Vino G. Bastian: The Life Story Behind Indonesia's Versatile Star

Vino G. Bastian is one of the most versatile actors in Indonesia, and versatile is a word that fits him well. He has played a romantic lead, a rock star, a comedy hero, a martial arts hero, and a father with a child’s mind, and he has played them all in a way that felt true. He did not stay in one kind of film. He moved, he tried, and he learned, and that movement is the reason his career has lasted for more than twenty years. He is not a star from one season. He is a star from many seasons, and he is still working.

He was born on 24 March 1982 in Jakarta, Indonesia, as Vino Giovanni Bastian. His father was Bastian Tito, a film director known for the Wiro Sableng films, about a martial arts hero with a distinctive laugh and a strong sense of justice. Growing up as the son of a director, Vino saw film sets, actors, and cameras from a young age, but he did not simply walk into acting because of his father. He had to earn his place, and he did it by working, by learning, and by proving that he could act, not only that he had a famous name.

What makes his story interesting is that he could easily have lived in his father’s shadow. Many children of famous directors do, and they never escape it. Vino did escape it, not by rejecting his father, but by building a career that was his own, with roles that were different from his father’s films, and with a style that was his own. He later returned to his father’s world, when he played Wiro Sableng himself, but by then he was already a star in his own right, and the return felt like a homecoming, not a favour.

Growing Up with Wiro Sableng

Vino G. Bastian grew up in Jakarta, in a home where film was not a distant dream but a daily reality. His father, Bastian Tito, directed films, and Vino saw how films were made, how actors worked, and how a story could be told on screen. That early view gave him a head start, but it also gave him a burden. People would always ask if he was only famous because of his father, and he would always have to prove that he was more than a name. He accepted that burden, and he carried it with a quiet determination that many people admired.

As a young man, he was interested in acting, but he did not rush into it. He studied, he lived a normal life, and he thought about what he wanted to do. He was not a child star. He entered acting as a young adult, with a clear sense of what he wanted, and that slower start gave him a stronger base than a sudden childhood fame would have. He knew what film was, because he had grown up with it, and he knew what it asked of an actor, because he had watched actors work.

His father’s Wiro Sableng films were a large part of Indonesian popular culture. Wiro was a hero with a white beard, a loud laugh, and a martial arts skill that made him a legend, and generations of Indonesians grew up watching him. Vino grew up with that hero in his home, and he knew the character well, but he did not play him at first. He played other characters, in other films, and he built a career that was separate from Wiro, so that when he finally did play Wiro, it would be a choice, not a duty.

The Jakarta of the 1980s and 1990s, where Vino grew up, was a city full of change, and a boy growing up there could see many different lives at once. Vino saw them, and he also saw the film world from the inside, which gave him a double view. He knew the glamour, and he knew the hard work behind it. That double view is useful for an actor, because it stops you from believing your own fame. Vino never seemed to believe his own fame. He seemed to believe in work, and that belief has carried him for twenty years.

30 Hari Mencari Cinta and a First Lead

Vino G. Bastian’s film debut as a leading man came in 2004, in 30 Hari Mencari Cinta, which means 30 Days to Find Love, a romantic comedy about a young man who must find love in thirty days. He played the lead, and the film introduced him to Indonesian audiences as a handsome, charming young actor who could carry a romance. It was a light film, and it did what it set out to do: it made audiences smile, it made Vino famous, and it showed directors that he could be a leading man.

A debut as a romantic lead can be a trap. An actor who is only known for romance can be kept in romance forever, and can find it hard to move into serious roles. Vino avoided that trap by choosing different roles in the years that followed. He appeared in dramas, in comedies, and in films that asked for more than a smile, and he showed that he was willing to work hard to be taken seriously. That willingness is one of the reasons his career has lasted.

In the years after 30 Hari Mencari Cinta, he worked steadily in Indonesian films, including Catatan Akhir Sekolah in 2005, and other projects that kept him in the public eye. He learned how a set worked, how to work with different directors, and how to keep a performance honest even when the schedule was tight. Those years were not glamorous in the way people imagine film life to be. They were busy, tiring, and full of small lessons, and Vino learned them well.

What the early films also did was teach the Indonesian public to trust him. When his name appeared on a poster, people expected a good performance, not only a pretty face. That trust is hard to earn and easy to lose, and Vino kept it by refusing to treat acting as a simple job. He treated each role as a person to understand, and that attitude, which sounds simple, is rare in a busy film industry, and it is one of the reasons he lasted.

Radit dan Jani and a Deeper Drama

In 2008, Vino appeared in Radit dan Jani, a drama about a young couple, Radit and Jani, who live a free, bohemian life in Jakarta, with music, love, and a refusal to follow the rules. Vino played Radit, a young man who is idealistic, romantic, and a little bit lost, and the film became one of the most loved Indonesian films of its year. It was not a simple romance. It was a film about young people who want to live differently, and about the price of that difference, and Vino played it with a warmth and a sadness that made audiences believe in Radit.

The film was directed by Upi, and it was based on a story that many young Indonesians recognised: the wish to be free, to make art, to love, and to live without a plan. Vino’s performance held the centre of that story, and he did it without turning Radit into a hero or a fool. He played him as a real person, with dreams and mistakes, and that honesty is why the film still has fans. It feels like a real story about real young people, not a pretend one, and Vino’s part in it feels real too.

Radit dan Jani also showed that Vino could handle a serious drama, not only a romantic comedy. He was no longer only the handsome lead from 30 Hari Mencari Cinta. He was also Radit, a young man with a difficult life, and those two roles together gave him a wider range than most young actors have. Directors noticed, and the offers that followed were bigger and more varied, including roles that asked him to sing, to fight, and to be funny, all in different films.

The film’s success also gave him a different kind of fame. He was now known as an actor who could do drama, and that gave him a standing in Indonesian cinema that went beyond popularity. He was an actor who could be trusted with a serious story, and that trust is valuable, because it opens doors to better films, better directors, and better roles. Vino had earned it, and he used it well.

Warkop, Chrisye and Changing Faces

In 2016, Vino appeared in Warkop DKI Reborn: Jangkrik Boss!, a comedy that brought back the famous Warkop DKI trio, with Vino playing Kasino, one of the three comedians. The film was a huge commercial success, one of the biggest Indonesian films of its year, and it showed that Vino could do comedy, and that he could make audiences laugh. Playing Kasino was a responsibility, because the original Warkop films were loved by generations, and audiences would judge any new version carefully. Vino played Kasino with humour and warmth, and the film worked.

A year later, in 2017, he played a very different role: Chrisye, in the film Chrisye, about the life of the famous Indonesian singer Chrisye, known for his gentle voice and his classic songs. Vino played the singer, and he had to sing, to perform, and to show a man who was quiet, talented, and loved by millions. It was a far cry from Kasino, and it showed how wide his range had become. He could be funny in one film, and serious and musical in the next, and he could do both well.

In 2018, he returned to his father’s world, when he played Wiro Sableng in Wiro Sableng 212, a new version of the martial arts hero his father had made famous. The film was a big, exciting action film, with fights, humour, and a hero who laughs loudly and fights bravely. Vino played Wiro with a joy that felt personal, because he had grown up with the character, and he knew him well. It was a homecoming, and it was a success, and it showed that he could carry a big action film as well as a drama or a comedy.

Those three films, in three years, show the range that defines Vino’s career. Comedy, biography, and martial arts, all in a short time, all played well, all successful. That is a rare achievement, and it is one that few Indonesian actors can match. Vino did it by working hard, by learning each role from the inside, and by refusing to stay in one safe corner. He moved, he tried, and he grew, and his audience grew with him.

Miracle in Cell No. 7 and a Father’s Love

In 2022, Vino G. Bastian appeared in Miracle in Cell No. 7, an Indonesian remake of a popular Korean film, about a father named Dodo who has the mind of a child, and who is wrongly sent to prison, where he is loved by his fellow prisoners and by his young daughter. Vino played Dodo, and the role asked him to play a man who is simple, kind, and loving, in a story that is both funny and deeply sad. It was one of the hardest roles of his career, because it asked him to be innocent without being silly, and to be sad without being heavy, and he did it with a gentleness that moved audiences across Indonesia.

The film became a huge commercial success, one of the most watched Indonesian films of 2022, and it made many viewers cry. It told a story about a father’s love, about injustice, and about kindness in a hard place, and Vino was at its centre. He played Dodo as a real person, not as a caricature, and that honesty is why the film worked. Audiences believed in Dodo, they loved him, and they felt his pain when he was separated from his daughter. That is a powerful thing for an actor to achieve, and Vino achieved it.

Playing Dodo also showed how much Vino had grown as an actor. He was forty, he had been famous for nearly twenty years, and he was now playing a father, a role that asked for maturity, patience, and love. He played it well, and the film’s success proved that he could carry a serious, emotional drama, not only a comedy or an action film. He was no longer only a romantic lead. He was a leading man who could make audiences feel deeply, and that is a rare and valuable skill.

The film also connected him with a new audience, including families, older viewers, and people who do not usually watch action films. It showed that his appeal was wider than one age group, and that he could speak to many different people. That wider appeal is part of why his career has lasted. He is not only a star for young people. He is a star for families, for parents, and for anyone who loves a good story about a father’s love.

Marriage, Family and a Steady Life

In 2012, Vino G. Bastian married Marsha Timothy, an actress, in a ceremony that was widely reported in Indonesia. He was thirty, she was also a well known actress, and their marriage marked a new stage in both their lives. They later had a daughter, and Vino became a father in real life, as well as on screen. For a star, marriage and fatherhood can change the way the public sees you, and it can change the roles you are offered. Vino handled the change with the same calm he had shown in his work. He did not disappear, and he did not make his family into a show. He shared what he wanted to share, and he kept the rest private.

His married life also gave him a new kind of depth as an actor. A man who is a father in real life understands a father’s love differently from a man who is not, and Vino’s performance as Dodo in Miracle in Cell No. 7 carried that understanding. He played a father who loves his daughter, and he played it with a feeling that felt lived, not acted, and audiences noticed it. That is a benefit of growing older as an actor: your life gives you more to draw on, and your performances become richer.

He has continued to work after marriage, in film, in television, and in public life, and he remains one of the most respected Indonesian actors. He has not rushed into a dozen films at once. He has chosen his projects with care, and he has kept his focus on work that matters to him. That patience fits the pattern of his whole career. He has never been in a hurry to do everything at once. He has done one thing well, then the next, then the next, and that slow, steady way of working has built a career that is strong and lasting.

His family life also shows a different side of his public image. He is no longer only a young romantic lead. He is a husband, a father, and a man in his forties, with a life beyond film. That maturity is visible in his recent work, which has become more thoughtful, more varied, and more adult. He is playing fathers, leaders, and men with adult problems, and he is playing them well, because he is living an adult life himself.

A Versatile Star Who Keeps Working

Today, Vino G. Bastian is in his early forties, with a career of more than twenty years, and he is still working, still choosing, and still surprising audiences. He has played a romantic lead, a bohemian lover, a comedian, a singer, a martial arts hero, and a father with a child’s mind, and he has played them all well. That range is the point of his career. He did not let one success trap him. He kept moving, and he kept learning, and that movement is why he is still relevant.

His story also shows how Indonesian cinema has changed. When he started, in 2004, Indonesian films were growing again, and romantic comedies were popular. By 2016, big comedies and action films were popular. By 2022, emotional dramas based on Korean films were popular. Vino was there for each of those stages, and he grew with them. He did not stay in the cinema of 2004. He moved with it, and that movement is why he is still here.

For young Indonesian actors, Vino is a useful example. He shows that you can start as a romantic lead, you can try comedy, drama, action, and biography, and you can still be yourself. You do not have to choose one kind of film. You can do many kinds, as long as you work hard at each one. You do not have to be loud to be noticed. You can be steady, and steady can last longer than loud. That is a lesson worth remembering.

In the end, Vino G. Bastian’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 son of Bastian Tito who became his own star, who played Wiro, Chrisye, Kasino, and Dodo, 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 Versatility Really Means

Vino G. Bastian’s career teaches a clear lesson: versatility is not about doing many things badly. It is about doing many things well, one at a time, with care. He played comedy, then he played drama, then he played action, then he played a father, and each time he gave the role his full attention. That is why his film list is strong. It is not a list of many forgettable films. It is a list of different films, each played well, and that is a better list than a long list of the same film repeated.

His career also teaches that a famous name can be a help and a burden, and that the way to handle it is to work. Vino could have lived in his father’s shadow, or he could have rejected his father. He did neither. He built his own career, and then he returned to his father’s hero, as a star in his own right. That is a wise way to handle a legacy: respect it, build your own, and then return to it when you are ready.

Comedy Timing and the Warkop Legacy

Playing Kasino in Warkop DKI Reborn was a bigger responsibility than it might look. The original Warkop DKI films, with Dono, Kasino, and Indro, are loved by generations of Indonesians, and their jokes, their timing, and their characters are part of the country’s shared memory. A new actor who plays Kasino must respect that memory, while also making the character his own, for a new generation. Vino did that, by studying the original films, by learning Kasino’s humour, and by playing him with a warmth that felt both familiar and new.

Comedy timing is a hard skill. It is about knowing when to pause, when to speak, and when to let a joke land, and it is a skill that cannot be learned from a book. It must be learned by performing, by failing, and by trying again. Vino learned it, in Warkop DKI Reborn, and in other comedies, and he showed that he could make audiences laugh, not only cry or feel. That is a valuable skill, because a comedian who can also do drama is rarer than a dramatic actor who can also do comedy, and Vino is both.

The Warkop films also taught him about ensemble work. A comedy trio is a team, and each member must listen to the others, must react, and must share the laughs. Vino played Kasino as part of a team, with Abimana Aryasatya as Dono and Tora Sudiro as Indro, and the three together made the film work. That teamwork is a sign of generosity, because a star who only wants to be the centre of a comedy will often ruin it. Vino shared the centre, and the film was better for it.

His comedy work also gave him a new audience, including older viewers who loved the original Warkop films, and younger viewers who were discovering them for the first time through his version. That wider audience is valuable, because it connects generations, and it shows that a good joke can travel across time. Vino’s Kasino connected those generations, and he did it with humour, warmth, and respect for the original, which is a difficult balance to strike, and one that he struck well.

My Take:

I think Vino G. Bastian is one of the most underrated actors in Indonesia, and I say underrated because he makes hard things look easy. Playing a romantic lead, a comedian, a singer, a martial arts hero, and a father with a child’s mind, all in one career, is very hard, and Vino does it with a calm that makes it look simple. It is not simple. It takes work, it takes learning, and it takes a willingness to be different in each film. I respect that willingness more than I can say, because many actors find one thing they are good at and never leave it. Vino leaves it again and again.

What strikes me first is his background. He is the son of Bastian Tito, the director of Wiro Sableng, and that could have been a trap. A son of a famous director can easily become a shadow, always compared to his father, always asked if he is only famous because of his name. Vino did not become a shadow. He built his own career, with roles that were different from his father’s films, and he built it so well that when he finally played Wiro himself, it felt like a homecoming, not a favour. That is a smart way to handle a legacy. Do not run from it. Build your own, and then return to it when you are ready.

30 Hari Mencari Cinta is a film I think about with kindness. It was a light romantic comedy, and light films are often dismissed, but they matter to the people who watch them. A young person who sees a love story on screen feels less alone, and Vino gave many young Indonesians that feeling. He played the lead with charm and warmth, and he did it well. I do not think a debut needs to be a masterpiece. It needs to be honest, and that film was honest, and Vino was honest in it. That is enough, and it is more than many debuts manage.

Radit dan Jani is the film that made me take him seriously as a dramatic actor. Radit is a young man who wants to live freely, to make art, to love, and to refuse the rules, and Vino played him with a warmth and a sadness that felt real. I think about Radit often, because Radit is a boy many people know: a boy who dreams, who loves, and who learns that dreams have a price. Vino 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 dismissed as a dreamer. He showed that a dreamer is also a person, with feelings, with pain, and with hope.

Warkop DKI Reborn is a film I enjoy for a different reason. Playing Kasino is a responsibility, because the original Warkop films are loved by generations, and audiences would judge any new version carefully. Vino played Kasino with humour and warmth, and the film became a huge hit. What I liked most was not the jokes. It was the way he played Kasino as a real person, not as a copy of the original. He did not try to be the old Kasino. He tried to be a new Kasino, for a new generation, and that is a brave choice. A copy is safe. A new version is risky, and Vino took the risk, and it worked.

Chrisye is the role that surprised me most. Playing a famous singer is a hard job, because audiences know the singer’s voice, his face, and his songs, and they will compare you to him. Vino played Chrisye with a quiet gentleness that fitted the singer, and he sang, he performed, and he showed a man who was talented and humble. I think about Chrisye’s songs often, because they are gentle and honest, and Vino’s performance was gentle and honest too. That matching of actor and character is a rare thing, and it shows that Vino chooses his roles with care.

Wiro Sableng 212 is a film I think about with warmth, because it is a homecoming. Vino grew up with Wiro, he knew the character, and he played him with a joy that felt personal. He laughed loudly, he fought bravely, and he carried the film with a happiness that was infectious. I think that joy came from his childhood, from growing up in a home where Wiro was not only a film character but a part of family life. That personal feeling made the performance stronger, and it is a reminder that the best performances often come from a place that is close to home.

Miracle in Cell No. 7 is the film that moved me most. Playing Dodo, a father with the mind of a child, is a very hard role, because it asks you to be innocent without being silly, and sad without being heavy. Vino did it, and he did it with a gentleness that made audiences cry. I cried, and I am not ashamed to say it, because the film is about a father’s love, and a father’s love is a powerful thing. Vino played Dodo as a real person, not as a caricature, and that honesty is why the film worked. He showed that a man who is simple can also be wise, in the way that matters most: in love.

I also think about his marriage and his fatherhood, because they give his recent work a depth that his early work did not have. A man who is a father in real life understands a father’s love differently, and Vino’s performance as Dodo carried that understanding. He played a father who loves his daughter, and he played it with a feeling that felt lived, not acted. That is a benefit of growing older as an actor: your life gives you more to draw on, and your performances become richer. I hope he keeps drawing on his life, because it makes his work better.

If I am honest, I do not know Vino as a person, and I should not pretend that I do. I do not know what he is like at home, or what he worries about, or what he hopes for. But I can see his public choices, and they show a pattern: he chooses different roles, he works hard, and he keeps growing. That pattern is enough for me to respect him. I do not need gossip to respect an artist. I need only to watch the work, and the work is there, in film after film, decade after decade.

One lesson I take from his story is about versatility. He did not stay in one kind of film. He tried comedy, drama, action, biography, and a father’s love, and he tried each one well. That is a lesson for any young actor: do not let one success define you. Try different things, learn from each one, and let your film list be varied. A varied list is a sign of a real career, and Vino’s list is varied, and it is strong.

Another lesson is about legacy. He could have lived in his father’s shadow, or he could have rejected his father. He did neither. He built his own career, and then he returned to his father’s hero, as a star in his own right. That is a wise way to handle a legacy: respect it, build your own, and then return to it when you are ready. I think many children of famous people should learn from that. You do not have to run from your family. You can build your own, and then you can come home.

In the end, my feeling about Vino G. Bastian is warm and admiring. I started by seeing a handsome young lead from a romantic comedy, and I ended by seeing an actor who has played a lover, a comedian, a singer, a martial arts hero, and a father, and who has done it with honesty and patience. That is a career worth respecting, and it is a story worth telling. If I could say one thing to a young person who admires him, it would be this: do not only admire his face. Admire his range. The face was given to him. The range was built by him, film by film, and the range is what made his story last.

I also think about his comedy, because it is easy to forget how hard comedy is. Playing Kasino in Warkop DKI Reborn was a responsibility, because the original Warkop films are loved by generations, and audiences would judge any new version carefully. Vino played Kasino with humour and warmth, and he did it without copying the original. He made a new Kasino, for a new generation, and that is a brave choice. A copy is safe. A new version is risky, and Vino took the risk, and it worked, and the film became a huge hit. I respect that risk, because it shows that he is not afraid to be judged, and that he trusts his own talent.

There is another thing I want to say about his father, because it is a part of his story that I keep returning to. Bastian Tito directed Wiro Sableng, and Vino grew up with that hero in his home. He could have lived in his father’s shadow, or he could have rejected his father, but he did neither. He built his own career, with roles that were different from his father’s films, and then he returned to Wiro, as a star in his own right. That is a wise way to handle a legacy, and it is one that many children of famous people should learn from. You do not have to run from your family. You can build your own, and then you can come home, when you are ready, and the homecoming will be sweeter for the wait.

I also think about Miracle in Cell No. 7 again, because it is a film that moved me deeply, and I want to say why. It is about a father who loves his daughter, who is wrongly sent to prison, and who is loved by his fellow prisoners. Vino played Dodo with a gentleness that made audiences cry, and I cried too, because the film is about a love that is simple and true, and about a kindness that survives in a hard place. That is a powerful message, and Vino carried it well, with a performance that was honest, not sentimental. He did not try to make the audience cry. He played Dodo honestly, and the audience cried because the story was true, in the way that matters most: in feeling.

If I could give one piece of advice to a young actor who admires Vino, it would be this: try many things. Do not let one success define you. Try comedy, try drama, try action, try biography, and learn from each one. A varied film list is a sign of a real career, and Vino’s list is varied, and it is strong. He did not stay in one kind of film. He moved, he tried, and he grew, and his audience grew with him. That is a good way to build a life, in acting or in any job: try, learn, and grow, one role at a time.

Finally, I want to say that I am glad Vino is still working, still choosing, and still surprising audiences, in his early forties, with more than twenty years behind him. He is not a finished legend. He is a working actor, with a past he can be proud of and a future he can still shape. I hope he keeps shaping it well, with films that are funny, serious, and moving, because Indonesian cinema needs actors like him, actors who are versatile, honest, and willing to learn.

I also think about the way Vino is seen by younger actors, because his career is a kind of map for them. He started as a romantic lead, he tried comedy, drama, action, and biography, and he did each one well, and he is still working, in his early forties, with more than twenty years behind him. That map shows young actors that they do not have to choose one kind of film. They can try many kinds, as long as they work hard at each one, and they can have a long career, if they are patient, if they are honest, and if they keep learning. That is a useful map, and it is one that many young Indonesian actors are following, whether they know it or not.

There is another thought that stays with me about him: he is a man who has grown older in public, from a young romantic lead to a husband, a father, and a leading man in his forties, and he has done it with grace. Many actors try to stay young forever, and they fail, because time moves on, and audiences can see it. Vino did not try to stay young forever. He let his roles grow older with him, from a boy in love to a father, to a hero, to a man with a child’s mind, and each stage brought a different kind of strength. That honesty about ageing is rare, and it is attractive, because it shows that a man’s story does not end when he is young. It continues, and it can still be interesting.

I also think about Warkop DKI Reborn, because stepping into the shoes of Dono, Kasino, and Indro is one of the bravest things an Indonesian comedian can do. Those three men are legends, and their jokes are part of the country’s memory. Vino played Dono, and he did it without copying him line by line. He found his own way to be funny inside a famous character, and audiences accepted him, and the film became a hit. That acceptance is a sign of trust: the public trusted Vino with a treasure, and he did not drop it. A comedy legacy is a heavy thing to carry, and he carried it lightly, with timing, warmth, and respect.

Miracle in Cell No. 7 is the film I think about when I want to understand Vino’s heart as an actor. He plays a father with an intellectual disability who is wrongly sent to prison, and who loves his daughter with a pure, simple love. It is a role that could easily become sentimental or careless, but Vino played it with care, and the film moved millions of Indonesians to tears. A role like that asks an actor to be gentle, honest, and brave, all at once, and Vino was. I think that film, more than any other, shows why he has lasted: he is not afraid of a role that asks him to be soft, and softness, played honestly, is a kind of strength.

Frequently Asked Questions

When was Vino G. Bastian born?

Vino G. Bastian was born on 24 March 1982 in Jakarta, Indonesia. His father was Bastian Tito, a film director known for the Wiro Sableng films, and Vino grew up around film sets before becoming an actor himself.

What was Vino G. Bastian’s first leading film?

His first leading film was 30 Hari Mencari Cinta in 2004, a romantic comedy about a young man who must find love in thirty days. The film introduced him to Indonesian audiences as a leading man.

What role did Vino G. Bastian play in Radit dan Jani?

In Radit dan Jani in 2008 he played Radit, a young man who lives a free, bohemian life in Jakarta with his partner Jani, dreaming of art and love while refusing to follow the usual rules. The drama became one of the most loved Indonesian films of its year.

Who did Vino G. Bastian play in Warkop DKI Reborn?

In Warkop DKI Reborn: Jangkrik Boss! in 2016 he played Kasino, one of the famous Warkop DKI comedy trio. The film was a huge commercial success and showed his talent for comedy.

Did Vino G. Bastian play Wiro Sableng?

Yes, in Wiro Sableng 212 in 2018 he played Wiro Sableng, the martial arts hero his father Bastian Tito had made famous. It was a homecoming for him, and the action film was a success.

What is Miracle in Cell No. 7?

Miracle in Cell No. 7, released in 2022, is an Indonesian remake of a Korean film in which Vino plays Dodo, a father with the mind of a child who is wrongly sent to prison. The emotional drama about a father’s love became one of the most watched Indonesian films of 2022.