Pendatang

"Pendatang" emerges as a poignant exploration of societal fractures and human resilience within the confines of a fictional, dystopian Malaysia. The film tactfully weaves a narrative around a Cantonese-speaking family grappling with the oppressive implications of the Segregation Act, a dystopian echo of historical struggles.

The deliberate use of long shots and static camera work pays a subtle homage to Yasmin Ahmad, immersing the audience in the visceral reality of the family's plight. It's a masterstroke, as the visuals not only evoke a sense of familiarity but also serve as a visual metaphor for the stagnant, unyielding nature of the socio-political landscape.

The film effortlessly raises profound questions, forcing the audience to confront the chilling plausibility of such a dystopian reality. "Pendatang" doesn't merely entertain; it sparks a profound introspection, compelling viewers to ponder the human response in the face of adversity. The '927 Incident' and the secession of Sarawak and Sabah function as compelling backdrops, serving as catalysts for the narrative's underlying tension.

One of the film's remarkable strengths lies in its restraint. Instead of resorting to overt commentary, "Pendatang" unfolds organically, allowing the tension to seep through every frame. This deliberate subtlety is a testament to the filmmakers' trust in the audience's intelligence, creating a viewing experience that is intellectually stimulating without being didactic.

What sets "Pendatang" apart is its commitment to the principle of 'show, don't tell.' The narrative unfolds seamlessly through the characters' experiences, eschewing preachiness. The emotional impact is derived not from explicit dialogue but from the subtle nuances in the characters' interactions, making it a deeply immersive experience that resonates long after the credits roll.

This film is a beacon of hope for the Malaysian film industry, demonstrating that quality cinema can seamlessly marry thought-provoking narratives with technical finesse. "Pendatang" stands as a testament to the potential of Malaysian cinema and beckons a future where more films aspire to achieve such a rare and commendable standard.

Pendatang, which means "immigrant" in Malay and is commonly used to label any non-Malay citizens of Malaysia.

Well, I anxiously wanted to watch this cinematic version of "Pendatang" and I finally got my chance.

The film is set in a dystopian Malaysia where a Segregation Act divides ethnic groups into tightly separated and controlled areas with curfews being imposed.

Well, I am going to skip the narration of the synopsis and jump directly into the movie itself from a vantage point of a servant of the film industry.

1)Script, Screenplay & Dialogues

Looking at its tight budget purely crowdfunded, Pendatang is exceptionally good and compelling. The script was well written and the screenplay was equally executed well. Dialogues were predominantly in Cantonese but some tinge of Malay added to the linguistic fabric of the film. To be honest, this is one of the rare times where I was intrigued for almost the first 60 minutes without batting an eye lid. Usually it takes me 10-15 minutes to hit the opening phase of boredom.

The plot was different in comparison to a number of Malaysian films released this year. Breaking out of being in the usual bubble of horror-comics, gangster flicks, police stories, love triangles and pendekar massacres, this film portrayed the obvious but told in the most fictional manner possible where ethnic groups are forbidden to mix with each other. That's a first in a Malaysian made film and a bold one in fact.

8/10

2) Direction

I must say that Ng Ken Kin had the "balls" to direct this in order to pursue with a clear cut message that "race is only a skin-deep notion". His imagination of "what if the ethnic resentments that are often seen and heard among Malaysia's different races today escalate into darker consequences" was well dramatised in a simplified manner. The message was loud and clear indeed.

Kudos to Ken Kin, a job well done.

8.5/10

3) Cinematography

Understanding of having limited amount of money and despite that the cinematography was done with a proper manner. With minimal lighting and minus any other fancy optical illusions, rhetorical camera works were tasteful though I feel that at times the handheld shots were way too jerky. Perhaps it could be the director's requirement to add realism into the imagery.

Framing of the B-rolls (house interior standalone shots) were less impressive. The choice of lenses used was not right as it showed optical distortion.

7/10

4) Production Design

It was done adequately to the script and the realism of the film. Minimal props were used but it was enough to tell most of the story from the interiors of a Malay home. There wasn't much required in terms of art direction.

The wardrobe stylist did a good job in getting the right fitting for the casts. No over-the-top clothings were shown.

The only flaw I noticed was the "brand new" soldier uniforms which should have been aged-down to be more realistic.

6/10

5) Casts

I was impressed with the individual performances of casts and I must say that they executed their roles with much flair, grace and with lesser intensity. Fear, which played a larger part in their emotions was the basis and yet it did not limit a little joy here and there.

The Malay language was exceptionally well spoken by the Chinese casts, without a slightest hint of accent typically spoken by the large Chinese community here in Malaysia.

The "Panda" character was well played by the little girl despite not having a single word uttered. Her facial reactions were enough to show her emotional rollercoaster.

8.5/10

6) Post Production

The colour grading of the film was toned down to fit overall look and feel of the dystopian setting. The gloomy overcast weather added to it. Editing was fairly done and kept simple.

And finally my closing note.

This film with its humble beginnings could make big waves within this country despite not having any form of theatrical release. It was a great effort shown with much courage especially when it touches the ever-sensitive racial topic.

All the best.

A must view by every Malaysian - or foreign visitor - of any age group.

The theme is common - but has been exceptionally portrayed in every respect: The script, the Direction, the Production, the filming, sound etc and the location, and most of all the actors and the quality of the acting.

The strategy to use u-tube was a winner. The crowd funding an inspiration.

The only reason I did not give a 10 is because I found the closing story line just a tiny bit complicated and rushed, and the ending a tad abrupt.

But hey guys, this is worthy of an international award. Pease pursue that objective.

This film is about a Chinese family, Mr. Wong who recently move to new house. When they are cleaning the house, Bobby found something in the ceiling.

Cinematography by Tan Teck Zee is amazing to give an important viewing to the viewers. It deserves an A+ for that. Besides, the topic that bring is important to us know that rasicm wasn't a topic. Great job by director and producers. Casts are portraying the character well, I don't have problem with that. Production well made by all crews out there! Besides, since it's a thriller genre, I can feel that thrilling in this film.

The ending kinda leaves us big question. Is the sequel currently planning or will leave like that?

As someone currently visiting Malaysia for a couple of months and looking for insights into the national psyche, I found Pendatang well worth watching. That it was made on such a tight budget entirely sourced by crowdfunding made it even more remarkable. I stumbled upon it while searching YouTube for Malaysian documentaries. Pendatang isn't a documentary; it's a fascinating cautionary tale that takes contemporary Malaysia as its starting point and asks, 'What would happen if...?' It relies on too many clunky plot devices to be a great movie, but it's nevertheless a very good one - and beautifully filmed. Definitely recommended to anyone interested in getting under the hood of contemporary Malaysia.