Reza Servia

Reza Servia’s filmography is honestly a wild little ride. The guy’s been popping up in all sorts of places, stretching from the offbeat, slapstick world of Jagoan Instan (2016), where superheroes are more likely to trip over their own capes than save the day, all the way to the chaos-soaked streets in This City Is a Battlefield (2025). Ashiap Man (2022)? Yeah, that one’s just as quirky as it sounds—kind of a tongue-in-cheek jab at the whole superhero craze, but with a lot more local flavor and way less CGI nonsense. But it’s not just about the laughs or spectacle. Servia’s projects tend to carry this undercurrent of social commentary. Like, Jagoan Instan isn’t just goofy masks and silly villains; it pokes fun at the idea of instant success, showing how ridiculous things can get when shortcuts replace real effort. Then you’ve got This City Is a Battlefield, which just flips the mood completely. Suddenly, it’s gritty, tense, and packed with that heavy, atmospheric drama—urban survival, heartbreak, the works. You can practically taste the sweat and exhaust fumes. Ashiap Man, though, is where Servia really lets loose. There’s a lot of slapstick, sure, but there’s also this heart-on-your-sleeve message about ordinary folks stepping up when life gets messy. It’s chaotic, it’s funny, and it never takes itself too seriously, which is honestly refreshing. Whether he’s behind the camera or producing, Servia’s stuff feels like it’s always got one foot planted in reality, the other somewhere off in left field. Not a bad combo, honestly.