Benjamin McKay probes Amir Muhammad, arguably Malaysia’s most important filmmaker.
Notes Made in the Dark
In 2007 Tan Chui Mui followed Raya Martin, becoming the second resident of the Cannes Cinefondation programme. She sent us these notes from Paris.
Plural Identities: Reinventions & Revisions in Malaysian Cinema
Vinita Ramani explores the idea of ethnicity and identity, as reflected in Malaysian cinema in the 1950s.
Art, Entertainment and Politics
Gaik Cheng demonstrates how Malaysian independent filmmakers are doing it all.
Voices of Malaysian Cinema
Hassan Muthalib narrates the Five Voices of Malaysian Cinema.
In this extract from his article on the Malaysian director for the book Glimpses of Freedom, the late Benjamin McKay explores what makes Mukhsin so distinctively a Yasmin Ahmad film.
Village People Radio Show
Confessions, Testimonies and Social Memory: Vinita Ramani listens on Amir Muhammad’s Village People Radio Show.
The Amber Sexalogy
Malaysia indie cinema staple Azharr Rudin is a name to watch. Benjamin McKay unravels his sophisticated experimental sextet, “The Amber Sexalogy”
The Last Communist
Amir Mummad, touted in Film Comment magazine as “the world’s funniest Muslim filmmaker”, delivers his latest essay film, “The Last Communist”, on Chin Peng.
Min: Everyday life and Thirdspace. Khoo Gaik Cheng journeys inside the meanings found inbetween.
Not profound, just waiting to be found: Aaron Chung
Hassan Muthalib introduces us to the works of this short film maestro.
The vision is blurred, but the heart is clear: Hassan Muthalib offers an appreciation of Yasmin Ahmad’s “Rabun”.