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.
