Netflix is bringing The Ghost and the Gun to subscribers in the United States, Canada, the United Kingdom and several other markets from 28 November 2026. The film already had a theatrical window in Malaysia, where it opened in late August during National Day week with MSK Cinemas distributing.
An international production, built in Bali
The film is directed by Singapore-based filmmaker Anshul Tiwari and written by Abhi Kumar. Its producing team spans Indonesia, the UK, the US, Denmark and Bangladesh; FilmsPositive, ANIMA, Stapleview, Limbo Pictures and Misfit Productions are among the attached companies.
Production took place at Viking Sunset Studios in Bali. Rather than shooting across multiple locations, the team reconstructed post-war Malaya on 14 historical sets. That studio approach is worth noting because it gives a period production control over costumes, weapons and environment while keeping the logistics tighter than a multi-country shoot.
What the film is, and is not
Set in 1948 Malaya, the story follows a Malayan soldier and a British soldier left behind during a retreat. When an armed group threatens a nearby village, the two men have to set their differences aside. The film is shot in Malay and English.
Tiwari has said the project is more interested in the people caught up in the conflict and the psychological damage that remains after the fighting ends. It is told from an Asian perspective and examines what Britain’s withdrawal meant for Malaya. The production also kept a strict eye on period detail, from costumes to weapons.
The cast
- Hazman Al-Idrus as Ishraq Wan, “Iz”
- Brett Tutor as Abe, a British soldier
- Asmara Abigail as Siti, a woman from Pahang
- Fabian Loo as Chin Liu
The wider cast includes Ben Gardner Gray, Joseph J.U. Taylor, Gambit Saifullah, Mikail Chowdhury and Lupeng Rashid. For Netflix subscribers, Asmara Abigail may be the most familiar name: she built a genre following through Joko Anwar’s Satan’s Slaves and Impetigore, and appears in the anthology Nightmares and Daydreams.
Why the pickup matters
This is a regional streaming premiere, not a full Netflix Original launch across every market. That limited-window structure lets the platform add an internationally minded library title without carrying a global marketing campaign, while giving the producers access to US and UK audiences that missed the Southeast Asian theatrical run.
The title sits in a targeted lane. It combines the dependable WWII-drama audience with Southeast Asian history and a bilingual Malay-English script. For media planners, the release is best treated as a precision title: aim at Asian cinema followers, Indonesian genre fandom and historical drama viewers, rather than broad mainstream entertainment slots.
Source: What’s on Netflix
