Malaysian Cinema 2007: Six Notable Notables

MUKHSIN
Yasmin Ahmad’s name has gone into the Malaysian film history books in a big way. Her fourth film has the distinction of being the first Malaysian film to ever win in a top three international film festival, namely the Berlinale. In the Generations section, it was awarded the Grand Prix by the Kinderfilmfest International Jury and the K-Plus Crystal Bear Special Mention.

It’s also one of the best Malaysian films ever made, a tale of innocent first love that just grows on you each time you see it. And it did pretty good business at the local box-office too.

VILLAGE PEOPLE RADIO SHOW
I was glad to catch this documentary in Berlin. Because I would have no chance in hell to see it in the cinemas in Malaysia. Because it’s banned here.

Amir Muhammad’s sequel to The Last Communist has the grand reputation of being the second Malaysian film to be banned at home. The Last Communist is the first. Amir is the only Malaysian filmmaker to have his work forbidden by the authorities. I suspect he’s secretly aiming for a hat-trick next year!

Those who managed to see it one way or another were left scratching their heads as to why it was banned, because it is only “full of old people talking.” In a Jakarta Post interview, Amir pointed out that Chin Peng’s (who is the titular last communist) memoirs were openly sold in bookshops but his films were banned. The reason give by the Information Minister, he said, was that “Malaysians don’t read.” (!!!)

FLOWER IN THE POCKET
Last year, Tan Chui Mui’s debut feature, Love Conquers All, won the top prize in Pusan. She took the prize money, and channeled it into other productions in her company, Da Huang Pictures, a cooperative of several independent filmmakers. One of the results was Liew Seng Tat’s debut feature, Flower In The Pocket, which, coincidentally, also won in Pusan this year.

It’s going to Berlin next, to compete in the Generations section. We’re hoping it will do as well as Mukhsin, because it’s simply the most entertaining film to come out of the independent film scene.

I DON’T WANT TO SLEEP ALONE
Tsai Ming-liang finally came home to make this, the first of his films to be set in Malaysia. He brought along regular Lee Kang-sheng and paired him with newcomer Norman Atun, whom Tsai literally picked off the street! The result is one of the most beautiful Malaysian films ever made, and one that captures the pulsating beat of multi-ethnic Kuala Lumpur in a poetic, earthy beauty never before seen.

Norman is a real find. Today he can still be seen selling fried foods on the streets of Kuala Lumpur, a shy and modest guy who hasn’t let international attention go to his head.

Tsai also embarked on a marketing blitz for his film, aggressively selling tickets on the streets, and making his film quite a success although the cinemas didn’t have any faith in it initially.

ZOMBI KG PISANG
The first Malaysian zombie film ever! Director Mamat Khalid’s horror/comedy/political satire is quite a wild ride, even though it isn’t quite a technical achievement in the make-up special effects department! As usual, he provides lots of sharp-witted commentaries on Malaysian society while providing the laughs. The goings-on are made deliberately silly, with intelligent, talking zombies that wield weapons and ride motorcycles.

JANGAN PANDANG BELAKANG
Although it’s just not a very good horror film, relying largely on cheap shocks and clichés, Jangan Pandang Belakang (Don’t Look Back) was still a massive success at home, where it grossed over RM6 million. Producer David Teo was hoping it would become the biggest Malaysian film ever, and got his wish, finally beating out Sembilu, which had held that highest-grossing record for years (although there are those who would argue that it was one of the Senario comedy films that held that title).

JPB also did brisk business in Singapore and Brunei, bringing a collective total gross, including KL, of more than RM7 million.