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KERJASAMA STRATEGIK ANTARA GLOBAL STATION, USAS DAN ASTRO MELALUI PENERBITAN DOKUMENTARI PERADABAN DUNIA ISLAM.

Memorandum persefahaman antara 3 organisasi dalam jalinan kerjasama bagi penerbitan sebuah dokumentari eksklusif.

DECODING DAIN SAID'CINEMATIC STRUCTURES IN BUNOHAN AND INTERCHANGE

Dain Said has brilliantly applied and infused distinctive communication styles in his two acclaimed movies; Bunohan and Interchange

GUGURNYA SEBUTIR BINTANG YANG MEKAR, KINI LAYU DISIRAMI HUJAN, TAN SRI SM SALIM, KENANG DAKU DALAM DOAMU

'Beliau adalah mentor kepada penyanyi baharu dan pemergiannya merupakan kehilangan yang sangat besar terhadap industri seni dan muzik melayu pada masa kini', Uji Rashid

23 SYARIKAT PRODUKSI TEMPATAN MENERIMA ITFC FILEM CEREKA 2016

Sebanyak 23 buah syarikat produksi tempatan dengan 33 judul filem menerima Insentif Tayangan Filem Cereka (ITFC) di ibu pejabat Finas Hulu Kelang, Selangor pada 29 Disember 2016

Selasa, 21 Februari 2017

ADIWIRAKU, ANTARA IMPIAN DAN KEGEMILANGAN

Mengambil latar tempat di utara semenanjung tanah air, Adiwiraku yang diarahkan Eric Chong dan lakon layarnya ditulis oleh Jason Chong ini telah ditayangkan di MMCineplexes, e@Curve, Damansara, Kuala Lumpur pada 20hb Februari 2017. Sesi tayangan perdana dan sidang media itu dihadiri rakan wartawan, para pelakon dan karyawan industri filem tempatan.

Adiwiraku menghidupkan kisah pelajar SMK Pinang Tunggal di Sg Petani, Kedah yang berusaha untuk menyertai pertandingan 'choral speaking' walaupun mengetahui peluang yang terlalu tipis untuk menang. Cheryl Ann, seorang guru bahasa inggeris dari Bandar Kuala Lumpur, terpaksa berhijrah ke sekolah tersebut bagi merealisasikan impian segelintir guru untuk melihat prestasi dan kemajuan sekolah tersebut dari segi pembangunan dan sahsiah pembelajaran para pelajar SMK Pinang Tunggal. Berbekalkan semangat dan jatidiri yang kental, Cheryl bersama-sama seorang guru lelaki mengambil inisiatif dengan memperkenalkan teknik ‘choral speaking’dengan mewujudkan sebuah kumpulan yang terdiri daripada 35 pelajar sekaligus membentuk sahsiah dan peribadi mereka agar menjadi pelajar yang berkeyakinan dan mempunyai semangat kerjasama yang tinggi.

Eric Chong, Pengarah






Diinspirasikan dari sebuah kisah benar, Adiwiraku meneroka beberapa sisi dan pandangan hidup golongan pelajar dan pendidik tanpa terpisah jalinan keduanya. Ini mewujudkan perspektif hidup bahawa golongan pendidik harus memainkan peranan penting bagi melahirkan pelajar yang mempunyai daya imaginasi yang tinggi dalam kehidupan. Menariknya, filem yang diterbitkan oleh Sol Pictures Sdn Bhd itu menampilkan pelakon Sangeeta Krishnasamy yang memegang watak sebagai Cheryl Ann Fernando. Ia dibantu oleh Xavier Fong, Farra Safwan, Wan Azlyn dan Adnin Zidane. 

Ketika ditemui media di malam gala filem Adiwiraku di e@Curve, Damansara, Eric Chong, pengarah dan penerbit filem tersebut, berkata, ‘Adiwiraku adalah sebuah kisah benar yang berlaku di sebuah sekolah di Kedah. Kami mengambil peluang dengan menterjemahkan kepada khalayak penonton melalui platform visual dalam bentuk filem. Pemilihan pelakon di kalangan para pelajar adalah satu bonus. Watak yang dimainkan setiap pendukung ceritanya menjalani sesi ujibakat sebelum penggambaran, masing-masing memberikan komitmen yang tinggi dan menakjubkan'. Sangeeta Krishnasamy yang melakonkan watak Cikgu Cheryl pula berpendapat, ‘Adiwiraku sebuah karya yang cukup istimewa, memegang peranan dalam sebuah kisah benar mencabar jiwa saya kerana saya perlu memahami karektor dan perjalanan kisah guru tersebut. Ini memberikan pengalaman yang cukup berharga bagi saya. Tonton dengan jiwa yang terbuka, pasti anda akan dapat apa di cari’, jelas model dan pelakon cantik Sangeeta Krishnasamy yang terkenal dalam industri filem tamil di Malaysia. 





Bakal mencetuskan fenomena apabila di tayangkan kelak, Adiwiraku akan menemui penonton dan peminat filem tanahair bermula 9 Mac 2017. 

Adiwiraku merupakan filem tempatan yang menyertai Equality International Film Festival  dan Finalist bagi Phoenix Film Festival 2017 di Melbourne, Australia. Ia juga mendapat sokongan daripada EduNation Malaysia yang merupakan sumber pendidikan online terbesar dalam bidang pendidikan menengah dan rendah.
 
Foto : Zara
#Adiwiraku 



Rabu, 15 Februari 2017

'SYURGA YANG TAK DI RINDUKAN 2' BAKAL CETUS FENOMENA DI MALAYSIA



Diterbitkan produksi MD Pictures yang diarahkan oleh Hanung Bramatyo, 'Surga Yang Tak Dirindukan 2' bakal menemui peminat dan penonton filem di Malaysia, bermula 16 Februari 2017. Menampilkan Fedil Nuril, Reza Rahadian, Raline Shah, Laudya Cynthia Bella, Nora Danish, Sandrinna Michelle Skornicki, Keefe Bazli Ardiansyah dan ramai lagi, Filem yang diadaptasikan dari sebuah novel terlaris tulisan Asma Nadia di mana skripnya oleh Alim Sudio, Manoj Punjabi dan Hanung Bramatyo ini merupakan kesinambungan cerita dari siri pertama 'Surga Yang Tak Dirindukan' arahan Kuntz Agus

Walaupun tidak ditayangkan di pawagam Malaysia bagi siri pertama filem ini telahpun ditayangkan di enam (6) saluran tv berbayar Astro antaranya Astro Ria, Prima, Citra, Mustika, Maya dan Oasis serta di platform Astro Gempak sejak awal Februari 2017. Menurut Raja Jastina Raja Arshad, Ketua Penjenamaan dan Pemasaran Bahagian Melayu  Astro dalam satu kenyataan media berkata, 'Filem SYTD2 - Surga Yang Tak Di Rindukan 2 ' ini adalah sebuah filem yang mempunyai jalan cerita yang bagus dan sesuai untuk ditonton oleh masyarakat tempatan. "Melihat kepada sambutan hangat SYTD2 di Indonesia ketika ini serta respon positif penonton Malaysia sejurus menyaksikan filem pertamanya, kami yakin filem ini bakal membuat penonton berasa teruja untuk mengikuti kisah seterusnya. Dengan sokongan promosi yang meluas, kami berharap ia mampu mencipta fenomena yang sukses di sini".







Nora Danish, pelakon yang muncul dalam filem SYTD2 ini boleh dikatakan cukup bertuah kerana produksi filem ini antara penerbit filem tersohor di Indonesia seperti Ayat Ayat Cinta, Habibie & Ainun, Rudy Habibie, Talak 3, dan Di Bawah Lindungan Kaabah, menjadikan beliau antara pelakon Malaysia yang dipilih produksi Indonesia untuk mengembangkan kerjaya lakonannya di bumi tersebut.Ketika ditemui media selepas sesi Tayangan Perdana filem tersebut di GSC Pavillion, Kuala Lumpur pada 14 Februari 2017, Nora Danish yang memegang watak sebagai Sheila dalam filem SYTD2 itu melahirkan rasa teruja kerana dapat beraksi bersama-sama pelakon Indonesia dalam sebuah filem hebat yang tentunya dinantikan peminat dan penonton di kedua-dua buah negara. "Surga Yang Tak Di Rindukan 2 ini adalah karya Indonesia yang membawa saya berada dalam kelompok industri mereka. Ini satu penghargaan buat industri kita (Malaysia) juga kerana kita dipercayai produksi mereka. Alhamdulillah  saya berasa amat gembira dan ini mungkin percubaan saya untuk menerokai industri dan karya mereka, mana tahu saya berpeluang lagi berlakon dalam filem seperti ini di Indonesia selepas SYTD2', ujar Nora Danish teruja menantikan sambutan peminat di Malaysia kelak apabila filem ini ditayangkan bermula 16 Februari 2017.

Mengisahkan tentang Meirose (Raline Shah) yang membawa diri bersama-sama anaknya, Akhbar (Keefe) selepas mengetahui Arini (Bella) sangat menyintai Pras (Fedi). Meirose tarpaksa akur walaupun Arini mengizinkan Pras menjalani kehidupan secara poligami, namun atas rasa amat menghargai wanita tersebut, Meirose berhijrah ke Budapest, Hungaria untuk mencari kehidupan baru. Setelah bertahun lamanya, mereka bertiga bertemu sekali lagi di  Hungaria di mana Pras terpaksa membuat pilihan antara menceraikan Meirose atau sebaliknya. Arini  yang merahsiakan penyakit kronik yang dihadapinya cuba menyatukan jiwa yang terpisah antara suaminya, Pras dengan Meirose, madunya. Namun kemunculan Doktor Syarief lakonan Reza Rahadian pula menimbulkan tanda tanya, siapakah surga sebenar yang diidamkan walaupun Meirose cuba melupai sejarah silamnya  yang berbekas dijiwa, namun ada satu perkara terjadi.




Apakah yang berlaku sebenarnya?. Apakah yang terjadi pada Meirose, Arini dan Pras?. Siapakah doktor misteri tersebut?. Semuanya bakal terjawab dalam 'Surga Yang Tak Di Rindukan 2' di pawagam seluruh Malaysia bermula 16 Februari 2017.

Info Hiburan:
**Untuk Pasaran di Malaysia, filem ini bakal diedarkan oleh Antenna Entertainments manakala Astro akan melakukan pemasaran.**
#SYTD2


Artikel ini diterbitkan pada 15 Februari 2017, 2.00 pagi

Ahad, 5 Februari 2017

PERCIKAN MEMORI KEMBARA SENIMAN JALANAN DI SARANG ART HUB, TANJUNG MALIM.

 
Percikan memori menonton filem 'Kembara Seniman Jalanan' 31 tahun dahulu diimbau melalui tayangan khas pada malam Sabtu, 4 Februari 2017 di Sarang Art Hub, Tanjung Malim, Perak. Filem yang diterbitkan tahun 1986 itu menampilkan Dato' M.Nasir, Dato' Khadijah Ibrahim, Pyan Habib, Imuda dan ramai lagi, merupakan filem pertama arahan Nasir Jani dalam industri perfileman tanah air. Tayangan malam ini mendapat sambutan menggalakkan daripada penduduk dan pengunjung yang hadir ke Sarang Art Hub milik pengarah tersohor, Mamat Khalid. 

Ketika berucap selepas sesi tayangan filem tersebut, Nasir Jani selaku pengarah filem Kembara Seniman Jalanan menyifatkan 'tayangan pada malam ini merupakan tayangan khas bagi mengimbas memori Kembara Seniman Jalanan dalam industri filem tanah air. Filem yang pernah ditayangkan di pawagam tempatan pada Februari 1986 itu ditayangkan malam ini dalam format restorasi digital. Ini memberikan dimensi yang berbeza buat penonton yang hadir walaupun ditayangkan dalam medium wayang pacak. Setinggi penghargaan buat produksi Wayang Pondok kerana sudi bekerjasama dalam program seperti ini dengan menyediakan peralatan dan skrin yang besar, agar filem ini dapat disaksikan seluruh tetamu yang hadir'.



Kembara Seniman Jalanan yang diterbitkan Zarul Al-Bakri melalui ZSA Holdings Sdn Bhd itu memaparkan kisah suka duka di sebalik warna warni industri muzik tanah air. Fenomena cetak rompak dan penerimaan muzik ketika itu menjadi plot terpenting yang menghubung kepada tiga watak utama iaitu Bujang (Dato' M.Nasir), Osman Tikus (Pyan Habib) dan Johan (Majid Salleh) kepada satu kisah tragis berkaitan dunia seni dan muzik era 1980an. Ketiga-tiga watak utama ini bersangkut paut dengan watak watak yang lain sehingga menjadikan filem Kembara Seniman Jalanan sebagai sebuah naskhah yang mencetuskan fenomena dan polimek tersendiri dalam dunia muzik dan filem ketika itu. 

Pemilik Sarang Art Hub, juga seorang pengarah filem terkenal, Mamat Khalid dalam ucapannya berkata, 'Kembara Seniman Jalanan' sebuah naskhah yang mempunyai roh tersendiri dan masih relevan untuk ditonton di layar besar pada malam ini. Sebagai peminat filem ketika itu, saya melihat ia sebagai rakaman peristiwa yang berlaku pada tahun 1980an mengenai masalah industri muzik khususnya cetak rompak. Sehingga kini pun, masalah tersebut masih lagi menghantui dunia muzik dan filem walaupun kita sudah 60 tahun merdeka. Jujurnya dapat saya katakan, saya terlibat dalam industri ini, adalah kerana saya cintakan seni, filem dan muzik, malahan program seperti ini akan diteruskan dari semasa ke semasa. 'Filem baru kita sokong, filem lama kita raikan', ujar Mamat Khalid menutup bicara pada Malam Kembara Seniman Jalanan di Sarang Art Hub, Tanjung Malim, Perak. 




Antara yang hadir memeriahkan suasana tayangan filem tersebut adalah Nasir Jani dan Pyan Habib sendiri, Mamat Khalid, karyawan seni tanahair seperti Khir Rahman, Raja Mukhriz, Pekin Ibrahim, Rashidi Ishak, para pencinta filem tempatan, mantan Ketua Pengarah Finas, Dato' Kamil Othman dan pengkritik filem, Hassan Abd. Muthalib. 

Info: Filem Tombiruo: Penunggu Rimba arahan terbaharu Nasir Jani akan menyusul akhir tahun 2017. 




Foto: Zara 

Sabtu, 4 Februari 2017

'KANANG ANAK LANGKAU: THE IBAN WARRIOR' DI PAWAGAM 16 MAC 2017.


Filem Kanang Anak Langkau : The Iban Warrior yang diterbitkan produksi Tangan Seni Sdn Bhd telah dilancarkan pada 26 Januari 2017 di Pawagam P.Ramlee, Finas Hulu Kelang, Selangor. Ketika berucap merasmikan trailer filem tersebut, YBhg Dato' Fauzi Ayob, Ketua Pengarah Finas, menyifatkan 'penerbitan filem kenegaraan seperti Kanang Anak Langkau; The Iban Warrior ini merupakan sebuah karya yang harus ditonton oleh segenap lapisan masyarakat terutamanya peminat filem tanahair. Filem yang diterbitkan dengan kerjasama Finas, Kementerian Pertahanan dan Angkatan Tentera Malaysia ini merupakan sebuah karya yang mengangkat nilai patriotisme dan nasionalisme di kalangan rakyat Malaysia. Sebagai agensi kerajaan yang memayungi industri perfileman tanahair, Finas komited dalam menyediakan peruntukkan kewangan berupa dana kenegaraan bagi karya yang menepati syarat sebagai sebuah naskhah yang merakamkan sesuatu peristiwa atau sejarah negara samada berkisarkan tentang ketokohan seseorang pemimpin yang telah mengharumkan nama negara dan seumpamanya'.

Berkisarkan tentang perjuangan dan ketokohan pemimpin negara yang amat disegani khususnya di bumi Sarawak, Kanang Anak Langkau: The Iban Warrior ini merungkai sisi kehidupan seorang tokoh terbilang dan pahlawan jati bumi Kenyalang, yang amat dikagumi, bernama Kanang. Perjalanan hidup seorang tokoh berbangsa Iban ini divisualkan dalam sebuah naskhah yang pastinya meruntun jiwa setiap penonton dan peminat filem tempatan.



Zainal Fikri, penerbit eksekutif filem Kanang Anak Langkau pula berharap, 'peminat filem tempatan dapat menerima kehadiran filem ini apabila ditayangkan kelak. Ia satu pengalaman yang cukup berharga dan sebagai rakyat Malaysia, kami menyajikan satu cerita yang pastinya akan diingat dalam sejarah negara dan ini tentunya membanggakan kami sebagai pengkarya', ujarnya dengan nada teruja menantikan sambutan peminat filem tanahair terhadap naskhah yang amat dinantikan tersebut.

'Kanang Anak Langkau: The Iban Warrior', merupakan filem terbaharu arahan Bade Hj Azmi yang akan menemui penonton di pawagam seluruh Malaysia, Singapura dan Brunei bermula 16 Mac 2017. Turut hadir bersama ke majlis pelancaran trailer dan sidang media Filem Kanang Anak Langkau: The Iban Warrior adalah Bade Hj Azmi, pengarah filem Kanang, para pegawai FINAS, Tuan Hj. Zulkifli Ab.Wahab, Tn.Hj. Abd. Khalid Maulod, Puan Hajah Subaidah Md Top, pegawai angkatan tentera dan wakil Kementerian Pertahanan, barisan pelakon dan rakan media.

Foto: Udden Rahman @ Rafiuddin

Khamis, 5 Januari 2017

THE GREATER PRISON OUTSIDE : APPRENTICE BY BOO JUNFENG.


The films that fascinate me are those that depend a lot on stylistics to tell the story. In fact, that’s what films are all about - how a director tells his stories using the cinematic apparatus. The stylistics used by a director are pointers as to what a film is really about. In the mise-en-scene are clues scattered throughout the movies that, when attention is paid to them and their place in the grand scheme of the director, reveals the background story (as opposed to the foreground story - the ones we are seeing on the screen). This background story is what the writer/director really wants to get across - be it about people, society or the nation at the time the film is made. And when form is achieved through the stylistics, then what we get is truly - cinema.

Within the poster design of Boo JunFeng’s Apprentice itself are elements that already tell us about the tragedy that is going to take place in the film. Aiman (the apprentice executioner) is in silhouette; he is seen from the back with the interior of the prison and in one-point perspective. All these are negative indexes. The look is that of a horror movie but this is not a horror movie. So what is this horror that we are going to witness?

Some clues are in the casting. Casting is about depicting archetypes - or as in the case of Apprentice - characters that go against archetype. All the characters in the film - Malay, Chinese and other inhabitants of Singapore - appear to be a very confused people. Some (the Malays), are more confused than others. This is shown in a number of subtle ways: Aiman and his sister, Suhaila are Malays but they look more like Chinese. Suhaila ‘s voice is more manly while Aiman’s is the opposite. There is no indication of their Malay identity, either in their manner or in the decor in the flat that they live in. Suhaila is fed up with her life and no longer wants to look after their grandparents. The latter’s complete absence in the story is an indication of how little they figure in the lives of the brother and sister. Both have abandoned all semblance of their Malay culture and religion which extol looking after older folk. Suhaila is fixing to run off to Australia with her boyfriend, John (who is an Indian), leaving the land of her birth. John is never seen except once and even then, in the distance. He is also not shown when Aiman stumbles upon him and Suhaila in the bedroom. He is an non-entity.


Rahim, the master executioner, with his white hair, beard and moustache is the epitome of a Malay guru of the villages. When he ‘discovers’ Aiman, it is as if he is a guru of ancient days who knows if a student is capable of study or not. We see him showing Aiman the ropes (no pun intended!); he is conversant - and concerned - with the way a prisoner dies when hanged. Death must be instantaneous. That is the humane way for him. He knows which vertebra of the neck will snap. He knows the correct type and quality of rope to use. And Aiman, like the archetypal Malay student who has surrendered himself to the guru, picks up the trade fast, impressing Rahim in the process. But it is all a sham for both of them. Slowly we begin to find out that it is all a show as Rahim finds out the truth about Aiman- that his father had been hanged in that very prison. And Rahim was the hangman! Rahim’s world collapses. He loses his cool. Gone is the confidence and bravado he had built up over the years. He bawls out Aiman. He becomes impatient with drivers on the road and finally speeds and ends up in the ICU after a serious accident. He is no longer shown in the story and is, obviously in a coma. He, too, ‘ceases to exist’ like Aiman’s grandparents and John.

The Chinese, on the other hand, have come to accept their fate. Two Chinese males are to be hanged. Aiman’s visit to one of their families confirms Rahim’s sham. The mother-in-law tries to prevent Aiman talking to the condemned man’s wife who is in tears.. The mother and daughter are seen from outside with the doors grills as if ‘imprisoning’ them. The mother tells Aiman that he has the wrong house when in fact, it was the right one. But Rahim lies to the condemned man, saying that it was his father-in-law who had actually dissuaded her from seeing him for one last time.  

The other condemned man has teenage twin sons. As Aiman rides in a taxi to the prison to hang him, he passes a park where the sons and friends hold a candle light vigil. They have accepted the situation but are unable to do anything about it. The system rules. This is quite a long scene and Aiman is clearly seen to be in confusion. Gone is his original objective of wanting to help the inmates but now he has been pulled into the system. He is now the one who actually needs help. Significantly, a Chinese officer who is next in line to be the hangman withdraws, not having the heart for it. He cannot take a life.


Setting is another archetype. The interior of the prison is shot usually looking dark or lit in a manner where it looks sickly. But when Aiman and Rahim (the executioner) are outside in the city, it is similarly seen to be dark. Either it is shot at night time (a negative index) or was colour-graded to be on the dark side. Rides on the MRT are claustrophobically shot with bars and grills prominent within homes.  The lives of people outside the prison are no better than of those inside. Everyone is a prisoner

Apprentice does not call for great acting performances from its actors. They just needed to understand their function in the story. In the hands of director Boo JunFeng, the actors are akin to props. They just needed to move and behave the way he wanted them. The rest would be taken care of by the cinematic apparatus. All were to be in the service of the story. Apprentice is, surprisingly for its subject matter, a plot-driven story and not a character-driven one. It is not just about a story that takes place inside a prison where they execute prisoners on death row. The stylistics speak of the greater prison that is outside - Singapore itself - where the inhabitants appear to be also on ‘death row’. They, too, are like props, pawns in a system who have to behave and live their lives according to something that has been dictated and over which they have no control.

All that the people can do is to accept their fate and be slaves to that system. The closest they can get to protest against it is to light candles and silently pray for salvation. In Eric Khoo’s film, 12 Storyes (1997), the young Meng, an authoritative and protective brother of a teenage girl, has total faith in the system and tries to impose it on his wayward sister. The truth hits him really hard when he can no longer rationalise things according to the system. He finally loses his mind and is carted off to hospital. The character was brilliantly played by Koh Boon Pin who plays ASP Joseph, an administrative officer in Apprentice. In Apprentice, Koh clearly understood his role. Throughout, he has a tired, expressionless face and looks like a man who has given up all hope for life.


Twenty years after 12 Storeys, the situation is still the same. The dark and murky opening scene of an impending execution in Apprentice is purposely ambiguous. And that visual depiction says it all about life for the country’s populace and their future. This scene is actually the last scene in the film. Aiman is now the hangman preparing to carry out his duty. The two scenes represent a cycle - one that will keep on getting repeated. For the condemned man, his life ends there and perhaps, the hangman would have sent him ‘to a better place’ (Rahim’s last words to the other man he had hanged). But for the living, life continues to be a nightmare. It is, in fact, a state much worse than death...  

by : Hassan Abd. Muthalib



Rabu, 4 Januari 2017

KERJASAMA STRATEGIK ANTARA GLOBAL STATION, USAS DAN ASTRO MELALUI PENERBITAN DOKUMENTARI PERADABAN DUNIA ISLAM.


Memorandum Persefahaman Penerbitan Dokumentari Sejarah Perkembangan Islam di Dunia telah dimeterai di antara Universiti Sultan Azlan Shah (USAS), Global Station Sdn Bhd dan Measat Broadcast Network System Sdn Bhd (ASTRO) telah diadakan di Universiti Sultan Azlan Shah (USAS), Kuala Kangsar pada 4 Januari 2017. 

Dokumentari yang mengisahkan tentang zaman kegemilangan penaklukan islamiah pada abad ke-19 dengan merujuk kepada aspek perundangan dan cara hidup ini juga memberi penekanan kepada unsur fikah, sirah, dan senibina islam sebagai inspirasi dalam konteks peradaban dunia islam. Kejayaan meneroka dunia tanpa sempadan dalam menterjemahkan pemikiran sejagat ini dihuraikan dalam sebuah penerbitan eksklusif yang bakal memulakan penggambaran tidak lama lagi. Usahasama penghasilan dokumentari ini merupakan produksi di bawah naungan Uthmaniyah dan Dokumentari Nur Hikmah. 

Ketika ditemui media, Dato' Mohd Khusairi Abdul Talib, Pengerusi FINAS menyifatkan penerbitan dokumentari antara Global Station Sdn Bhd, Astro dan USAS ini merupakan usahasama yang julung kali dilakukan. Ia bertujuan untuk mendedahkan kepada khalayak penonton tentang kefahaman dunia islam secara terperinci melalui beberapa fakta dan visual yang disajikan. Keistimewaan dalam aspek cara hidup tanpa melupai asal usul menjadi aspek terpenting dalam pembikinan sebuah naskhah. Tambahnya lagi, pihak FINAS amat menyokong penuh dengan usahasama dalam menghasilkan sebuah cerita yang menarik dan unik serta mempunyai daya pemikiran dan sahsiah yang tinggi dalam garapan penceritaannya, seterusnya dapat menerokai pasaran antarabangsa di seluruh dunia melalui penyertaan Astro sebagai rakan penyiar.

'Dalam usaha memberikan kandungan rancangan yang berkualiti tinggi dan terbaik kepada pelanggan setia kami, penerbitan dokumentari ini merupakan projek unggul bagi tahun 2017 dan melaluinya juga, kita dapat mengetahui selok belok sejarah dan tamadun islam pada zaman dahulu. Ia idea yang sudah lama diperbincangkan bersama, dan apabila Global Station menyatakan hasrat untuk menghasilkannya, kami terbuka dan bersetuju untuk bekerjasama', ujar Dato' Khairul Anuar Salleh, Naib Presiden Melayu Astro dengan nada penuh keterujaan melalui jalinan kerjasama antara Universiti Sultan Azlan Shah, Global Station dan Astro sendiri. 


Manakala Penerbit Global Station Sdn Bhd, Datin Zaiton Mohd Jiwa pula berpendapat, 'sejarah zaman silam terutamanya dalam konteks peradaban islam merupakan aspek yang cukup menarik untuk dibincangkan. Ia menjadi tanda aras kepada penerbitan dokumentari ini yang mendapat kerjasama penuh dari Universiti Sultan Azlan Shah, Kuala Kangsar dari segi fakta dan kajian melalui penglibatan beberapa tenaga penyelidik yang professional dan bertauliah. Ini jalinan kerjasama yang cukup membanggakan kami sebagai pengkarya,' ujar penerbit wanita yang cekal dan berdiri kukuh di sebalik jenama Global Station itu melalui ratusan beberapa buah drama terbitannya. 

Dokumentari yang mendedahkan secara terperinci tentang tamadun islam dan Uthamaniyah ini memilih Turki sebagai salah sebuah lokasi penggambaran dan bakal menemui penonton tempatan dan antarabangsa hujung tahun 2017 dan awal tahun hadapan. 


Majlis bersejarah ini juga dihadiri oleh YBhg. Tan Sri Prof Dr. Nordin Kardi, Naib Canselor Universiti Sultan Azlan Shah, YB Dato' Mohd Khusairi Abdul Talib, Pengerusi FINAS, YB Dato' Mohamad Kamil Shafie, Ahli Dewan Undangan Negeri Manong, Dato' Khairul Anwar Salleh, Naib Presiden Perniagaan Melayu Astro dan Datin Zaiton Mohd Jiwa, Penerbit Global Station Sdn Bhd.

Selasa, 3 Januari 2017

COMMUNICATIVE EXPERIENCE AND VISUALLY DERIVED CONCEPTS: DECODING DAIN SAID'S CINEMATIC STRUCTURES IN 'BUNOHAN' & 'INTERCHANGE'


"There is nothing that says more about its creator than the work itself"- Akira Kurosawa

The emotional journey of watching Bunohan (2012) as a normal audience had reinforced me to view the film uncritically; “gila cantik gambar” (great visual), “power Faizal Hussein berlakon”(great acting), “art deep sungguh” (artistic). Undeniably, award winning director, Dain Said managed to challenge me to immerse into the totality of the film experience and to interpret how that experience was assembled as Bunohan was beautifully constructed of visual, aural, and linguistic components that were strangely manipulated in unique ways.

As film has been the powerful medium to communicate and transfer messages, visual communications in Dain’s works signifies the transmission of information and ideas using symbols and imagery along with verbal communication and non-verbal communication. For example, the study of semiotics and semantics of symbols and visual communications in Bunohan and Interchange could be either straightforward or complicated for Malaysian audiences as it is highly associated with their social and cultural background. 

Decoding, interpreting and comprehending communication styles used by Dain Said in these two films is very essential as it helps the audiences to understand the films' cinematic structures. Thus, let us study the basic simple premise of Bunohan (2012), starring Faizal Hussein, Pekin Ibrahim, Zahiril Adzhim and Wan Hanafi Su that revolves the story of how three brothers, each with a murderous profession, flee their home country and family only to find themselves back together in the titular small border town where they are forced to deal with their pasts; depicting on familial connection, brotherhood and corruption of society in tackling fame and wealth. 


Interchange (2016) stars Iedil Putra, Shaheizy Sam, Nadiya Nissa,Nicholas Saputra and Prisia Nasution, on the other hand tells about the forensics photographer Adam who is dragged into investigating a series of macabre ritual murders in the city by his best friend Detective Man and Adam then befriends Iva who is on a mission to rescue souls of the people in her tribe who have been trapped inside a glass plate negative. 

I personally believe despite being avant-garde surrealist filmmaker who remains intent on subverting the local conventional filmmaking and exploring the realms of his cinematic capability, Dain Said, pertinently has also been standing as social and cultural anthropologists of visual communication; studying and telling the norms and values of societies and providing highly coded and selective information about the social lives of the local focused community or subjects.

●Space and Proximity
Bunohan and Interchange share Dain’s reflection on “proxemics” which is the use of space by the characters and how that affects the behaviour, communication, and social interaction of them. This is one of important elements of visual communication in a film that motivates the audience to understand the emotional impact portrayed by the characters via their personal territory including level of haptics (touch), kinesics (body movement), vocalics (paralanguage), and chronemics (structure of time).

In Bunohan, the three estranged brothers, Adil, Bakar and Ilham and their ailing father are separated in the “public space” of their village but interconnected “personally” after tragic incidents. Despite staying with his son, Bakar, Pok Eng emotionally struggles to reserve his personal space and avoid building intimate space with Bakar and Adil. Dain’s brilliant narrative in showing the human space used in this father-sons relationship gradually brought audiences into the development of the characters.

Carrying noir-fantasy thriller, Interchange somehow represents tactical dimension of space and proximity. The audience must be able to deeply engage on how interpersonal distances of characters, the organization of space as territories and the cultural factors related to proxemics portrayed within Man-Adam, Adam-Iva, Belian-Iva, Belian-Man and Belian-Sani relationships as it varies from one another. In the public space of Metro city, these characters strongly stand in their own personal space and develop towards special intimate space when they are emotionally and spiritually connected. 

As communication reflects the process of reciprocal interaction in understanding messages between sender and receiver, we could also analyze the space codes used in Interchange within the supernatural and mystical dimensions. How Adam and Iva using their virtual connection can be explained from Previc's Neuropsychology of 3D Space focusing on extrapersonal space; the space that occurs outside the reach of an individual. Beyond logic, audience must be convinced on the spiritual connection of Adam who can deeply immerse and embrace into the mystical spectrum of Iva and the tribe. This strong interpersonal connection within the extrapersonal space reflects the emotional journey of these two characters.

Aptly, it is a cognitive learning process for the audience to be highly associated with Dain’s aesthetics approach in visualizing his bold artistic vision - confidently conjuring a world of magical shape-shifting shamans and mystical beings within the urban landscape.


●Semiotics of Acting
Let us analyze the amazingly dramatic performances of Faizal Hussein, Pekin Ibrahim, Zahiril Adzhim and Wan Hanafi Su crafted by Dain Said in Bunohan; portraying the semiotics of acting. As Bunohan communicates with the audience with subtext, symbols, metaphors and signs, the actors heavily required to project dimension of significant and meaningful performances. Thus, it is highly important for the audiences to decode transmitted signs by the actors as stressed by semiotican, Felix Guattari. 

Mysterious, naturalist and minimalist types of acting portrayed by the characters dealing with dark personality traits in Bunohan is beyond magic as they had to implicitly express anger, love, pain and struggle within their limited interpersonal communication context. Therefore, the elements of semiotics of acting include the actor's body language, gestures, facial expressions, intonation, eye contact, postures and other vocal qualities crafted by Dain in Bunohan could link the audiences to the emotional journey of each and every character.

Interchange interestingly demands Shaheizy Sam (Detective Man), Iedil Putra (Adam), Prisia Nasution (Iva), Nicholas Saputra (Belian) and Nadiya Nissa (Sani) to deliver semiotic codes and cues as introvert characters psychologically and spiritually. I could feel how Detective Man (Shaheizy Sam) had to use his persuasive and assertive non verbal gestures and postures in showing his referent power to Adam at the workplace and intimately as a caring friend. In fact, just analyze the variation of oculesics skills (eye contact) used by Sani (Nadiya Nissa) to express her assertiveness, avoidance, interest and refusal in transmitting codes and messages to different characters in this movie. Monotonous tone of voice by Iva (Prisia Nasution) has indeed become her special instrument to convey hidden messages to Adam as she is highly reserved and private. This example of paralinguistic codes (relying on vocal cues) in Interchange is very essential as the characters come from different walks of cultural and social background which they need to communicate beyond human language.

Undeniably, Dain had to define, visualize and measure their traits as well as habitual patterns of behavior, thought, and emotions as illustrated by semiotician, Patrice Pavis: 

“Any acting is based on a codified system (even if the audience does not see it as such) of behaviour and actions that are considered to be believable and realistic or artificial and theatrical. To advocate the natural, the spontaneous, and the instinctive is only to attempt to produce natural effects, governed by an ideological code that determines, at a particular historical time, and for a given audience, what is natural and believable and what is declamatory and theatrical”

The ability of audience to explore the semiotic of acting portrayed in Bunohan and Interchange nevertheless driven by their level of exposure to visual adaptation, interpretational awareness and cinematic techniques. The positive reinforcement (perceptual, cognitive and emotional processes) of watching Bunohan as first hand experience could drive and educate the audience to embrace the similar cognitive states while watching Interchange although they both carried different styles.


●Cinematic Storytelling: Visual Metaphors
It has been an amazing journey and learning experience watching Bunohan and Interchange as both signifies Dain’s solid signature in crafting a unique language of metaphors and symbols as a visual storyteller. His both films positively reinforced audience to comprehend and interpret abstract concepts which hardly translated into words.

Thus, the communication process takes place when the audiences decode and give meanings to series of visual metaphors and symbols mapped out and established in Bunohan by Charin Pengpanich’s expressive cinematography; capturing the mythical and mysterious elements of rural countryside in Kelantan. Dain’s cinematic storytelling was manifested and beautifully presented with a set of visual images embedded under the additional layer of metaphoric meanings of magical sequences of a talking bird, a ghost-woman in the shape of crocodile, and a possessed boy. 

Besides, the dynamic metaphor of kelir wayang kulit and kerambit used by Ilham clearly established the spectrum of struggle and hope in dealing with obstacles and hurdles.
In Interchange, the visual metaphors used required a specific contextual understanding in order to decode and appreciate the messages. As a dark fantasy noir, it has given me the cinematic experience in creating, organizing and constructing all the metaphorical signs conveyed by Dain Said. The reflection of drenched streets, flowing river, feathers of hornbill, or even the glass negative captured visually by Jordan Chiam carry an implied meaning in the journey of non-linear narrative.


●Symbolic Interactionism
Communicative experience in Bunohan and Interchange has also been shaped with Dain’s injection of symbolic interactionism as the basis of human communication. As this communication theory strongly believes that society and individuals are created based upon the interactions between each other with the ongoing use of language and gestures in anticipation of how the other will react, all the characters in Bunohan and Interchange driven and shaped by their human communication and interaction. 

In Bunohan, the political, social and cultural context of the society strongly influence Ilham, Adil and Bakar to define their understanding of lives or based on power, dignity and struggle. How wealth, power and authority being defined in Bunohan carry the dominant masculine traits include courage, independence and assertiveness. The way Bakar interacts with his father using his diplomatic communication skills is pretty different from Adil who opts for persuasive styles in getting definite explanations of his background. Indeed, these traits vary by location and context, and are influenced by their social and cultural background respectively; Adil, the kickboxer, who was more or less kidnapped in the middle of a bout in Thailand; his half-brother Bakar, who has been living in the city and hopes to sell the family's land to resort developers; and a professional killer named Ilham, hired to kill Adil but also finding it necessary to redress family grievances.

Symbolic interactionism in Interchange is heavily reflected by language, symbols and images of both supernatural and reality world. As Sani, Iva and Belian undergo the process of identity exploration in the contemporary cultural and social settings, Adam and Man in contrast, assigned to understand and communicate with huge range of cultural symbols and ethnic identity of Tingang tribe while searching clues of unsolved murder cases. This association shapes how the characters communicate as collective entity and build perceptual and cognitive process of one another. Man becomes more heedful towards Belian and Sani as he interprets all the communication codes from the perspective of a detective while Adam progressively builds empathy towards Iva and her mystical journey as he could relate all the codes and cues with his personal experience.

In conclusion, Dain Said has brilliantly applied and infused distinctive communication styles in his two acclaimed movies; Bunohan and Interchange. Visual, verbal and non verbal communication styles in those movies could be explicitly and implicitly manifested through some areas namely proxemics, semiotics of acting, visual metaphors and symbolic interactionism. The exciting journey of understanding Bunohan and Interchange from communication spectrum can bridge us to understand different perspective of this award winning filmmaker.


“I wanted to come home and tell Malaysian stories,”-Dain Said

By : Ahmad Syazli Muhd Khiar
syazli@finas.my
**Writer is the Director of Corporate Communication FINAS

Isnin, 2 Januari 2017

'GUGURNYA SEBUTIR BINTANG YANG MEKAR, KINI LAYU DISIRAMI HUJAN, TAN SRI SM SALIM, KENANG DAKU DALAM DOAMU'.


Jenazah Allahyarham Tan Sri SM Salim selamat disemadikan di Tanah Perkuburan Islam Jalan Ampang, Kuala Lumpur kira-kira jam 2.45 petang Jumaat, 30 Disember 2016.  Beliau meninggalkan isteri, Puan Sri Aishah Abdul Ghani bersama tujuh orang anak iaitu Siti Nuraishah, 60, Sheikh Samsuddin, 68, Siti Nur Huda, 56, Siti Maheran, 54, Siti Huzayah, 53, Sheikh Shamsul, 51, dan Siti Zubaidah, 35.

SM Salim atau nama sebenarnya Sheikh Salim Sheikh Muhammad Al Mahros, 88, meninggal dunia di kediamannya di Sering Ukay, Hulu Kelang, Selangor, 29 Disember 2016 , pada jam 5.45 petang. Arwah yang merupakan bekas juruhebah Radio Malaya (sekarang RTM) secara sambilan pada tahun 1957, adalah penghibur serba boleh yang mencipta nama sebagai penyanyi dan pejuang irama tradisional serta melayu klasik pada era 50an hingga 90an. 

Ketika ditemui media, Sheikh Shamsul, anak Allahyarham Tan Sri SM Salim berharap, 'semua stesen radio dan televisyen di Malaysia supaya tidak memutarkan atau memainkan lagu nyanyian arwah bapanya selama 44 hari. Ini permintaan arwah semasa hidup dan terpulang kepada budi bicara pihak berkenaan untuk melaksanakannya atau sebaliknya. Menyedari hakikat bahawa arwah bapanya merupakan seorang 'public figure', beliau mengharapkan sesuatu yang baik dari semua bagi menghormati arwah dan amanatnya. Tambahnya lagi, semasa hayat arwah bapanya masih hidup, beliau merasa amat bimbang dengan perjalanan seni muzik melayu klasik dan tradisional pada masa kini yang tidak menentu; ada yang dilupakan terus, bahkan beliau (arwah Tan Sri SM Salim) berkata 'siapa nak ganti dirinya lagi?', itu kerisauan yang berbekas di jiwa anak seni yang luhur budi pekertinya di sebalik setiap lagu dan lirik yang dihasilkannya.



'Jika dihayati bait puitis lirik lagu yang dinyanyikan serta dihasilkannya, cukup indah senikatanya. Beliau adalah mentor kepada penyanyi baharu dan pemergiannya merupakan kehilangan yang sangat besar terhadap industri seni dan muzik melayu pada masa kini', ujar penyanyi bersuara lunak, Uji Rashid ketika berkongsi sesuatu yang cukup istimewa mengenai figura di sebalik nama Tan Sri SM Salim. 'Selamat Tinggal Bungaku, Kenang Daku Dalam Doamu, Mohon Kasih, Pandang Pandang Jeling Jeling, Kong Kong Kak, Pasir Roboh', dan banyak lagi antara beberapa judul lagu popular nyanyian Tan Sri SM Salim yang begitu dekat dengan jiwa setiap peminat seni dan muzik di Malaysia, Singapura, Indonesia dan Brunei khususnya.

Kemerduan suara dan gelak ketawanya pasti akan diingati rakan seperjuangannya yang sama-sama mencurah bakti dan keringat dalam industri muzik ketika itu. 'Segala susah payah diharungi bersama. Beliau adalah rakan baik yang tidak lokek dalam berkongsi ilmu pengetahuan walaupun dengan penyanyi baharu yang ditemuinya. Beliau adalah insan yang telah membawa saya ke dalam industri ini, dan pemergiannya adalah kehilangan besar buat negara', ujar Datuk M.Daud Kilau dengan nada sedih berkongsi suka duka semasa hayat dikandung badan bersama arwah yang dianggapnya sebagai abang kandungnya dalam dunia muzik yang sama sama diceburi. 


Turut berkongsi kesedihan atas pemergian Biduan Negara Tan Sri SM Salim adalah Perdana Menteri Malaysia, Dato' Seri Mohd Najib Tun Abd. Razak, dan Timbalan Perdana Menteri Malaysia, Dato' Seri Dr. Ahmad Zahid Hamidi. 

'... Sungguh jauh dikau pergi
Berpisah untuk selamanya
Tiada lagi senyum mesra....'

Al Fatihah, moga roh Allahyarham Tan Sri SM Salim ditempatkan di kalangan mereka yang beriman dan disayangiNya. Amin.

Ahad, 1 Januari 2017

23 SYARIKAT PRODUKSI TEMPATAN MENERIMA ITFC FILEM CEREKA 2016


Sebanyak 23 buah syarikat produksi tempatan dengan 33 judul filem menerima Insentif Tayangan Filem Cereka (ITFC) di ibu pejabat Finas Hulu Kelang, Selangor pada 29 Disember 2016. Insentif Tayangan Filem Cereka (ITFC) bagi tahun 2016 berjumlah RM 2,11 juta itu diberikan kepada 23 buah syarikat produksi filem tempatan di Malaysia yang menerbitkan 33 filem cereka bagi tayangan di pawagam dalam tempoh setahun. Dato' Mohd Khusairi Abdul Talib, Pengerusi FINAS ketika berucap di majlis tersebut berkata,'ITFC merupakan insentif kerajaan melalui FINAS kepada penggiat industri kreatif yang aktif menerbitkan dan menayangkan filem mereka di pawagam. Ia sebagai galakan dan suntikan kewangan kepada penerbit filem tempatan sekaligus sebagai pemangkin kepada para penerbit bagi menghasilkan filem berkualiti untuk pasaran domestik dan antarabangsa seterusnya membina jaringan pemasaran di peringkat global.

Tambahnya lagi, beliau berharap pada tahun 2017, lebih banyak filem berkualiti dapat dihasilkan oleh para pembikin filem di Malaysia. Majlis yang turut mengumumkan Ketua Pengarah Finas dan Timbalan Ketua Pengarah Finas yang baharu itu juga dihadiri beberapa penerbit filem, ahli ahli perbadanan Finas, para presiden persatuan perfileman, rakan-rakan media dan warga industri filem kreatif. 

SENARAI 23 SYARIKAT PRODUKSI TEMPATAN YANG MENERIMA ITFC 2016.
SKOP PRODUCTION SDN BHD

SKOP PRODUCTION SDN BHD
Munafik
Mat Moto - Kami Mat Moto Bukan Mat Rempit

THE FILM ENGINE SDN BHD
Huat The Fish (Mandarin)

FILMSCAPE SDN BHD
Juvana 3

MIG PICTURES SDN. BHD
Volkswagen Kuning
Zack Kapchai
Kipidap! Selamatkan Hari Jadi

SKT STUDIOS SDN BHD
Seventh (Mandarin)

DREAMTEAM STUDIO SDN BHD
The Cage (Mandarin)

ASIA TROPICAL FILMS SDN BHD
Kungfu Taboo (Mandarin)
The Noise (Mandarin)
Find My Dad (Mandarin)
Death Trip (Mandarin)

12 B SDN BHD
Wira Wah (Mandarin)

VIKADAKAVI PRODUCTIONS SDN BHD
Geethaiyin Raadhai (Tamil)

CURRENT PICTURES SDN BHD
Redha

MANGKIN PRESTIJ SDN BHD
Pelepas Saka

JUST WORK ENTERTAINMENT SDN BHD
Behind The Scene (Mandarin)

PRIMEWORKS STUDIOS SDN BHD
Pekak

ONE BORNEO FILM PRODUCTIONS SDN BHD
Girl's Generation (Mandarin)

REDRIBBON EXPERIENCES SDN BHD
Chinese Ghost Story (Mandarin)

CAO MIN PICTURES SDN BHD
Old Town Story (Mandarin)
Road Of Enlightenment (Mandarin)

POSITVE FILM SDN BHD
Lu Mafia, Gua Gangster

MICO STUDIO (M) SDN BHD
Kampung Drift

SPS JAYA SDN BHD
Coverina
Harmonika

GENIUS PARADE SDN BHD
Selfie Suara Kubur
Jendela
Papa's Shoe (Mandarin)

ZAZEN DESIGN & PRODUCTION SDN BHD
Temuan Takdir

CAHAYA DJ PICTURES SDN BHD
Usin UFO

JANU TALKIES SDN BHD
Biasan

Khamis, 1 Disember 2016

'HANYUT, DISCOVERING THE MALAY THROUGH THE OTHER'

  
                                 

U-Wei’s HANYUT begins with an image of a Chinese man who appears to be an opium smoker. But it is a red herring. Opium smokers are thin with sunken cheeks, and lie supine. This man, however, looks well-fed and appears to be in charge (Mamat Khalid also had a Chinese opium smoker in his parodic film, KALA MALAM BULAN MENGAMBANG). This scene in HANYUT is actually part of the last scene in the film where we see the Chinese man leaving Almayer’s house. Almayer (Peter O’Brien), is then shown lying on the floor, with an opium pipe beside him. He is gaunt, obviously brought about by opium smoking, and provided by the Chinese man. With unblinking eyes and an expressionless face, Almayer stares straight ahead and mumbles: “I cannot forget….”

                                 Every portrait that is painted with feeling                                                                                                                      is a portrait of the artist, not of the sitter
                                                                                                                    -          Oscar Wilde

As in all U-Wei’s films, there will be lines of dialogue like this. Like Shakespeare’s lines which use simple words but are pregnant with subtext, U-Wei’s words draw attention to the subtext of his films. What is it then that Almayer cannot forget? Is it the unfinished house that he himself finally sets fire to? Or is it that mountain of gold that he was searching for? He had devoted twenty years of his life to that quest, and he will not leave. Almayer vehemently emphasizes this at dinner with the British officers at his house: “I cannot leave this infernal place. I have been trying to leave for twenty years. I will never get out.” He does not say “cannot” but “will never”. What is it then that is holding him back?


The opening and closing scenes in HANYUT are significant as subtexts in the context of Malaysian cinema. It is the background story, one that is hidden and needs to be interpreted in light of the history of Malay cinema (not Malaysian cinema). Many films begin and end with the same scene. It becomes a signifier - that nothing has changed, and the cycle goes on. U-Wei’s earlier film, JOGHO, also began - with an untended paddy field, and ended with the same field, still untended. Nothing has changed, and life goes on as it has for centuries. The landscape functions as a mindscape of the inhabitants and their habitat. It is U-Wei’s observation of the fate of his race, his nation, and the profession that he has embraced. He will not put it all behind him because he has not forgotten – as in Mem’s words to Nina, her daughter (Diana Danielle): “This country gave birth to me. I am Malay. You are Malay.”

One cannot argue with that…

The story continues with Nina being forcibly taken away from Mem (Sofia Jane), by Almayer to be sent to England to become ‘a lady’. Mem now has hatred and a desire for revenge on Almayer. Almayer, being a European, does not understand this particular trait in the Malay race. Like the characters in U-Wei’s first film, ISTERI, PEREMPUAN DAN…, this is what drives the story of HANYUT, drawing other characters into its web, and is what builds up to the inevitable climax. History simply repeats itself. It is characters like these that brought down the Melaka sultanate in the 15th century. Jealous ministers and opportunists like Raja Mendaliar and his minion, Kitul anak Patul, recur throughout all time. The final scene in ISTERI, PEREMPUAN DAN… too, echoes the story of Hang Tuah where brother is pitted against brother. The cycle becomes repeated.



The story of HANYUT carries on with the birth of a baby, with Nina coincidentally returning ten years later. The birth appears to signal a new beginning, but it is not meant to be. In Dain Maroola (played by Adi Putra), Mem sees the opportunity to exact revenge on Almayer. And so she, unknowingly, sets into motion events that will end in tragedy for her husband.

The tragedy, in fact, is presented by U-Wei in dramatic irony. Almayer sincerely has his daughter’s happiness and future in his sights, and he does it all based on his own culture, one that is very different from the culture of the Malays where there is a lot of intrigue and power play. Almayer rejects an Arab’s marriage proposal, and provides a logical explanation for it. But even the Arab (Bront Palarae), is like the Malays, becoming offended and emotional. Mem, Almayer’s wife, pretends to be like Almayer, but is enamoured and carried away by the jewellery offered by Dain. Nina, caught in between, is confused but ultimately, her love for Dain takes over, and she ends up rejecting her own father, unable to comprehend that Almayer actually has her best interests at heart.  

U-Wei introduces other characters who add insult to injury. Among them are the lackadaisical and brainless Sultan (El Manik), with his sycophantic right hand man, Orang Kaya Tinggi (Khalid Salleh). The Sultan cooperates with the British. Like old Melaka’s Raja Mendaliar, Orang Kaya Tinggi sees his opportunity and spreads calumny against Almayer. Tarminah (Rahayu Saraswati), the kueh-selling village girl, is in love with Dain. When she finds out that Dain is going to run off with Nina, her jealousy and anger contributes to the inevitable. She spies on Nina and Mem, and then tells Almayer that Mem is behind the plot to fool the British by claiming that Dain has died by drowning.



U-Wei depicts Almayer as a man of vision. He is progressive, in contrast to the Malays around him, and the British whose main aim is only consolidate their power. He has begun to build a house. It is not finished, and he will finish it himself without any help from the Malays once he finds the gold that he is looking for.  However, when his daughter makes the decision to leave him and go with Dain, his whole world collapses. All the more so when Dain confidently tells him that “Nina is now Malay.” Unlike Mem, Almayer’s desire for gold was all for Nina, so that she could marry a European and live a happy life away from the decadent ‘savages’ that he has been around with for twenty years.

Federico Fellini said that all art is autobiographical, and he has demonstrated that in his films. Oscar Wilde’s comment that every portrait painted, in reality, is a portrait of the artist himself can also be applied to the works of many filmmakers. Since the 1980s, many Malaysian filmmakers – In particular those trained overseas and exposed to great literature – have made films that are, in fact, about their own involvement in the film industry. U-Wei is no different. To understand the background story of HANYUT, one needs to decipher the character roles and the events depicted. They become pointers as to what is U-Wei’s subject matter and what he is really saying in HANYUT.

The story of HANYUT as presented on the screen is very easy to follow. But its meaning is indeed very complex and needs to be deciphered. How then shall we decipher the meaning of HANYUT vis-a-vis the opening and closing scenes of HANYUT? U-Wei’s directorial statement is:
Hanyut is a story about a cosmopolitan society living and working together along a riverbank some-where in Malaysia. It attracted many sea travelers seeking opportunity and rewards. It gives us a window into the Malay society in Malaysia in the late 19th century: A highly competitive mix of indigenous Malays, tribal aborigines, Europeans, Arabs, Indians and Chinese living and working together. Although the book starts out as though it is from the perspective of the European protagonist, the narrative is dynamic. By the end of the story the protagonist (and the audience) discover the understanding of his own insignificance. In the beginning of the story Almayer appears to be at the centre of society, but in the end we see that he is very much peripheral and alienated, and that the real cultural, political and economic life of the community is located elsewhere and involves other people besides himself.

I much prefer U-Wei’s dictionary meaning of the word ‘hanyut’ that appears at the end of the film:

Drifting off into ominous peril, without
any real way of getting back.

Perhaps HANYUT is a huge portrait of U-Wei himself, and the people and the milieu he has to contend with, one that has taken him twenty years to finally ‘paint’. And perhaps, U-Wei is still waiting to discover that ‘mountain of gold’, which has been eluding him as a film storyteller, and – like Almayer - he cannot leave the scene without having achieved that goal. Perhaps he feels that he is now adrift, but has come accept that fact because there is no way back…


But for Malay cinema, HANYUT, which finally has come to fruition after almost two decades, is like a ‘mountain of gold’ that has been longed for, one that can be called an authentic Malay cinema, even if it has been largely brought to the screen by many foreigners, both in its cast and crew. Perhaps that is the irony of the Malays: that they can only discover themselves – like Almayer – when they come into contact with the Other.

 Oleh: Hassan Abdul Muthalib
© 2016 Semua Hak Cipta Penulisan Kreatif adalah terpelihara milik penulis. Sebarang cetakan semula dalam apa jua platform sekalipun tanpa kebenaran penulis adalah dilarang. 

Selasa, 29 November 2016

BUNKFACE X, RAIKAN ULANGTAHUN KE- 10 MENERUSI KONSERT EKSKLUSIF, DISEMBER 2016 INI!


Sempena meraikan ulang tahun yang ke 10 Bunkface dalam industri muzik tempatan, satu sidang media khas mengenai penganjuran Konsert Bunkface X dan pelancaran koleksi album Bunkface telah diadakan di Matic, Kuala Lumpur pada petang Selasa, 29 November 2016. Konsert yang bakal berlangsung pada 24 Disember 2016 itu memilih Stadium Chin Woo, Kuala Lumpur sebagai lokasi penganjuran.

Menariknya, album khas yang mengandungi beberapa buah lagu hits Bunkface dari album terdahulu, terkandung dalam Siri Koleksi Bunkface X yang akan dijual pada malam konsert di mana peminat muzik tempatan boleh memiliki album tersebut yang turut dicetak dalam bentuk Kaset (cetakan terhad) selain CD dan digital. 
 
Bunkface yang dianggotai oleh tiga orang anak muda ini merupakan kumpulan muzik band pertama di Malaysia yang berkolaborasi bersama sebuah syarikat makanan antarabangsa, Miami Grill untuk membuka cawangan keduanya di SACC Mall, Shah Alam, Selangor. Ketika berucap merasmikan album tersebut, vokalis Bunkface, Sam melahirkan rasa teruja dengan penglibatan mereka dalam dunia perniagaan makanan selain perfume dan merchadise yang merupakan antara produk terlaris di bawah jenama Bunkface. Ini penyertaan mereka bagi memantapkan jenama Bunkface dalam industri muzik tempatan.





Konsert Bunkface X telah mula dijual semenjak 21 Oktober lalu , dan peminat muzik boleh mendapatkan tiket tersebut di laman www.myticket.asia sekarang, yang berharga RM50, RM70 dan RM140 bagi VIP.
 Oleh: Amy Ikram, Gambar: Ruffey Rahman, OMS!
© 2016 Semua Hak Cipta Penulisan Kreatif adalah terpelihara milik penulis. Sebarang cetakan semula dalam apa jua platform sekalipun tanpa kebenaran penulis adalah dilarang.