Sang Pencerah (The Enlightener) is a 2010 Indonesian film directed by Hanung Bramantyo and starring Lukman Sardi, Zaskia Adya Mecca, and Slamet Rahardjo.

The film, released on 8 September 2010 during the Eid ul-Fitr holiday, was meant to show different views of Islam; however, it has also been interpreted as a critique of the current Muhammadiyah leadership.

Upon his return to Yogyakarta, Darwis (now played by Lukman Sardi) changes his name to Ahmad Dahlan and begins teaching Islam, preaching that prayers need only come from inner peace and do not require large donations or sacrifices.

Conflict soon arises between Dahlan and the local kyais (religious leaders) after he shows that the direction in which they pray is wrong, pointing not to the Kaaba in Mecca but to Africa.

His actions, such as having his students sit on chairs instead of the traditional mats on the floor, lead to Kamaludiningrat decrying Dahlan as an unbeliever who is working to Westernise the local populace.

Bramantyo, who had previously directed the Islamic-themed Ayat-Ayat Cinta (The Verses of Love; 2008), considered Dahlan his favourite national hero; he later told The Jakarta Post that he admired the kyai's spirit.

However, her pregnancy led to Bramantyo worrying about a potential miscarriage during a scene where Mecca had to ride a traditional carriage with wooden wheels, which shook violently when moving.

[5] In a 2011 interview with the Jakarta Globe after the release of his controversial film ?, Bramantyo said that he had intended Sang Pencerah to use Dahlan's life to examine different aspects of Islam.

[4] Ahmad Muttaqin, a lecturer on comparative religious studies at Sunan Kalijaga Islamic University in Yogyakarta, sees the film as a critique of the current Muhammadiyah leadership, whom he describes as "narrow minded, intolerant, hav[ing] poor social respect, [...] rigid and allergic to progress".

[15] Triwik Kurniasari, reviewing for The Jakarta Post, praised Sardi and Rahardjo's acting; noting that Sang Pencerah was "a good film and a conduit for young people to learn about their national heroes".

[1] Asep Saefudin, writing for Antara, himself a graduate from Muhammadiyah schools, viewed the film as being well put together and reflective of the issues faced by Islamic modernists in the early 1900s.