Wednesday, August 20, 2008


PUUR, Wim Vandekeybus’ latest creation for 13 performers - amongst whom the 79-year old Flemish actor and playwright Tone Brulin - premièred during the Singapore Arts Festival in May 2005.


Director, choreographer, actor and photographer Wim Vandekeybus was born on June 30th, 1963 in Herenthout (Belgium). Brought up in a rural environment as a son of a veterinarian, Vandekeybus was often in contact with animals in their natural environment. These   experiences had a great emotional impact on him. Animals, their movements, their instinctive reactions and their trust in their own physical power are often integrated into his performances.  

He began his studies in psychology in Leuven, but did not complete them, irritated, as he says himself, by the surplus of ‘objective science’. His interest in the complex relationship between body and spirit remained. A workshop with the Flemish theatre director and playwright Paul Peyskens brought him into contact with theatre. He followed some dance courses (classic, modern, tango) and took up film and photography.

U TUBE - Woven Hand & Ultima Vez - PUUR





Adaptasi dari naskhah " This is not EUGENE "

Dia seronok dalam warna-warna yang meriah, 
dengan sekelip mata seperti melayangnya sayap seakan pari-pari yang terkoyak busananya.."

karya dan arahan TONE BRULIN

Tone Brulin

From Wikipedia, the free encyclopedia

Tone Brulin (pseudonym of Antoon Maria Albert van den Eynde) (born May 111926Antwerp) is a Belgian playwright and stage director.

Brulin studied scenographics at La Cambre (1943-1946) in Brussels. The boss of that institution, Herman Teirlinck, became Brulin's mentor. From 1946 until 1948 Brulin studied theatre at the Studio in Antwerp. Tone Brulin was co-founder of avant-garde literary magazines, such as Tijd en Mens (Time and Human) (1948), together with Hugo Claus and Louis-Paul Boon and also of Gard Sivik (1952), together with Hugues Pernath and Paul Snoek.

In 1953 he founded in Antwerp the Nederlands Kamertoneel (Nederlands Chamber Theatre) and staged his first experimental play. Brulin deserved acknowledgment as playwright after he had won the Prijs van de Boekenweek (Prize of the Bookweek) in Amsterdam (1953). He also got the CJP-prize, the Hegenscheidt Prijs van Sabamde Hustinckx Price, theNationale Prijs voor Toneelschrijvers (National Prize for Playwrights) and medal of honour of the city Brussels. During his studies in La Cambre he played the prince of Aragan inShakespeare's The Merchant of Venice, staged by Gust Maes, in the KVS in Brussels.

In a continuous search to self-development and training, Brulin traveled all around the world. In New York he followed lessons at Lee Strasberg, in Actor's Studio.

Back in Belgium, he went back to the KVS to stage several of his own plays there. A tour with the KVS in Congo was the beginning of a period of work in Africa. He staged several plays for the Zuid-Afrikaanse Nationale Theater (South-African National Theatre) in Pretoria and founded Die Kamertoneel (The Chamber Theatre), following the Antwerp model. He staged among others Waiting for Godot, in which he himself played the role of Vladimir. Brulin turned back to Europe with Les Chiens (French: the dogs), an anti-apartheid play that is set by different societies: National Thetra of Algeria, Théâtre de la Communce d'Aubervilliers, Théatre du Park in Brussels.

With the South-Afircan author Athol Fugard he founded the group Nieuw Afrika (New Africa). With this they performed in Brussels, in the Paleis voor de Schone Kunsten (Palace of Fine Art), on the avant-garde theatre festival. In the '60s he was mainly active as director at television and as a teacher at the RITCS in Brussels.

In 1967 he represented the Belgian delegation on the congress of the International Theatre institute in Warsaw.

In 1970 Brulin staged Saboo, the first production of Théâtre Laboratoire Vicinal with Frédéruc Flamand. In the '70s he taught in several drama-divisions in the United States of America. After that he moved to Curaçao. Together with some of his students at the Antich College he started the Curoçao de Otrabanda company. Their play Kaakamakaakon was to be premiered in New York.

From 1972 onwards Brulin worked as professor in the theatre at the Sains University in PenangMalaysia. Back in Europe he got a job at the Theatre-academy in Maastricht. In 1975 he founded TIE3, Theatre of the Third World. Between 1975 and 1985 this developed a multicultural repertory of African and Asian plays such as Kapai-KapaiBa AnansiCharkawa andGilgamesj.

In 1992, Brulin took care of the decoration in the Brussels metro station Bizet.

Tiket : Penjualan Buku Program
017-6465389 (Rabitah) / 012-4196537 (Rusnani)

17, 18 & 19 OKTOBER 2008

Lambang Sari Istana Budaya, Kuala Lumpur

8.30 Malam

Pementasan ini akan diarahkan oleh Profesor Tone Brulin iaitu karyawan tamu dari Belgium. Profesor Tone Brulin 82, berasal Antwerp Belgium, merupakan seorang tokoh yang berpengalaman luas di dalam bidang seni pementasan teater. Beliau telah memulakan dan mencipta sejarah peribadi dengan menjadi tokoh seni pementasan teater pertama di Malaysia apabila menubuhkan seni teater di Universiti Sains Malaysia (USM), Pulau Pinang. Berbekalkan pendidikan serta pengalaman hampir lima dekad menerusi pelbagai pementasan beliau di seluruh negara, antaranya di Holland, Perancis, Portugal, USA, Denmark dan sebagainya telah menjadikan beliau seorang yang dikagumi. Beliau juga telah menerima beberapa anugerah antaranya The Belgian State Prize for Dramatic Literature, The Prize of the Netherlands Boekenweek, The International Italia Prize for Television Opera, The Arch Prize of the Free Word, The State Price of Belgium Theatre, dan pelbagai lagi. Beliau dijemput khas dari Belgium ke Fakulti Teknologi Kreatif dan Artistik sebagai tenaga pengajar, dan ditugaskan menjadi pengarah bagi karya beliau yang berjudul roh anai-anai iaitu hasil adaptasi daripada naskah berbahasa Inggeris ‘This is not Eugene’. Bagi pementasan ini juga, En. Mazli Abdul Rahman pensyarah Fakulti Teknologi Kreatif dan Artistik akan bertindak sebagai pembantu kepada pengarah Profesor Tone Brulin.



- Roh anai-anai, hasil karya Prof. Tone Brulin menerusi penterjemahan hasil daripada karya beliau ‘ This is Not Eugene’. Roh anai-anai ini berkisarkan mengenai keunikan sebuah koloni anai-anai dimana cara hidup anai-anai ini mempunyai persamaan dalam kehidupan manusia sejagat.Setiap peringkat dalam kehidupan manusia samada suka dan duka serta proses perkembangan fizikal manusia dan anai-anai yang hampir sama dari segi perubahan anai-anai menjadi kalkatu. Proses perubahan manusia juga menyerupai anai-anai. Melalui naskah ini juga kita dapat memahami natijah kewujudan anai-anai itu sendiri.


- Eksperimental


- Naif (Naive) teaterNASKAH, GENRE & KONSEP


- Roh anai-anai, hasil karya Prof. Tone Brulin menerusi penterjemahan hasil daripada karya beliau ‘ This is Not Eugene’. Roh anai-anai ini berkisarkan mengenai keunikan sebuah koloni anai-anai dimana cara hidup anai-anai ini mempunyai persamaan dalam kehidupan manusia sejagat.Setiap peringkat dalam kehidupan manusia samada suka dan duka serta proses perkembangan fizikal manusia dan anai-anai yang hampir sama dari segi perubahan anai-anai menjadi kalkatu. Proses perubahan manusia juga menyerupai anai-anai. Melalui naskah ini juga kita dapat memahami natijah kewujudan anai-anai itu sendiri.


- Eksperimental


- Naif (Naive) teater

Sunday, August 17, 2008

Susuk Review

 *Not that magical* *By ALLAN KOAY* *Susuk*

 The most interesting thing about *Susuk* is not that it's co-directed by independent filmmaker Amir Muhammad, nor the fact that it is the first local film to deal with the subject of susuk (mystical implants). No, it is the extraordinariness of Adlin Aman Ramlee's character, Dukun Dewangga, that is most noteworthy. Why? Because he is a lot like Batman. Dukun Dewangga has the habit of appearing seemingly out of thin air, like Batman frequently does. Also, he has the habit of rescuing people in the dark night and can knock the wind out of bad guys with just his bare hands. Just like Bats. The only difference is that Dukun Dewangga doesn't wear a rubber costume and cape. Actually, he is also a lot like Robert De Niro's Louis Cypher from
*Angel Heart*. Cypher is well-dressed, impeccably clean-looking, and has a strange menace about him, like Dukun Dewangga. And like Cypher, our mysterious man walks around with a stylish cane and exert an unhealthy control over the central character of the story they are in. The only difference is, Dukun Dewangga doesn't have sharp, black fingernails. And he isn't the Devil. But *Susuk* and *Angel Heart* have a lot in common. Both are about black  magic, both deal with events of the past and present, and both feature a character whose big secret is revealed in a big twist towards the end. And  in both movies, there are blood and chickens. But while *Angel Heart* is a  truly sinister exploration of a trapped soul, *Susuk*'s somewhat similar story suffers from a lack of dramatic tension and purpose. *Susuk* follows the lives of two women, Soraya (Diana Rafar) and Suzana (Ida Nerina). Soraya is a nurse harbouring big, Malaysian Idol-type dreams. Suzana is popular diva, whose secret to success goes far beyond just having a soulful voice. You see, she's a hot mama not because she endorses popular cosmetics like Sammi Cheng or Halle Berry but because of the super-scary black art of susuk, which entails pins and other metallic objects being inserted under the skin to enhance a person's charisma. Suzana is shadowed by Dukun Dewangga, who is like the greatest PA and image consultant an artiste could wish for. He appears out of thin air just at the exact moment you need him, and he knows how to improve your image with a lil ol' black magic. And I don't even think he took any secretarial courses. Suzana uses a highly potent form of susuk called susuk keramat. When she wants to return to her village for a loved one's funeral, Dukun Dewangga warns her that she must never cross a body of water. But Suzana goes ahead anyway, and once she crosses the village bridge, she turns into ... Marilyn Manson. Does the movie rock or what? Meanwhile, Soraya leads a seemingly more serene life, with a nice, TV commercial-friendly guy for a boyfriend. Attending a show by popular singers Mona (Sofea Jane) and Rozana (Aleeza Kassim), Soraya becomes friendly with  them and learns that both singers use susuk to advance their singing careers. The celebrity-wannabe then decides to try this black magic herself. Happily, it gives her killer eyelashes and a distractingly bountiful physique.
Then one night, when she gets into trouble with her evil brother-in-law Farish (Hairie Othman), Dukun Dewangga appears out of thin air (told you he does that a lot) to rescue her. From this moment on, you just know Soraya's and Suzana's paths are going to cross. And they do, in a big surprise ending. But it's a very long and rather tedious journey getting to that
surprise ending, for there is almost nothing to drive the story along, except a few jump moments involving chickens (oh, those tasty harbingers of doom!) and a monster in black that goes around killing susuk users. There's so much to complain about here: Ida's overacting, Jalaluddin Hassan's bad acting, the overdone sensuality, the kitschy backdrops, the
distracting cameos, the TV-drama mannerisms. However, given that *Susuk* is *really a satire about the local entertainment industry*, it all becomes rather appropriate. Anyone who has ever sat through an episode of *Melodi*on TV3 would be able to see that. Jalaluddin's character, in trying toseduce Soraya, even utters that famous line from his game show stint: "Adakah anda pasti?" The real horror of *Susuk* is not the black-clad, ghost-faced killer, nor the cannibalistic Grand Guignol, but *the campy, self-serving, real-life Malaysian entertainment industry *magnified a hundred times to focus on its more septic aspects — the miasma of oneupmanship, vanity, pretentiousness, ego, greed and lust. Ultimately, it's not the surprise ending that's unique about*Susuk*. It's the fact that it is probably the first local movie *about the entertainment  industr*y that is so self-aware. One may to look at *Susuk* as a wicked satire, or as a conventional horror movie. But either way, one
cannot help  thinking that the movie would have been so much better had it not been so aimlessly plodding.

Bulan Mengambang Lagi



Kala Malam Bulan Mengambang

Starring: Rosyam Nor, Umie Aida, David Teo, Farid Kamil, Avaa Vanja,
Corrien Adrienne

What is nostalgia but events and things made sentimental and sweet by
the passing of the years?

Time ferments and makes precious the past in the barrels of the mind,
but there in the mind it must stay if it is to stay sweet, for
nostalgia is the remembrance of something rather than the thing in itself.

It is an illusion and an indulgence.

Having no vitality, it does not stand up well to the harsh light of
the present day and should never be the basis of a project — as
appears to be the case with Kala Malam Bulan Mengambang.

This movie, shot in black and white, follows the exploits of a lone
male investigator, who must negotiate mysterious events, tough guys,
femmes fatales, and ever-present danger to get at the truth. His inner
thoughts, as he tries to unravel the mystery, drive the narrative in
the form of the voiceover.

How strange. How quaint. How noir-ish.

Written and directed by Mamat Khalid, Kala Malam looks like a
long-forgotten movie rediscovered by happy chance after several
decades gathering dust in some movie mogul's vault. It is as if the
director has stumbled upon a 1950s movie and decided to restore it in
all its monochromatic glory for the new millennium.

Lovingly detailed, driven by an infectious soundtrack, and artily shot
for the most part, Kala Malam is obviously a labour of love, and one
that director Mamat puts together with his tongue firmly in cheek — at
least in the first two acts.

The movie certainly has its moments. Take, for instance, the scene
where our hero Saleh (Rosyam Nor) asks for directions and is told to
look for the yellow house at the end of the road. Yellow house? Saleh
prays that the yellow house at the end of the road is the only one
standing there, for in this black-and-white era, how is one to
recognise yellow?

Then there is Saleh's run-in with a tubby masseuse.

There he is on the bed, hand over his mouth, recoiling in horror at
the prospect of being ravished; and there she is, massive and
unstoppable, looming over his hapless, whimpering figure.

It's hilarious, especially given the movie's noir convention.

Actress Avaa Vanja, as a nightclub singer and one of Saleh's romantic
interests, delivers a memorable cabaret number in sensual, flamboyant
style. Corrinne Adrienne is a lot of fun as the sassy nightclub owner
Saleh keeps running into — her blasé expression and mannered irruption
of Mandarin is a delight to behold.

But the story is overlong, and muddled into the bargain.

After a while, the plot meanders, the movie plods, and slowly but
surely the novelty wears off, especially in the third act, when satire
abruptly gives way to heavy melodrama.

Part of the problem with Kala Malam is the fact that story is a mess
of randomly tossed ingredients. Besides the usual suspects from the
noir realm, Mamat has thrown in communists who speak German and behave
like Nazis, British agents, dwarves, ancient curses, female phantoms,
and were-tigers too.

I think it's clear from watching his movie that Mamat had his heart
set on making a noir film; what is not clear is if he had a story to
begin with.

Film noir is merely a storytelling convention, a convention
characterised by visual darkness (not necessarily in black and white)
as well as darkness in the narrative, with themes that revolve around
solitude, claustrophobia and brutality.

The thing is, convention in itself does not make a movie.

It is just a template for telling a story. The question is: What are
you going to do with this template? What is your story? How do you
make the noir template serve the story?

Kala Malam, it would seem, is a movie in the noir style in search of a
story. Director Mamat Khalid has put the cart before the horse, as it
were. He has come up with a story to fit the style, rather than the
other way around.

While Kala Malam is indeed, as the director says, a tribute to 1950s
moviemaking, it is not "neo noir", as he would have it. To say a movie
is neo noir is to imply that the noir style is being rejuvenated, made
vital and relevant again.

This is far from being the case.

Kala Malam clumsily grafts supernatural elements into its story; that
is all that is new about it, if new you must call it. To all intents
and purposes, it is just a throwback, a curiosity, a whimsical
exercise in nostalgia.

The movie is more "noir-stalgia" than neo noir.

If you want to watch a proper neo noir movie, then get yourself a DVD
copy of Johnny To's The Longest Nite. There is nothing quaint about
it, unlike this movie.

Friday, August 15, 2008

Siapa Menang FFM21, Susuk, Saiful, Sodomi & Sumpah Quran

It's kind of difficult to concentrate on arts solely these days, even when you are not interested in politics. Malaysia's political drama is hard to dismissed. Apalagi when all these news are on the front pages of all the newspapers, may be not including Harakah and few other papers that it's quite difficult to find. With all these news, gossips and stories FFM21 and Susuk are just side stories. We are now facing the real reality show, except that we have to read blogs and news from malaysiakini and malaysia today for stories from the other side. I was telling friends the other day that internet is booming in Malaysia, so Saiful and AI has contributed to economy, good for TM, Celcom, Maxis and all forms of communications - tv stations, radios, well we are lucky at least we have bernama radio. 

When I was reading on Saiful story, I tot I would like to ask him few questions, simple question like:
1. Sedap tak kena sodomi?
2. Batang Ai besar tak? berapa inci?
3. Pakai condom tak?
4. Berapa kali main dengan AI, ops sorry, berapa kali kena sodomi?

Takkan tak ada press yang tanya soalan2 macam tu, takkan nak tanya soalan pun kena 18XX

Saturday, August 9, 2008


Keputusan Rasmi FFM21

#Filem Terbaik
1957: Hati Malaya
PEMENANG:Kala Malam Bulan Mengambang
Anak Halal

#Pengarah Filem Terbaik
Prof Dr Hatta Azad Khan (Wayang)
PEMENANG:Mamat Khalid (Kala Malam Bulan Mengambang)
Shuhaimi Baba (1957: Hati Malaya)
Osman Ali (Anak Halal)
Ahmad Idham (Congkak)

#Pelakon Lelaki Terbaik
Afdlin Shauki (Sepi)
Adlin Aman Ramlie (Susuk)
PEMENANG:Rosyam Nor (Kala Malam Bulan Mengambang)
Eman Manan (Wayang)
Farid Kamil (Anak Halal)

#Pelakon Wanita Terbaik
PEMENANG:Maya Karin (Anak Halal)
Erra Fazira (Anak)
Fazura (Kayangan)
Nasha Aziz (Otai)
Vanida Imran (Akhirat)

#Pelakon Pembantu Lelaki Terbaik
PEMENANG:Zul Huzaimy (Wayang)
Farid Kamil (Kala Malam Bulan Mengambang)
Adlin Aman Ramli (1957: Hati Malaya)
Eizlan Yisof (Impak Maksima)
Fauzi Nawawi (Anak Halal)

#Pelakon Pembantu Wanita Terbaik
Nabila Huda (Akhirat)
Nanu Baharuddin (1957: Hati Malaya)
Azizah Mahzan (Anak)
PEMENANG:Ruminah Sidek (Pensil)
Dynas Mokhtar (Kayangan)

#Pengarah Harapan Terbaik
PEMENANG:Hans Isaac (Cuci)
M Subash (Pensil)
Mohd Latif Zami (Dunia Baru The Movie)
Syamsul Yusof (Evolusi KL Drift)
Barney Lee (Anak)

#Pelakon Harapan Lelaki
M Subash (Pensil)
PEMENANG:Mohd Kamarulzaman Taib (1957:Hati Malaya)
Zaeful Nadzarine Nordin (1957: Hati Malaya)
Wan Kenari Ibrahim (Wayang)
Syamsul Yusof (Evolusi KL Drift)

#Pelakon Harapan Wanita
Julia Ziegler (Kayangan)
PEMENANG:Lisa Surihani (I'm Not Single)
Mas Muharni (Wayang)
Avaa Vanja (Kala Malam Bulan Mengambang)
Diana Rafar (Susuk)

#Pelakon Kanak-kanak Terbaik
PEMENANG:Erynne Erynna (Congkak)
Ammrul Hisham (Anak)
Mohd Asrah Aris (Wayang)
Mohd Asrah Afif (Wayang)
Erin Malek (Congkak)

#Lakon Layar Terbaik
Hatta Azad Khan (Wayang)
Mamat Khalid (Kala Malam Bulan Mengambang)
Mira Mustaffa & Ara (Sepi)
Osman Ali (Anak Halal)
PEMENANG:Hans Isaac (Cuci)

#Cerita Asal Terbaik
Dr Hatta Azad Khan (Wayang)
Mamat Khalid (Kala Malam Bulan Mengambang)
Mira Mustaffa & Ara (Sepi)
PEMENANG:Osman Ali (Anak Halal)
M Subash (Pensil)

#Pereka Kostum/Busana
Dee Hasnan / Ezrah Rahim (1957:Hati Malaya)
Ayu Haswida (Johnny Bikin Filem)
Mohd Zaini Abdul Rahman (Anak Halal)
PEMENANG:Nasirah Ramlan (Kala Malam Bulan Mengambang)

#Poster Terbaik
Anak Halal
Evolusi KL Drift

#Sinematografi Terbaik
PEMENANG:Raja Mukhriz (Evolusi KL Drift)
Mandor Kassim (Sepi)
Daven Raghavan (Susuk)
Raja Mukhriz (Kayangan)
Khalid Zakaria (Anak Halal)

#Penyunting Terbaik
PEMENANG:Nik Haslinda & Kamarudin Abu (1957: Hati Malaya)
Mohafizam & Hafiz Kamaruzaman (Wayang)
Ahmad Mustadha (Congkak)
Raja Affandi Raja Jamaludin (Kala Malam Bulan Mengambang)
Johan Bakar (Sepi)

#Skor Muzik Asal Terbaik
Hafiz Askiak (Wayang)
Ahmad Kamal Badaruddin (Kala Malam Bulan Mengambang)
Hardesh Singh (Susuk)
Norzaidi Abd Rahman (Anak Halal)
PEMENANG:Sharon Paul (1957: Hati Malaya)

#Lagu Tema Asal Terbaik
PEMENANG: Hati (1957: Hati Malaya)
Kaulah Segalanya (Wayang)
Aku Di Mata Kamu (Kala Malam Bulan Mengambang)
Gelap (Pensel)
Evolusi KL Drift (Evolusi KL Drift)

#Filem Animasi Terbaik
Family Potrait
Upin & Ipin
Nene Breshke

#Filem Dokumentari Terbaik
PEMENANG:Making The Cut
The Woodsmiths
The Perak Man
Kami Yang Disyaki
Restoring Merdeka

#Filem Pendek Terbaik
Kopitiam Kurang Manis

#Filem Digital Terbaik
Malaysia's Sweetheart
Ganavin Ivanthaanda Hero
PEMENANG: Jarum Halus

#Penataan Seni Terbaik
Aida Fitri Buyong/Kamarul Nizam Abd Rahman (1957: Hati Malaya)
PEMENANG:Nazrul Ashraff (Kala Malam Bulan Mengambang)
Kek Ting Lam (Susuk)
Dr Anuar Nor Arai (Johnny Bikin Filem)
Irwanmazwan Ibrahim (Anak Halal)

#Penataan Bunyi Terbaik
Brian Ng (Congkak)
Azman Abu Hassan (Kala Malam Bulan Mengambang)
PEMENANG:Add Audio (Susuk)
Daud Sulaiman (Evolusi KL Drift)
Azman Abu Hassan (Anak Halal)

#Anugerah Khas Box Office - Duyung

#Anugerah Khas Veteran Wanita - Ruminah Sidek

#Anugerah Khas Veteran Lelaki - Wahid Satay

#Anugerah Khas Di Belakang Tabir- M Shahdan

# Anugerah Khas Budaya - Wayang

Tahniah para ahli juri yang mengadili FFM21 kali ini. Dengar khabarnya ada Adman Salleh, Ahmad Yatim, Fauziah (Komunikasi Media) yang menghasilkan jawapan yang amat membanggakan daripada filem-filem yang biasa memenangi FFM. Nampaknya ada arus baru dalam dunia perfileman kita! 

Tuesday, August 5, 2008

Filem Wayang Hatta kelir Kaku

Sekadar memetik kata Ajami "Wayang - kepincangan Yang Sempurna"

Ajami mengatakan yang menonton filem WAYANG karya oleh Professor Hatta Azad Khan seolah-olah menyaksikan sebuah persembahan wayang kulit dengan cerita moden masyarakat di sebuah ceruk kampung yang memerlukan mata zahir untuk berlibur dari tatangan kisah yang tersurat dan mata hati untuk mengupas lapisan-lapisan subtext yang tersirat di layar lebar. Pulangannya kepada khalayak ialah sebuah hiburan ombak pasang-surut emosi suka-duka dan gelak-esak di sepanjang naratif oleh tok dalang Hatta dalam bentuk audio dan visual sebuah filem. Ia ada cerita, ia sarat makna. Terpulanglah kepada penonton untuk menginterpretasikannya dari sudut mana pun, pasti ada puas dan tagih, mesti ada suka dan benci, kerana WAYANG memberikan semuanya.

Dengar khabar Wayang mendapat peluang untuk dipertontonkan kepada khalayak pada 7hb.Ogos 2008. Tahniah juga kerana mendapat pencalonan yang banyak di FFM2008. Selain mengaut anugerah2, harapnya filem ini dapat box office di pawagam di Malaysia atau dapat perhatian dari festival luar negara.

Nampaknya tahun ini Malaysia menyaksikan filem-filem yang dekat dengan budaya Melayu tradisional seperti Wayang dan Susuk. Wayang Kulit Kelantan sudah mendapat perhatian media perdana apabila inyanya diharamkan oleh Kerajaan PAS yang memerintah kelantan pada tahun 1991/92. Nik Aziz juga sudah mengharamkan cerita-cerita Ramayana dan meminta agar para dalang beralih arah mencari cerita-cerita baru yag tidak terkait dengan Ramayana atau lebih kepada Cerita Mahraja Wana di Kelantan. Tentunya filem Wayang ini akan mendapat sambutan dan sokongan kerajaan pusat yang memeberi sokongan padu akan proses pemuliharaan seni persembahan Wayang Kulit, apalagi setelah Mak Yong mendapat pengiktirafan UNESCO World Heritage. Sebenarnya, walaupun persembahan wayang kulit diharamkan di Kelantan, ianya masih dibenarkan untuk dipertontonkan kepada para pelancong dan pengunjung negeri pada setiap Sabtu di Gelanggang Seni di Kota Bharu. Pun begitu aktiviti pertunjukan masih berjalan di kampung2 yang terpencil secara sembunyi2 dan tidak diketahui pihak berwajib. Pendekata wayang juga sudah menjadi undeground di Kelantan. Disini dititipkan you tube wayang yang masih aktif, antaranya Dalang Saupi.

YouTube - Wayang Kulit Kelantan - Eteng Nak Jual Tanah

more wayang kulit kulit at
4 min 45 sec - 

Rated 4.9 out of 5.0

YouTube - Wayang Kulit - by Dalang Saupi

Wayang Kulit Kelantan - Bunga Andani & Andana (Bhg1-ep1). in ...
3 min 11 sec - 

Rated 4.9 out of 5.0


Festival Filem Malaysia 2008. Tahniah!!!

Pencalonan 'Top 5' bagi FFM21:


Pengarah Filem Terbaik:

1. Hatta Azad Khan - Wayang
2. Shuhaimi Baba - 1957 Hati Malaya
3. Ahmad Idham - Congkak
4. Mamat Khalid - KMBM
5. Osman Ali - Anak Halal

Pelakon Lelaki Terbaik:

1. Afdlin Shauki - Sepi
2. Adlin Aman Ramlie - Susuk
3. Rosyam Nor - KMBM
4. Eman Manan - Wayang
5. Farid Kamil - Anak Halal

Pelakon Wanita Terbaik:

1. Maya Karin - Anak Halal
2. Erra Fazira - Anak
3. Fazura - Kayangan
4. Nasha Aziz - Otai
5. Vanidah Imran - Akhirat

Lakon Layar Terbaik:

1. Wayang - Hatta Azad Khan
2. KMBM - Mamat Khalid
3. Sepi - Ara & Mira Mustaffa
4. Anak Halal - Osman Ali
5. Cuci - Hans Isaac

Cerita Asal Terbaik:

1. Wayang - Hatta Azad Khan
2. KMBM - Mamat Khalid
3. Sepi - Ara & Mira Mustaffa
4. Anak Halal - Osman Ali
5. Pensil - M.Subash

Sinematografi Terbaik:

1. Evolusi KL Drift - Raja Mukhriz Raja Ahmad Kamarudin
2. Sepi - Mohd Nor Kassim
3. Susuk - Daven Raghaven
4. Kayangan - Raja Mukhriz
5. Anak Halal - Khalid Zakaria

Penyunting Terbaik:

1. 1957 Hati Malaya - Nik Haslinda Nik Hussain / Kamarudin Abu
2. Wayang - Hafiz Kamaruzaman
3. Congkak - Ahmad Mustadha
4. KMBM - Raja Affandi Raja Jamaludin
5. Sepi - Johan Bahar

Skor Muzik Asal Terbaik:

1. Wayang - Hafiz Askiak
2. KMBM - Ahmad Badaruddin
3. Susuk - Hardesh Singh
4. Anak Halal - Nurzaidi Abdul Rahman
5. 1957 Hati Malaya - Sharon Paul

Filem Animasi Terbaik:

1. Family Portrait - The One Academy
2. Upin & Ipin - Les! Copaque Prod.Sdn Bhd
3. World War - University of Hertfordshire
4. Nene Breshke - Wan Muhammad Tamlikha
5. Apocalypse - The One Academy

Filem Dokumentari Terbaik:

1. Making The Cut - Reel Network Sdn Bhd
2. The Woodsmiths - Reel Network Sdn Bhd
3. The Perak Man - Eurofine / FINAS
4. Kami Yang Disyaki - UiTM
5. Restoring Merdeka - Leong Hon Yuen

Filem Pendek Terbaik:

1. Hasrat - Martias Entertainment
2. Tiffin - Chor Ai Lene
3. Eyefinger - Marge Bong
4. Burp - ASWARA
5. Kopitiam Kurang Manis - UiTM

Filem Digital Terbaik:

1. Yantra
2. Malaysia's Sweet Heart
3. Wirasiswi
4. Ganavin / Vanthaanda Herd
5. Jarum Halus

Filem Terbaik

(Akan dimaklumkan pada malam anugerah)


Pelakon Pembantu Lelaki Terbaik:

1. Zul Huzaimy - Wayang
2. Farid Kamil - KMBM
3. Adlin Aman Ramlie - 1957 Hati Malaya
4. Eizlan Yusof - Impak Maksima
5. Fauzi Nawawi - Anak Halal

Pelakon Pembantu Wanita Terbaik:

1. Nabila Huda - Akhirat
2. Nanu Baharuddin - 1957 Hati Malaya
3. Azizah Mahzan - Anak
4. Ruminah Sidek - Pensil
5. Dynaz - Kayangan

Penataan Seni Terbaik:

1. 1957 Hati Malaya - Aida Fitri Buyong / Kamarul Nizam Abd Rahman
2. KMBM - Nazrul Ashraff
3. Susuk - Kek Ting Lam
4. Johnny Bikin Filem - Dr. Anuar Nor Arai
5. Anak Halal - Irwanmazwan Ibrahim

Penataan Bunyi Terbaik:

1. Congkak - Brian Ng
2. KMBM - Azman Abu Hassan
3. Susuk - Add Audio
4. Evolusi KL Drift - Daud Sulaiman
5. Anak Halal - Azman Abu Hassan

Pelakon Kanak-Kanak Terbaik:

1. Erynne Erynna - Congkak
2. Amrul Hisham - Anak
3. Mohd Asrah Akis - Wayang
4. Mohd Asrah Afif - Wayang
5. Erin Malek - Congkak

Pengarah Harapan Terbaik:

1. Hans Isaac - Cuci
2. M.Subash - Pensil
3. Mohd Latif Zami - Dunia Baru The Movie
4. Syamsul Yusof - Evolusi KL Drift
5. Barney Lee - Anak

Pelakon Harapan Lelaki:

1. M.Subash - Pensil
2. Moh. Kamarulzaman Taib - 1957 Hati Malaya
3. Wan Kenari Ibrahim - Wayang
4. Zaefaul Nadzarine Nordin - 1957 Hati Malaya
5. Syamsul Yusof - Evolusi KL Drift

Pelakon Harapan Wanita:

1. Julia Ziegler - Kayangan
2. Lisa Surihani - I'm Not Single
3. Mas Muharni - Wayang
4. Avaa Vanja - KMBM
5. Diana Rafar - Susuk

Pereka Kostum / Busana:

1. 1957 Hati Malaya - Dee Hasnan / Ezrah Rahim
2. Johnny Bikin Filem - Ayu Haswida
3. Susuk - Mohd Zaini Abdul Rahman
4. Anak Halal - Mohamad Zaini Abdul Rahman
5. KMBM - Nasirah Ramlan

Poster Terbaik:

1. Cuci
2. Susuk
3. Anak Halal
4. Evolusi KL Drift
5. Pensil

Lagu Tema Asal Terbaik:

(Akan dimaklumkan pada malam anugerah)


(5 Anugerah dari tersebut atau yang sesuai mengikut tema festival)

Monday, August 4, 2008

Dina Zaman Talking About English Literary in Malaysia

Event Date:
5 Aug 2008 to 5 Aug 2008
Date Posted:
31 Jul 2008
FREE Seminar Talk: The Revival of the English Literary Scene in Malaysia
The School of Arts & Social Sciences, 
Monash cordially invites you to 
an SASS Seminar Talk 
(No. 11, 2008)    
Title: The Revival of the English Literary Scene in Malaysia  
Speaker: Dina Zaman,Writer and Newspaper Columnist  
Date: August 5 2008, (Tuesday)                   
Time: 12.00 to 1.00 p.m.    
Venue: Communication Lab Room 9508, Level 5, Building 9, 
Monash University, Sunway  
Contents: Speakers talks about the local English literary 
and the emergence of a new crop of Malaysian authors 
such as Tash Aw and Tan Twan Eng (who have published to great acclaim both locally and iternationally); 
and the contributing factors of this seeming renaissance .    
Speakers Profile: Dina Zaman is an established writer, poet and editor in the local literary scene. 
A regular columnist with an English daily newspaper, she published her first book titled I Am Muslim last year. 
Contact Person:
03-5514 6000