Kelab Seni Filem Malaysia

June 2006

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Malaysian Shorts
"What Time is it There?" DVD

10 January:

Dir: Andrei Zvyagintsev. Russia, 2003, 105 min

Two young brothers' lives are disrupted by the unexpected return of their long-lost father whom they have only known from a single photograph. He then takes them on a mysterious journey in this spellbinding and tense psychological thriller which has been hailed as 'sublime ... outstanding' (Guardian) and 'a masterpiece' (Empire). Winner of the Golden Lion, Venice Film Festival 2003.

17 January:

Various directors. Malaysia, 2004. 106 min.

All the winners of the Audience Choice Awards from 2004's three editions of Malaysian Shorts, now in one crowd-pleasing blockbuster package! Featuring Inside Out by Oliver Knott, Wanita Cosmos by Diffan Sina, A Likely Tale: Sleeping Beauty Revisited by Nur Hanie Mohammad, Ptuihh...! by Arif Rafhan Othman, Out of the Closet by Chi Too, Not Cool by Liew Seng Tat, An Interview with the Pool by Chee Guo Lin, A Tree in Tanjung Malim by Tan Chui Mui and Grey Avenue by Eugene Foo. Entrance by membership.

Presenting new indie features and shorts. Admission for members, press and invited guests only.

22 January:

SANCTUARY (Ho Yuhang, 2004, 82 min; Special Mention, Pusan International Film Festival 2004; in competition, International Film Festival Rotterdam 2005). Plus Stairs (Lee June Jye, 2004, 30 min; 2nd Prize, Astro AEC Chinese Short Film Competition 2004).

23 January:

THE YEAR OF LIVING VICARIOUSLY (2005, 63 min) and TOKYO MAGIC HOUR (2005, 60 min), Amir Muhammad's newest works, both of which have been invited to IFF Rotterdam and the San Francisco IFF 2005.

24 January:

Lee Chang-dong; Korea, 2002, 132 min

An ex-convict meets and falls in love with a severely handicapped woman. Their heroic liaison scandalises both their families and eventually attracts the attention of the police. Avowedly intended to 'embrace the realities of life rather than confront them', this social satire features superb performances by the leading actors. Best Director award, Venice Film Festival 2002.

31 January:

GADJO DILLO (The Crazy Stranger) [AF]
Tony Gatlif; France, 1997, 100 min

A young Parisian, in search of a gypsy singer in Romania, is slowly accepted by a suspicious clan, where he witnesses the joys and heartbreaks of Romany experience. This exploration of gypsy culture is a funny and moving blend of gritty drama, glorious music and dance, and ethnographic semi-documentary.

7 February:

DAY FOR NIGHT (La Nuit Américaine) [AF]
Francois Truffaut; France-Italy, 1973, 116 min

One of Truffaut's most captivating sentimental comedies chronicles the emotional upsets, logistical difficulties and moments of sheer elation during the shooting of a film, displaying once again Truffaut's obvious love for cinematic illusionism. Aided by an uplifting score and some superb performances, it's 'a must for anyone besotted with the glamorous trivialities of the cinematic medium' (Time Out).

14 Febuary:

Apichatpong Weerasethakul; Thailand, 2003, 118 min

A local legend says that man can become creature, but for young soldier Keng and country boy Tong, times are happy and love is simple. But then Tong disappears and some kind of wild beast starts killing cows. Now begins the tale of a soldier venturing into the depths of the jungle to a place where myth and reality collide.
Winner of the Grand Jury Prize, Cannes Film Festival 2004.

21 Febuary:

Rithy Panh; Cambodia, 2003, 101 min

The Cambodian genocide of 1975-1979 killed 1.7 to 2 million people. Panh's documentary returns to the hauntingly derelict 'genocide museum', previously known as S21, an interrogation centre. Meticulous and unflinching in his vision, Panh recognises the fragility of human memory and witnesses its re-telling in a crucial documentary. Winner of the Francois Chalais Award, Cannes Film Festival 2003.

Plus Classrooms (Ho Yuhang; Malaysia, 2003, 6 min). A silent meditation with intertitles on the horrors perpetrated at the S21 interrogation and torture centre that provides this film with its ironic title.

28 Febuary:

Hirokazu Kore-eda; Japan, 2001, 132 min

Four disparate individuals go into the forest together to visit the site where their relatives were executed by their own cult for perpetrating a terrorist act in Tokyo three years earlier. They spend a night reminiscing and soul searching together with a cult member (Tadanobu Asano).

7 March:

Richard LaGravenese & Ted Demme; US, 2003, 108 min

A new kind of cinema emerged in America in the 1970s, inspired by political activism, the sexual revolution, the women's movement and the music revolution. This remarkable documentary recounts this amazing period in film through interviews with pioneering directors, writers and actors (Altman, Bogdanovich, Coppola, Clint Eastwood, Dennis Hopper, Scorsese), with a cornucopia of clips from classics like Easy Rider, Midnight Cowboy, Taxi Driver, The Godfather and Coming Home. Official Selection, Sundance Film Festival.

14 March:

Bruno Nyutten; France, 1988, 174 min

A portrait of tortured artistic genius: sculptress Camille Claudel's (Isabellel Adjani) desire to win patronage from the sculptor Rodin (Gerard Depardieu) drives her into a disastrous affair with him. A break-up turns her into a wreck, but pushes her into ever more manic creativity despite neglect by the bourgeois intelligentsia. Remarkable for its recreation of period detail and insight into the creative sculpting process. Best Actress (Isabelle Adjani), Berlin Film Festival 1989.

21 March:

Apichatpong Weerasethakul; Thailand, 2000, 85 min

Neither documentary nor fiction, Apichatpong's astonishing debut feature is deliberately unclassifiable. The film crew talk to ordinary people all over Thailand, inviting them to pick up and extend a chain story ... with surprisingly bizarre results. One of these concerns a schoolboy noticing a mysterious object rolling out from under the skirt of his teacher. 'It's clear that something rich and strange is happening in Thai film culture' (Tony Rayns, London Film Festival 2000).

28 March:

New short films discovered and showcased in our ever-popular series, with the filmmakers present to discuss their work and a chance for the audience to vote for their fave 3 shorts of the evening. Curated by Bernard Chauly and Amir Muhammad.

4 April:


A new collection of documentaries that bear witness to the increasing popularity of the genre among Malaysian filmmakers. This series has become a regular fixture in our programme. Also included is an award-winning documentary from a neighbouring country. Curated by Amir Muhammad.

11 April:

BRIGHT FUTURE (Akarui Mirai)
Kiyoshi Kurosawa; Japan, 2002, 115 min

Prolific director Kurosawa creates a provocative commentary on inter-generational conflict and the hopeless outlook of Japanese youth. Enigmatic Mamoru (Tadanobu Asano) lives alone with his poisonous jellyfish. He works at a laundry where he fascinates and influences Yuji, an unstable younger colleague. When Mamoru is jailed for murder, Yuji takes on the care of the dangerous pet, and also develops a relationship with Mamoru's father. 'Kurosawa finally fulfils his promise with a haunting and ecstatic crypto-gay movie in which the weird imagery and knockout performances are in perfect sync' (Time Out).

18 April:

Errol Morris; US, 2003,

Former Defence Secretary to two US presidents, Robert S McNamara was one of the most controversial and influential political figures of the 20th century. Here he offers new and often surprising insights into some of the most seminal events in contemporary American and world history: the bombing of Tokyo, the Cuban missile crisis, and the effects of the Vietnam War. 'Astonishing, mesmerising, and sometimes horrifying! Chilling on so many levels' (Vanity Fair). Academy Award for Best Documentary, 2003.

25 April:

TROP BELLE POUR TOI (Too Beautiful For You) [AF]
Bertrand Blier; France, 1989, 91 min

Bernard (Gerard Depardieu), a wealthy businessman happily married to beautiful and elegant Florence (Carole Bouquet), falls incomprehensibly in love with his dowdy secretary. Charting the outrageous repercussions of an obsessive love, Blier explores the situation from every conceivable angle, merrily constructing and deconstructing alternative stories for all he's worth. 'A classy, amusing filmmaker' (Time Out).