MARYAM Press Kit B5 - 20230113

MARYAM
A FILM BY BADRUL HISHAM ISMAIL

A RHU GRAHA & GUNUNG CHERITA
PRODUCTION
SYNOPSIS
MARYAM, a 50 year old gallery owner

from an aristocratic family, seeks her father’s
blessing to marry her young, foreign boyfriend
from Sierra Leone —while needing to simultaneously
overcome challenges from Sharia bureaucracy, which
determines her own ability to choose a spouse.
Maryam, a wealthy 50 year old gallerist,
wakes up in her luxurious apartment.
She is an independent, educated
aristocrat with the world as her oyster
— but she is lonely.
Maryam has her morning tea, and as it is in season,

some durian for breakfast. She proceeds with her
regular morning routine—peeping on her young
male neighbours exercising and swimming at the
pool—before getting ready for the day.
After a short stop at her gallery, Maryam goes to

see her father Tengku Dol, a timber tycoon and
aristocrat, at his mansion. Maryam is there to seek
his permission as her legal guardian to marry her
boyfriend, Damien, a young African man from
Sierra Leone.
Her father’s permission is consequential according

to Sharia law, as he is Maryam’s wali—a Muslim
woman’s legal guardian who is responsible for her
life. However, Tengku Dol refuses to permit his
only daughter to marry Damien. He lists down
his excuses, including that the pair are not sekufu
(of equal standing). This is Maryam’s final effort
to persuade her father, and since Tengku Dol will
not budge, she storms out in despair.
Maryam then meets her lawyer, Hajjah Azmah, who convinces her that she can circumvent
the issue of having a wali by obtaining the Sharia court’s permission instead. However, in
order to do so, she will first have to meet a court-assigned marriage counselor to write a
supporting letter that would authorize the court to be her wali in place of her father.
Reluctantly, Maryam goes to see marriage counselor Ustaz Azman at his office in a large
mosque. He asks about personal matters which unsettle her, while he seemingly avoids
signing the paperwork that she needs. After much dawdling by Ustaz Azman, Maryam
finally snaps at him, and forces him to sign the document.
Surprised and afraid that Maryam will make a scene, Ustaz Azman concedes.
After finally getting the much-needed paperwork,
Maryam meets up with her close friend Jennifer.
She complains to Jennifer about what she had to go
through earlier in the day, and how helpless and
exhausted she feels.
However, instead of consoling her, Jennifer also

questions Maryam’s decision, suggesting that she
could have other men if she wanted to. This annoys
Maryam even more.
Soon after, Hani arrives to join them from a confer-

ence. Unaware of what Maryam and Jennifer were
just talking about, Hani tells them about misyar and
mut’ah marriages — alternative marriage agreements
in Islam that allow couples to enter consensual
sexual relationships without the baggage of
permanent marriage.
Hani hints that those options are safer for Maryam,

since she is distrustful of African men. Maryam is
livid at their comments, and storms out of the cafe.
Maryam drives around in the outskirts of Kuala

Lumpur, as she tries to calm herself down. Later
that night, Maryam calls Damien, but instead of
telling him the truth, she tells him that everyone is
excited for them, and reassures him that everything
will be alright.
The next morning, Maryam gets up, feeling

different. Upon contemplating her morning
routine, she decides against it.
With the signed document in hand, Maryam

heads to the Sharia court to submit her request
for permission to marry Damien — a decision
that will determine her future.
DIRECTOR’S
As most of the world was put under lockdown, STATEMENT
I kept reflecting on how much we as society live
at the mercy of authorities and institutions.
With the stroke of a pen, we lost control of our own lives and our freedom of
movement, where our day-to-day activities were dictated by people in power,
with entire institutions mobilized to enforce their decisions.
But this should not come as a surprise for a country like Malaysia, where the government,
and the religious establishment in particular, continues to maintain its grip on people’s
lives. For Malaysian Muslims, everyday life choices that we make are subject to scrutiny
by religious authorities — from what we eat and drink, to who we choose to live our lives
with. This was the starting point of the film.
Through Maryam’s journey, I wanted to explore the challenges faced by Muslim women
as they navigate religious bureaucracy. The trials that come with her decision to marry
and live with a person of her own choice seem impossibly difficult and dehumanising,
even for a person of Maryam’s stature within Malaysian society.
But beyond merely showing Maryam’s struggles against a patriarchal religious establish-
ment, the film evolves into a mirror of contemporary Malaysian society, with its hypocri-
sy, xenophobia and obsession towards status, while an undercurrent of suppresed, or per-
haps repressed, desire, animates much of the story from beneath the surface. Malaysians
of late have been showing open resentment towards these groups of people, whilst still
yearning for recognition from developed, Western, and “White” countries.
These themes are reflected in the rejection that Maryam faces from family and friends
when it comes to her choice of partner. As it happens, Maryam’s lover is a young African
man from Sierra Leone. Her decision does not sit well with her father, an aristocrat,
who as her legal guardian refuses to give his blessing and permission to marry, a require-
ment for Muslim women to be legally married under locally binding Sharia law. Her close
friends also disapprove of her choice. The rejection that Maryam faces from her family
and friends on her choice of partner reveals the particularities of race, religion and class
in contemporary Malaysia.
This film is my personal response to the suppressive forces that bear down upon individu-
al choice, desire and freedom. The story reveals the hypocrisy and prejudice one endures
in the name of norms and tradition.
BADRUL HISHAM ISMAIL

BADRUL HISHAM ISMAIL is a writer and independent DIRECTOR’S
filmmaker based in Kuala Lumpur. PROFILE
A graduate from The New School in New York, Badrul has

consistently been making films that touch on subjects on the
fringes, and themes that question the normality of everyday life.
Some of his works include The Tailor of Pertama (2013),

Voyage to Terengganu (2016), Beluran Screams! (2017) and
Apa Khabar Adiguru? (2020).
His films have screened in local and international film festivals,

such as the Freedom Film Fest, Singapore International Film
Festival, Jogja-NETPAC Asian Film Festival, International Film
Festival Rotterdam, and the Art of the Real festival at the
Lincoln Center in New York.
He is also a regular writer at The Star, as well as the co-founder

and content editor at the Malay language print journal Svara.
His films include:
• Apa Khabar Adiguru?, 2020 (Short Documentary)

• Bapak Ayam Jalan Sultan, 2017 (Short Film)
• Beluran Menjerit!, 2017 (Short Documentary)
• Voyage to Terengganu, 2016 (Feature Documentary)
• Dialog Dengan Dendi, 2015 (Short Documentary)
• A Tale of a Mannequin, 2014 (Short Film)
• The Tailor of Pertama, 2013 (Short Documentary)
LEAD
ACTOR
Maryam is played
by award-winning
veteran actor
SOFIA JANE,
who came to
prominence with
roles in films such as
Harry Boy (1992),
Kekasih Awal dan Akhir
(1993), Perempuan,
Isteri dan... (1993), and
Sayang Salmah (1995).
Her filmography spans over

three decades, and includes
memorable performances in
Puteri Gunung Ledang (2004),
Hanyut (Almayer’s Folly) (2012)
and Susuk (2008).
Sofia was awarded Best Female

Actor in a Drama at Malaysia’s
Anugerah Skrin (Screen Awards)
in 2007 for her role as a prison
inmate in the telefilm
Sebuah Ijtihad (2007).
Today, Sofia is a Malaysian

cultural icon known across
generations for her brave
empowering performances
in roles that pushed boundaries,
and is a vocal advocate
for Malaysian cinema.
PRODUCERS’
PROFILE
KYE SYED FARIZ

Kye began his career in television, directing projects ranging
from documentaries, music videos, telemovies to drama series
and has expanded into the world of cinema with his feature
film, ‘Busker’, for Astro Shaw in January 2018.
His passion and drive led him to direct the award winning,
highly acclaimed and popular TV series ‘Keluarga Iskandar’
for which won the best comedy series.
ROY FAIRUL NIZAM ABLAH

Roy has been writing scripts for animation, telemovies and
drama series since 2005. Among his notable successes was the
award winning telemovie ‘Jangan Ambil Padang Kami’ and
for Best Comedy Series for ’Keluarga Baha Don’.
He has also been instrumental in the successful book

adaptations of several highly popular tv drama series.
He has worked with the highly acclaimed Gonzo Studio Japan
for an animation entitled ‘7 Satria’, in collaboration with
Funcel Studio.
EDDY WAN SHAHIDI

A career shift from the finance world to advertising brought
Eddy to television content and feature film productions.
He has since been involved in various productions of feature

films, telemovies, series and magazine content for various
television stations in Malaysia. The multiple award winning
film ‘Gubra’ with the late Yasmin Ahmad was a notable suc-
cess with invitations and participations in various internation-
al film festivals including the Hawaii, Tokyo and South East
Asia Film Festival, to name a few.
MARYAM
Directed by
Badrul Hisham Ismail
Screenplay
Faisal Tehrani and Badrul Hisham Ismail
Producers
Kye Syed Fariz, Roy Fairul Nizam Ablah
and Eddy Wan Shahidi
Director of photography
Eric Yeong
Editor Basil Faizal
Production Company
Gunung Cherita Sdn. Bhd. (Malaysia)
Cast
Sofia Jane
Taqim Zaki
Roslan Madun
Omar Abdullah
Bella Rahim
Azman Hassan
Pekin Ibrahim
Susan Lankester
Vanidah Imran
Genre Drama
Running time 107 minutes
Color
Aspect ratio 4:3 (1.33:1)
Shooting location Kuala Lumpur, Malaysia
Language Malay
Format Digital
Country of production Malaysia
Year of Release 2023
EXECUTIVE
PRODUCERS
GUNUNG CHERITA
is a multi-channel content production company
that focuses on story-telling for impact.
Through podcasts, online content, publications, and film,

Gunung Cherita aims to inspire change in creative and
compelling ways.
Previously, Gunung Cherita has worked with think tanks,

government institutions, international organizations,
and civil society organizations in their effort to
promote positive change.
MARYAM PAGI KE MALAM is our first feature film.
CONTACT
BADRUL HISHAM ISMAIL

Director | badrulhismail@gunungcherita.com
LUTFI HAKIM
Executive Producer | lutfi@gunungcherita.com
WEBSITE www.gunungcherita.com
GUNUNG CHERITA SDN. BHD.

Suite 511, Bangsar Village,
1 Jalan Telawi Satu, Bangsar,
59100 KUALA LUMPUR, MALAYSIA

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MARYAM

A FILM BY BADRUL HISHAM ISMAIL

MARYAM, a 50 year old gallery owner

Maryam has her morning tea, and as it is in season,

After a short stop at her gallery, Maryam goes to

Her father’s permission is consequential according

However, instead of consoling her, Jennifer also

Soon after, Hani arrives to join them from a confer-

Hani hints that those options are safer for Maryam,

Maryam drives around in the outskirts of Kuala

The next morning, Maryam gets up, feeling

With the signed document in hand, Maryam

BADRUL HISHAM ISMAIL

A graduate from The New School in New York, Badrul has

Some of his works include The Tailor of Pertama (2013),

His films have screened in local and international film festivals,

He is also a regular writer at The Star, as well as the co-founder

His films include:

• Apa Khabar Adiguru?, 2020 (Short Documentary)

Her filmography spans over

Sofia was awarded Best Female

Today, Sofia is a Malaysian

KYE SYED FARIZ

ROY FAIRUL NIZAM ABLAH

He has also been instrumental in the successful book

EDDY WAN SHAHIDI

He has since been involved in various productions of feature

Editor Basil Faizal

Through podcasts, online content, publications, and film,

Previously, Gunung Cherita has worked with think tanks,

MARYAM PAGI KE MALAM is our first feature film.

BADRUL HISHAM ISMAIL

GUNUNG CHERITA SDN. BHD.

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