By Benjamin McKay Monday evening’s screening of recent Malaysian short films largely confirmed the talent and richness to be found in the work of some of our leading independent filmmakers. Organised by Kelab Seni Filem Malaysia and hosted by the irrepressibly witty Amir Muhammad, these screenings are now firmly a part of the local film […]
By Benjamin McKay Two very varied feature films opened recently, the first two parts of a planned trilogy on love by acclaimed indie filmmaker James Lee. James has had a productive career, to date, and critical analysis of his work has often focused on stylistic comparisons with Taiwanese New Wave stalwarts like Tsai Ming-Liang (who, […]
By Benjamin McKay It has been an important year for independent Malaysian cinema. Triumph on the international festival circuit, success with releases on the screens of major cinemas, both here and overseas – it is cause for celebration that we end the year with another landmark feature. You’ve heard this by now: made with the […]
By Lucy Friedland I don’t bother with film shorts in the States. I think of American shorts as a training ground for young, credit card-toting wannabe filmmakers, who haven’t yet honed their chops enough for someone — besides their parents -- to fund their first feature. Why muck around with American shorts, anyway? When hundreds […]
By Benjamin McKay Some filmmakers use film as a tool to tell narratives and build worlds. Other filmmakers, a rare few, inhabit film as if it were already a tangible world – a world in need only of some simple shaping and orchestration to produce fine semblances of life. Ho Yuhang’s Sanctuary (2004), a simple […]
By Kakiseni Paparazzi Talk about efficiency. For the entire first half of the 18th Malaysian Film Festival 2005 (FFM18) awards ceremony on Sun 17, July 2005, winners were ushered off the stage as soon as their awards were firmly in hand. We were thus thankfully spared of boring acceptance speeches. But truth be told, we […]
By Khoo Gaik Cheng Ho Yuhang’s Sanctuary, which had garnered a Special Mention at last year’s Pusan International Film Festival, distinguishes itself from mainstream cinema in many ways: minimal dialogue, slow pace and almost humdrum nature, seeming lack of suspense and seeming absence of narrative drive. ‘Seeming’ is the keyword here as it is all […]
