often avoided in Indonesian cinema. Prilly’s performance was central to that honesty, because she played a woman who is not a saviour, but a person who is trying, failing, and trying again. That is a harder role than a hero, because it asks the actor to show doubt, fear, and love at the same time, without making it look easy. Prilly did it, and the film’s success showed that she could carry a serious adult drama, not only a teen story or a horror film.

Kukira Kau Rumah also came at a time when Prilly was in her mid-twenties, and she was thinking about more than acting. She was thinking about producing, about building her own company, and about choosing stories that mattered to her. The film fitted that moment, because it was a story that mattered, about a subject that mattered, and she was part of it as an actress, not only as a star. That is a sign of growth: an actress who chooses a film because it matters, not only because it will make her famous.

The film’s reception showed that audiences were ready to see Prilly as an adult actress, not only as a teenage star. They accepted her in a serious role, and they praised her for it, and that acceptance gave her more freedom to choose adult roles in the future. She was no longer only Sisi or Risa. She was also the woman from Kukira Kau Rumah, and those three roles together gave her a career that was wide, varied, and adult.

Producing Her Own Films

One of the most important steps in Prilly Latuconsina’s career was becoming a producer. She founded her own production company, Sinemaku Pictures, and she began to produce films, including films in which she also acted. Producing is a different kind of work from acting. An actor worries about one character. A producer worries about money, schedules, writers, directors, and whether the film will ever be finished at all. Prilly took on those worries because she wanted to tell stories that mattered to her, in her own way.

Her work as a producer showed a new side of her: a businesswoman, a leader, and a person who could make decisions. She chose stories, she hired people, she managed budgets, and she learned how a film is made from the first idea to the last screening. That is a hard education, and it is one that many actors never get. Prilly got it, and she used it to build a company that could make films for young Indonesians, with young voices, and with stories that felt true.

Producing also gave her a life that did not depend on the next acting offer. An actress who only acts can become afraid, because every year without a hit feels like a failure. A producer who also acts can choose her roles more freely, because she does not need every offer. Prilly’s freedom shows in her choices. She has not made a film every year. She has made films when the story was right, and she has lived a full life in between, as a singer, a writer, and a producer. That is a wise way to handle fame.

Her production work has included films that were popular with young audiences, and it has given work to other young actors, writers, and directors. That generosity is important. A star who only thinks about herself will soon be alone. A star who helps others will build a community, and Prilly has built a community around Sinemaku Pictures. That community is part of her legacy, even though she is still young.

Still Popular, Still Building

Today, Prilly Latuconsina is in her late twenties, with a career that is still going, and a public image that is still popular. She continues to act, to produce, to sing, and to write, and she remains one of the most followed young Indonesian stars on social media. Her fans continue to ask about her next film, her next book, and her next project, and those questions show how lasting her impact has been. A star who is forgotten is not asked about. A star who is remembered is asked about for years, and Prilly is remembered, for Sisi, for Risa, and for the many roles that followed.

She has also become a figure that young Indonesians look to when they talk about hard work. Her story shows that a career does not have to be built in one jump. It can be built step by step: child acting, television, horror, singing, writing, producing. Each step taught her something, and each step made the next one possible. Young people who want everything at once should look at Prilly and see that steps work. A step is small, but many steps make a long journey, and Prilly has already walked a long way.

Her story is also a story about growing up in public and surviving it. She started as a child, she was watched, judged, and photographed for more than fifteen years, and she is still here, still working, still respected. That survival is not an accident. It comes from choices: choosing good roles, choosing patience, choosing to learn new skills, and choosing to build her own company. Those choices are the real story behind the popular star.

In the end, Prilly Latuconsina’s story is still being written, and that is part of its charm. She is not a finished legend. She is a working actress, singer, writer, and producer in the middle of her life, with a past she can be proud of and a future she can still shape. The girl from Tangerang who became Sisi, Risa, and a producer is still here, still working, and still growing. That is a story worth following, not only for what she has done, but for what she may do next.

What Hard Work Looks Like

Prilly Latuconsina’s career teaches a simple lesson: hard work, done day after day, builds a career that luck alone cannot build. She did not have one lucky break. She had many small breaks, earned by showing up, by learning, and by taking on new skills. A young person who wants a career like hers should not look for a single big chance. They should look for many small chances, and take each one seriously, because many small chances add up to a large life.

Her career also teaches that learning new skills is not a distraction. It is a strength. She learned to sing, to write, and to produce, and each of those skills made her a better actress, because it gave her a wider view of how stories are made. An actress who only acts sees only one part of a film. An actress who also produces sees the whole film, and that wider view makes her work better. Prilly’s wider view is one of the reasons she has lasted.

Books, Poetry and Young Readers

The book arrived when Prilly was in her early twenties, and it reached readers in a quieter way than a film or a song ever could. A film plays for two hours in a dark room. A small book of poems can sit in a bag, be opened on a bus, and be read again before sleep. That slow, private contact built a different kind of trust between Prilly and her readers. Young people wrote to her about the poems, about missing someone far away, about a first love that had ended, about feeling unsure of the future. They recognised their own feelings in her short, plain lines, and that recognition mattered more to them than any chart position or ticket sale.

For Prilly, the page was private in a way a film set never is. On a set there is a camera, a director, a crew, and a script written by someone else. At a desk there is only the writer and the words, and a line can be crossed out and tried again until it sounds true. That privacy changed how she judged stories later. When she read a script as a producer, she already knew what it felt like to shape a feeling into words, and she could tell when a scene was honest and when it was only loud. Writing had taught her to listen for the quiet truth inside a story.

Her readers also met a side of her that television had never shown. On screen she was Sisi, or Risa, or a singer smiling for a camera. On the page she was a young woman thinking aloud about love, about distance, and about growing up, with no character to hide behind. Some stars would never take that risk, because a poem cannot be blamed on a writer or a director. It belongs to the person who wrote it. Prilly took the risk, and the warm response gave her confidence to speak in her own voice elsewhere too, in interviews, in meetings, and in the rooms where films are chosen.

That confidence is still visible in her work today. A producer who has written poems knows how much a single true sentence is worth, and she protects those sentences when a film is being made. A singer who has written poems knows how to choose words for a song. Prilly’s book did not make her famous. It made her deeper, and depth is a harder thing to earn than fame, and a more useful thing to keep.

My Take:

I admire Prilly Latuconsina for a simple reason: she works hard, and she has worked hard for a very long time. She started as a child, she became a television star as a teenager, she became a horror star, she became a singer, she became an author, and then she became a producer. That is a lot of work for one person, and she did it without stopping for long. I respect that kind of work, because it is not glamorous. It is daily, it is tiring, and it is often invisible, but it is what builds a career that lasts.

What strikes me first is Ganteng-Ganteng Serigala, because it is such a happy memory for so many teenagers. A series about wolves, vampires, and high school love is a fun idea, and Prilly played Sisi with a warmth that made it work. She was a teenager, she was funny, and she was believable, and that is not easy in a fantasy series. Fantasy can easily become silly, and the only way to stop it becoming silly is to play it honestly. Prilly played it honestly, and the audience loved her for it. I think about that series with kindness, because it gave many young Indonesians a happy memory of growing up.

Danur is the film that made me take her seriously as a film actress. Playing Risa, a young woman who can see ghosts, is a hard job, because it asks you to be afraid and brave at the same time, and to do it without making the audience laugh. Prilly did it, and she did it well, and the film became a hit. What I liked most was not the scares. It was the quiet moments, when Risa is alone with her ghosts, and she is not afraid, because they are her friends. That quiet, that acceptance, is a beautiful idea, and Prilly played it with a gentleness that stayed with me. A horror film that is also a film about friendship is a rare thing, and Danur is that rare thing.

Her singing and her writing are the parts of her story I enjoy most, because they show a person rather than a performance. Her songs are soft and friendly, the kind of songs a young listener can hum on the way home. Her book of poems, 5 Detik dan Rasa Rindu, is even more personal, because a poem has no costume, no lighting, and no director to hide behind. When I read about young readers loving that book, I understood something about Prilly: she is willing to be seen without protection, and that willingness is rare in a famous person. Most stars keep a wall between themselves and the public. She let a few poems through the wall.

Kukira Kau Rumah is a film I respect for its honesty about mental health. It is a difficult subject, and Prilly played her part with a maturity that showed how much she had grown. She was no longer a teenage star. She was a young woman playing a young woman who is trying to help someone she loves, and who is failing, and trying again. That is a hard role, and she played it well. I think films about mental health matter, because they help people talk about feelings they often hide. Prilly helped start that conversation, and that is a valuable thing to do.

Producing is the step in her career that impresses me most, because it is the step that looks forward rather than back. She founded Sinemaku Pictures, and through it she began choosing stories, hiring writers and directors, and giving work to other young people. That is a generous way to use fame. It is easy to take every good role for yourself. It is harder to build a place where other people can work, and Prilly chose the harder path. I wish more successful people thought that way. Taking is simple. Giving takes planning, money, and patience, and Prilly gives.

I also think about her as a child star who grew up well, because that is rare. Many child stars do not grow up well. They burn out, they get tired, or they get lost. Prilly did not burn out. She grew, she learned new skills, and she kept working. That is a credit to her family, to her work ethic, and to her own character. She did not let fame stop her from learning. She learned to sing, to write, and to produce, and each new skill made her stronger. That is a lesson for any young person who becomes famous early: keep learning, keep growing, and do not let fame be the only thing you have.

If I am honest, I do not know Prilly as a person, and I should not pretend that I do. I do not know what she is like at home, or what she worries about, or what she hopes for. But I can see her public choices, and they show a pattern: she works hard, she learns new things, and she helps others. That pattern is enough for me to respect her. I do not need gossip to respect an artist. I need only to watch the work, and the work is there, in television, in film, in songs, in books, and in a production company.

One lesson I take from her story is about steps. She did not become a producer in one jump. She was a child actress, then a television star, then a horror star, then a singer, then a writer, then a producer. Every stage added a skill, and every skill opened the next door. Young people who want everything at once should look at Prilly and notice how slow and steady her climb was. A single step looks small, but many steps, taken year after year, carry a person a very long way, from Tangerang to Jakarta, from a child on a set to a producer choosing her own films.

Another lesson is about hard work. She did not have one lucky break. She had many small chances, and she took each one seriously: showing up on time, learning the lines, learning a new skill, saying yes to a small job that taught her something. That is a hopeful message, because it means a career is not only about luck. It is about work, and work is something you can control. If you work hard, day after day, you can build a life, even if you are not the luckiest person in the room. Prilly proves that, and I am glad she does.

When I think about her future, I feel hopeful rather than worried. She is in her late twenties, she has a production company, she has experience, and she has a clear sense of who she is. She could produce more films, she could act in more serious dramas, she could write more books, or she could do all three. Whatever she chooses, I think she will choose it well, because she has chosen well before. I hope she keeps choosing well, and I hope she keeps working, because Indonesian cinema is better with her in it.

In the end, my feeling about Prilly Latuconsina is warm and admiring. I started by seeing a popular young star from a television series, and I ended by seeing a hardworking actress, singer, writer, and producer who has built a career step by step, with patience and effort. That is a good story, and it is a story that is still being written. I look forward to its next chapter.

I also think about her poetry, because it is the part of her story that is easiest to miss, and it is one of the most personal parts. She wrote 5 Detik dan Rasa Rindu, a book of poems about love and longing, and she wrote it as a young woman, not as a distant star. A poem is a brave thing to share, because it carries your own feelings in your own words, with no character to hide behind. Prilly shared her poems, and young readers loved them, because the words were simple and honest, and they spoke about feelings that are hard to say out loud. That is a gift, and it is one that many actors do not have.

There is a lesson in her writing for any young person who wants to be an artist: learn to use words. An actress speaks lines written by others. An author finds her own lines, and that is a more personal act, because it shows what you think and how you see the world. Prilly learned to use words, in her books, in her songs, and in her films, and that skill made her a better actress, because it gave her a wider view of how stories are made. A performer who only acts understands one corner of a film. A performer who also writes understands the whole picture, and that wider view makes her work better.

I also think about her as a producer again, because it is the step that shows she is thinking about the future, not only about herself. Through Sinemaku Pictures she now decides which stories get made, which writers get a chance, and which young actors get their first role. That is a generous use of fame, and it is one that many stars never learn. A famous person who thinks only of herself will soon find herself alone. A famous person who helps others will build a community, and Prilly has built a community, around her company, around her films, and around her books. I wish more successful people thought that way.

If I could give one piece of advice to a young person who admires Prilly, it would be this: learn a new skill every few years. She learned to act, then to sing, then to write, then to produce, and each new skill made her stronger, and gave her more choices. A person with one skill has one choice. A person with many skills has many choices, and many choices mean freedom. Prilly has freedom, because she has many skills, and she built that freedom herself, step by step, over many years. That is a good way to build a life, in acting or in any job.

Finally, I want to say that I am impressed by Prilly’s longevity, because she started as a child, and she is still here, still working, still learning, in her late twenties, with more than fifteen years in the entertainment world. That is a long time to stay in a hard business, and it is a sign of a person who works hard, who learns, and who does not give up. I hope she keeps working, keeps writing, and keeps producing, because Indonesian cinema is better with her in it, and young Indonesians are better for having her as an example.

I also think about the way Prilly is seen by young Indonesians, because her story is not only about films and books. It is about a girl who started as a child actress, and who grew up in public, and who grew up well, despite the pressure, and that is a rare thing. Many child stars do not grow up well. They burn out, they get tired, or they get lost, and Prilly did not. She grew, she learned new skills, she became a singer, a writer, and a producer, and she kept working, year after year. That is a credit to her family, to her work ethic, and to her own character, and it is one of the reasons I respect her so much.

There is another thought that stays with me about her: she is a person who builds things, not only a person who performs. She built a production company, she built a film list, she built a book, and she built a community of young artists around her. That building is a different kind of work from acting, and it is a harder kind, because it asks for decisions, for money, and for responsibility. Prilly took on that responsibility, and she did it well, because she wanted to tell stories that mattered to her, in her own way, and to give work to other young people. That generosity is important, and it is one that many stars never learn.

I also wonder about the films she has not yet produced, because I think her best work as a producer is still ahead of her. She is in her late twenties, she has experience, she has a company, and she has a clear sense of what stories matter to young Indonesians. She could produce a film about a young woman, about a family, about a dream, or about a hard choice, and I think she would produce it well, because she understands young audiences, she understands stories, and she understands hard work. I hope she does, because Indonesian cinema needs producers like her, producers who are young, thoughtful, and willing to take risks.

One more thing I admire is how Prilly handled the Danur films, because horror can trap an actress. When a horror film becomes a hit, producers want the same film again and again, with the same scares and the same face. Prilly did not let Risa become a cage. She returned to the character when the story was worth telling, and in between she chose other kinds of work: a serious drama, a song, a book, a production. That is how a person stays free inside a successful franchise. She used the fame that Danur gave her as a tool, not as a master, and that is a wise way to handle a hit. Many young actors let one hit decide their whole career. Prilly let her hit open doors, and then she walked through them in her own direction.

I also think about what her story means for girls in smaller Indonesian towns, because Prilly came from Tangerang, not from a famous family in central Jakarta, and she built her career in full view of the public. A girl watching her today can see a path that does not depend on being born rich or being discovered by luck. It depends on showing up for auditions, on learning lines, on finishing schoolwork between shoots, on writing poems at night, and on saving enough trust with audiences that they follow you from one kind of work to another. That path is long and tiring, and it is also honest, and I think that honesty is why so many young Indonesians feel close to her. She did not appear from nowhere. She grew in front of them, year after year, and they grew with her.

If a teenager asked me what to copy from Prilly, I would not tell them to copy her films or her songs. I would tell them to copy her habits. Learn one new skill every few years, and learn it properly, not only enough to show off. Keep a notebook, or a phone full of notes, and write down what you feel, because feelings written down become material for songs, books, and films. Help other people when you get a little power, because the friends you help today become the team that stands beside you tomorrow. And be patient with your own growth, because Prilly’s career did not arrive in one year. It arrived in more than fifteen years of small, steady work, and it is still arriving, one project at a time.

Finally, I want to say that Prilly’s story gives me hope for young people who want a career in entertainment. She shows that a career does not have to be built in one jump. It can be built step by step, with many small skills, many small choices, and many small breaks, earned by showing up, day after day. That is a hopeful message, because it means a career is not only about luck. It is about work, and work is something you can control, if you are willing to do it, every day, for many years. Prilly did it, and she is still doing it, and I am glad she is.

Frequently Asked Questions

When was Prilly Latuconsina born?

Prilly Latuconsina was born on 15 October 1996 in Tangerang, Banten, near Jakarta, Indonesia. She began acting as a child and became a television star as a teenager.

What series made Prilly Latuconsina famous?

She became widely known through Ganteng-Ganteng Serigala in 2014, a television series about high school students, vampires, and werewolves, in which she played Sisi. The series was very popular with teenagers across Indonesia.

What role did Prilly Latuconsina play in Danur?

In Danur in 2017 she played Risa Saraswati, a young woman who can see ghosts and lives with them as friends, based on a book by Risa Saraswati. The horror film was a huge hit, and she returned for the sequel Danur 2: Maddah in 2018.

Is Prilly Latuconsina also a singer and author?

Yes, she has released songs popular with young audiences, and she wrote a book, 5 Detik dan Rasa Rindu, a collection of poems and thoughts about love, longing, and youth that was popular with young readers in Indonesia.

What is Sinemaku Pictures?

Sinemaku Pictures is the production company founded by Prilly Latuconsina, through which she produces films and gives work to young actors, writers, and directors. It marked her move from acting only to producing her own stories.

What is Prilly Latuconsina doing now?

She is in her late twenties and remains active as an actress, singer, writer, and producer in Indonesia. Her recent work includes the drama Kukira Kau Rumah in 2022, and her fans continue to follow her next films and production projects.