I may have mentioned this before, but I savour moments like this when I am so thankful that I am in KL and not in Terengganu anymore. The Alliance Francaise in Kuala Lumpur is currently holding the 2010 French Art and Film Festival (FAFF) and I attended one of the movies that they brought over.

With a . . . → Read more]]>

I may have mentioned this before, but I savour moments like this when I am so thankful that I am in KL and not in Terengganu anymore. The Alliance Francaise in Kuala Lumpur is currently holding the 2010 French Art and Film Festival (FAFF) and I attended one of the movies that they brought over.

With a total of 8 films choose from,  I was initially clueless on which movie to watch ( besides the much publicized Coco Avant Chanel). Being the nerd that I am, I naturally checked out the festival event page on Facebook and I found my answer through a film fanatic who mentioned in the page that Summer Hours (L’heure d’été) is the clear winner of them all.

It seems as though I was not the only one who felt that way, judging from a rather good turn out that Sunday afternoon. After all, it has a string of accolades to go by, and not to mention good ratings everywhere across the internet.

So what is this movie all about? !warning spoilers abound!

The movie revolves around a matriarch, Helene and her familial home as she prepares for her own death and the (dis)continuation of the family’s history. Helene’s children, all grown up with lives and families of their own, return to their home in the north of Paris for her 75th birthday. Helene was the niece of impressionist artist Paul Berthier, who passed down to her a love for the arts, and hence amassed a treasure trove of arts in the house. She discusses with her eldest son, Frederic, about the house and its art collection that is to be inherited by her three children -what is to be sold, donated, distributed after her death. We the audience were taken on a virtual tour of late 19th and early 20th century French art- Degas, Corot, sketchbooks, armoires- this movie was sponsored by Musee D’orsay after all.  Her son was however visibly uncomfortable discussing such a morbid topic on her birthday, but Helene acted nonchalant as she relayed her final wishes to him.

The story progresses along with Helene’s passing away soon after. The bulk of the movie looks at how the children are left to deal with not just merely the material inheritance, but also buried familial secrets. Each of her children looked at the house and its art collection in differing values as financial needs, sentimental and artistic worth all had met at the crossroads.  Eldest son Frederic would like to keep the house and its memories alive, but brother Jeremie needs the money to help with his new life in Shanghai while sister Adrienne has no attachment to France as she prepares to marry in New York City.  They also soon learn the truth about the relationship between Helene and her uncle that lay beneath the veneer that was an innocent image of their parents and their childhood.

As expected of a French movie, the issues of death and loss is displayed without over-sentimentality and hysterics but never devoid of feeling and humanity. One very prominent theme of this film is the concerns about a loss of national identity as the the globalized world becomes a smaller one. One such scene was at the birthday party where sister Adrienne had a small debate with younger brother Jeremie over the quality of Made In China sneakers. Another was after Helene’s death when Adrienne had planned to sell off her granduncle’s art sketchbooks by the page in New York, much to the dismay of the directors at Musee d’Orsay.

The show ends with a weekend party that is held by Jeremie’s children in the familial house just before its ownership is being passed over to its buyer. The house is now stripped of all its furniture and art pieces, along with it all its nostalgia and memories, as it is run over by youths for whom the place is merely a cool venue. Frederic’s daughter takes her boyfriend to the fields at the backyard as she tearfully laments of her family’s broken promise of leaving the house for her to enjoy. It was only at this final scene that I had a glimpse of the children’s opinion of the decision to sell the familial house.

Throughout the movie was the quiet but charming the character of Eloise, the caretaker. It was a heartfelt scene when after Helene’s death, the first thing Eloise did upon entering the house was to take a vase that was about to be wrapped and put away, fill it with water and some flowers. A funny moment was when Eloise was invited by Frederic to take home a momento for remembrance. She chose a vase that she thought was worthless and not liked by Helene, not knowing its true worth as a Bracquemond. Eloise’s attachment to the home and the family is apparent as she wistfully stares at the emptiness of the study with its artwork wrapped up and doors shut.

There is a scene toward the end of the movie when Frederic and his wife painfully confronts the art pieces of their former home now displayed as museum exhibits. I felt that this melancholic scene sums up the movie for me, because seeing an object transform from an everyday occurrence to a display item not only reflected a sudden loss of character in that object, but also the siblings’ unwillingness to defend the family’s memories due to differences in personal direction.

All in all this was a deeply meaningful movie that explored the issues of the times like the appreciation of one’s cultural identity in the modern age, the inevitable dispersion of the family with the death of a matriarch/patriarch, the conflict between preserving a legacy and practical consequences. The film was aesthetically pleasing, set in a charming house filled with lovely furniture and art pieces provided by the Musee d’Orsay. Camera work was great, with countless scenes providing such emotional depth without the need for dialogue.

I do not watch movies very often now, but this was definitely worth the trip to the cinema.

Up next, the Japanese Film Festival! This one only lasts for 10 days, June 17-27, but the movie tickets are only RM5. Eight movies are featured, one of which is an animation. Would love to attend this one soon. Click here for the Japanese Film Festival movie synopses.

Last week, my friend (fellow Yasmin Ahmad fan) and I went to watch Muallaf, the second Yasmin film that was released posthumously.

Before sharing my thoughts on the movie itself, let me relate something rather amusing that happened at the cinema. I was in the tickets queue and when my turn came up, I asked for two . . . → Read more]]>

Last week, my friend (fellow Yasmin Ahmad fan) and I went to watch Muallaf, the second Yasmin film that was released posthumously.

Before sharing my thoughts on the movie itself, let me relate something rather amusing that happened at the cinema. I was in the tickets queue and when my turn came up, I asked for two tickets for Muallaf. The girl at the ticket counter looked at me surprised, as if I had just asked her to take her top off.

“Muallaf?” she reconfirmed.

“Ya, Muallaf“, I replied, slightly confused with her reactions. Did I not pronounce it right?

She looked visibly impressed, then requested reconfirmation, “Sure ya, Muallaf? Filem Melayu, tau..”

“Yaaa, saya tahu, Muallaf“, I replied.

Then she smiled at me and said,” Bagus eh, filem ni best.”

Gosh, was she impressed that I, a Chinese dude was paying money to watch a Malay movie? For one, it isn’t a Malay movie, it’s a MALAYSIAN movie. Secondly, it also isn’t any ordinary Malay/Malaysian movie, it’s an award-winning film by one of Malaysia’s most misunderstood filmmakers. Thirdly, even if I was a Chinese dude with a penchant for Malay language movies, did she have to make such a big deal out of it? By the way, I  wasn’t the only non-Malay in the cinema that day.

So what is Muallaf about? Go google it or check out the synopsis at IMDB Movies Database. In a nutshell, the film is about two runaway sisters Rohani and Rohana (played by Sharifah Amani and Sharifah Aleysha) and Rohana’s teacher Brian (Brian Yap) and how their unlikely relationship, through the medium of religion, helped them confront past and present issues.

I found this film to be rather different from her other movies. To me it seems as if she adopted a different style in directing this movie, and the most glaring feature is the subtlety of her message. Compared to Talentime, there is no emotional roller-coaster to be had here. Instead, thanks to the religious undertones of the movie, hysterics are largely absent from the movie (bar one moving scene that explained the reason behind the sisters’ running away from home). There is no apparent climax to the movie, and its conclusion is open ended.

That said, I am unsure if the movie’s flow was intentional or the result of harsh censorship.

One common critique of her work is that she tends to get rather preachy at times. There is a certain truth to that remark, given the way she includes not-so-little scenes as a  social commentary. Some of these scenes I found so cringe-worthy (as I blogged on Talentime the other day). Strangely and rather thankfully, there weren’t many of such moments in Muallaf. Most of the nuances in the movie were executed so nicely, with little contrivance present.

Compared to her other movies where it is not hard to spot the overacting/inexperienced cast member, most of the cast of this film did very well. Well, the girl who was Ana’s opponent in TaeKwonDo class might be an exception. Still, she’s young and the comic relief she provided in the scene where she defended her mom from her abusive dad makes up for her acting.

In a nutshell, the good acting and flow of story makes this an easy movie to like. The movie tackles issues like spirituality, religious sensitivity, alcoholism, child abuse, sexual fantasies and my favourite issue, hypocrisy. One notable scene was when the Dato’ (played by Datuk Rahim Razali), who was having a beer, was reluctant to shake the hand of private investigator (Ho Yu Hang) who had been petting his toy dog.

That said, the calm flow of this story makes me yearn for the emotional impact and attachment to the likeable characters like in Talentime. Perhaps therein lies the beauty of Muallaf – the calm undertones of  the movie reflecting the feelings of a person when he/she is one with God.

This movie dealt with so many issues at hand and had such a beautiful message to convey- the importance of finding God and loving others. It is sad that despite all this some people are only able to find fault with Sharifah Amani’s shaven head.

Do go and see the movie for yourselves while it is still showing.

For those who haven’t, where have you been? it is “15 short films about Malaysia featuring some of the country’s coolest directors, actors, musicians and politicians“. It features everyone, from the controversial . . . → Read more]]> By now, I am sure that most people would have heard of 15Malaysia, and Potong Saga. Especially since it is all over Facebook and Twitter.

For those who haven’t, where have you been? it is “15 short films about Malaysia featuring some of the country’s coolest directors, actors, musicians and politicians“. It features everyone, from the controversial Namewee (of ‘Negarakuku’ fame) to the late Yasmin Ahmad to Mix FM DJ Serena C to Khairy Jamaluddin (acting as a taxi driver!).

A new short film will be released every two days. At the time of this posting two videos have already been released to the very supportive public (just check out the number of Facebook fans, video downloads and comments made)- Ho Yuhang’s “Potong Saga” and Yasmin Ahmad’s “Chocolate”.

For those who’ve watched it already, then you’d already know that ‘Potong Saga’ was absolutely hilarious. I bet a lot of Chinese guys can relate to this short film, because for those who may not know it, this circumcision thingy is one of the major concerns when one considers converting to Islam. What I bet you wouldn’t know, though, is that “The Making Of” video for Potong Saga is JUST AS FUNNY. *I’ve embedded the videos at the end of this post.

In comparison, “Chocolate” by the late Yasmin Ahmad was a somber affair that examines race relations, resentment and even payback, possibly.

Even though this project is only at its early legs, I am of the opinion that this project has already succeeded in getting is message across. Just from these two videos alone, the average Malaysians can already catch a glimpse of what the Chinese community’s opinions on finance and circumcision (in the first video), and education policies (in the second). I am sure the aim of this project is not to point out which opinion is right or wrong, but simply to get these opinions out in the open.

Now that the Chinese community has been heard, I am eager to see the viewpoints from other communities.

Here is the Potong Saga video, followed by it’s “Making of” video. If you don’t laugh at the end of the video, I recommend that you seek professional help.

Video 1

Video 2

And here is the second video, “Chocolate” directed by the late Yasmin Ahmad.

Video

After being dealt with news of Yasmin Ahmad’s death, I was hoping that her contributions to the country were significant enough to warrant the re-screening of her works. The following weekend, there was a tribute shown on TV3 which featured the airing of “Mukhsin” (which sadly, I couldn’t catch due to being out on that night). . . . → Read more]]>

After being dealt with news of Yasmin Ahmad’s death, I was hoping that her contributions to the country were significant enough to warrant the re-screening of her works. The following weekend, there was a tribute shown on TV3 which featured the airing of “Mukhsin” (which sadly, I couldn’t catch due to being out on that night). Judging from how Malaysian media ‘loved’ her, I assumed that the tribute was all that the fans were going to get.

Fortunately enough, the cinema companies have decided (for reasons monetary or otherwise) to re-screen her final full length work, “Talentime”. I was elated upon hearing that news from a friend, as I have only seen two of her six full length works (Sepet and Gubra). And God knows how elusive her films can be. If it isn’t the Censorship Board preventing access to it, it’s the scarcity of obtaining her movies in hard copy.
*Can someone tell me please, where do I buy Yasmin Ahmad films on DVD/VCD/Whatever?*

Anyway, I managed to catch the movie with my friend in TGV 1-Utama this afternoon. Disappointingly, the cinema was only 30% full. I am not sure of the reason for the poor response. Perhaps the movie-going masses aren’t that interested, or maybe publicity was lacking- I wouldn’t have known about this if it wasn’t for my friend. Read nothing about this in the papers either.

The movie was very good, replete with Yasmin Ahmad’s winning signature style. Sentimental, romantic locations, charming characters, non-stereotypical characters, political and social commentary.

Once again, Yasmin succeeds in presenting Ipoh as an unbelievably charming town. Being her hometown, perhaps her personal attachment to the place lends all her shooting locations with a sense of nostalgia. As more and more Malaysian towns start to appear frighteningly similar in the vein of generic suburbia, all of Talentime’s locations (Anderson school with its colonial architecture and imposing pine trees, Mahesh’s house, Melur’s house,even the hospital) display character that is increasingly difficult to find.

In the beginning of the movie, I didn’t enjoy it too much because of the not-too-funny light hearted scenes. This is of course not anyone’s fault, for the many of the other characters may be played by amateurs, contributing to some slightly missed comic moments.

But as the movie progressed, the beauty of the story had overcome all the minor gripes I had been having. The characters and the story was engaging, and the emotions even more overpowering. At the end of the story, I began to realise how charming each character of the movie was.

Idealistic? Perhaps. But so what? How else does one successfully push the envelope for change, if not by being idealistic?
The sentiments shown by Mahesh to Melur may seem cliche and tacky to some self-professed ‘mature adults’, but to me it was simply pure and honest love.
The relationship Hafiz had with his mother was acted out so genuinely and beautifully, and the final scene was simply heart-wrenching. The actor who played Hafiz is the same kid who played Mukhsin several years ago, and he played both characters excellently.

Still, as much as I loved her works, I had a few things to pick on. Her movies tend to include scenes that are more likely to happen in the perfect world than in real life. There was a scene in ‘Gubra’ that I found unrealistic, whereby Orked’s husband gives a quirky introduction of all his eccentric family members to the staff nurse in charge of Orked’s ill father. Similarly in Talentime I found a tad idealistic scene whereby (!SPOILER WARNING!) Melur’s dad (Harith Iskandar) started goofing around at dinnertime, resulting with the whole family (including wife) engaged in a ’scrum’ at the floor of the dining room.

And quintessential to her storytelling is the inclusion of scenes or characters that challenge Malaysian society stereotypes. One instance was (!SPOILER WARNING!) the character of Mei Ling, the Chinese-Muslim housemaid who can also play Debussy on the piano.

One thing I loved tho, was the music. Kudos to Pete Teo for the beautiful songs in the film, “Angel” and “I Go”. No other lyrics or music could have suited the movie better.

Here is the beautifully sung, “I Go” by Aizat.
[youtube=http://www.youtube.com/watch?v=mHpcT31Nn3o&hl=en&fs=1&]

A beautiful movie to the end, but it was when my friend mentioned, “Too bad there isn’t going to be a sequel to this” that I am struck again with the realisation that this was her final work that we could have the pleasure of seeing. Am not sure if anyone is going to finish her Malaysia-Japan collaboration “Wasurenagusa”.

Thanks again to the local cinemas for this possibly final opportunity to watch a Yasmin Ahmad film in the cinema.

But most importantly, thank you Yasmin for blessing Malaysians with your idealistic views about Malaysians and about love.