Projek Filem “Ceritaku, Seorang Perempuan.” baru-baru ini telah dilancarkan oleh sekumpulan penulis feminis, pendidik, dan pembikin filem yang tertarik untuk memberi ruang kepada perempuan Malaysia untuk berkumpul dan belajar bagaimana untuk berkongsi cerita mereka dengan orang lain menggunakan media penyiaran. Kumpulan ini berusaha untuk mengumpul cerita-cerita tentang cinta, seks, dan keinginan perempuan Malaysia, dengan memberi penekanan pada kepelbagaian dan pengalaman peribadi cinta mereka dalam konteks Malaysia yang lebih jelas.
Kumpulan ini yang memulakan projek ini berdasarkan beberapa pemerhatian: pertama, kecenderungan global terkini di mana mengumpulkan sejarah lisan tentang pelbagai subjek; kedua, penjajaran antara statistik dan laporan berita di Malaysia tentang kehidupan seks dan kecenderungan seksual dan rasa kurangnya naratif peribadi pada subjek dalam penguasaan awam dan ketiga, kurangnya perempuan menceritakan kisah mereka sendiri. Menurut jurucakap kumpulan dan pembikin filem Mien Lor, "Apabila anda memerhatikan media, anda melihat sangat sering lelaki membicarakan dan memberi nasihat tentang masalah seksualiti perempuan. Mengapa tidak suara kami-sebagai perempuan Malaysia-diperdengarkan? Menceritakan sebuah cerita adalah cara yang bagus untuk mengambil kembali suara-suara tersebut, ruangan-ruangan ini. Di samping itu, ini merupakan subjek yang menarik, bukan? "
Dua puluh daripada keseluruhan filem yang diterima akan dipilih untuk dijadikan filem-filem pendek yang kemudian akan ditayangkan di festival filem mini di seluruh negeri.
Maklumat lanjut boleh diperolehi di laman web Projek Filem “Ceritaku, Seorang Perempuan.” di http://herstoryfilmsproject.blogspot.com/. Perempuan Malaysia yang ingin mengajukan soalan lanjut atau kirimkan kisah-kisah mereka boleh melakukannya dengan menghantar email ke herstory@kryss.org atau telefon 012-6969455. Tarikh tutup penghantaran cerita adalah 31 Januari 2010.
Saturday, October 24, 2009
Thursday, October 22, 2009
'Women In Love' reviewed
The screening was reviewed candidly by Smita Sharma, we almost lost this brain to America. We welcome you home! Thanks for the review! Photos, albeit a bit blurry and artistic, :) courtesy of Abby Latif, terima kasih!
‘It’s Not About Anything, It’s About Everything’ by Crystal Woo and Sidney Tan
Funky graphics and a pretty original, if bizarre, storyline. The protagonist agonises about choosing between two lovers. She shares a history with one, full of good memories, but perhaps he is a thing of the past? Lover No. 2 is younger, fitter, good looking; perhaps a better choice for now and with an eye to future pleasure? The climax of this film was at the point where our protagonist has to choose between a lolly that will take her to the past and a pill that will take her to the future. She chooses the lolly. It's hard understand why someone would choose an already-experienced past over a wholly new future. She might have done so in a fit of nostalgia, granted. But perhaps our protagonist has a deeper appreciation for the fact that it is only with reference to our past that we make decisions presently. Or perhaps she is incapable of the heartlessness required to dump her old lover for the younger one. (Interesting how so many men—especially middle-aged ones—are perfectly capable of such heartlessness. Perhaps our protagonist needs a greater sense of entitlement to her own pleasure?) Whatever the reason, her choice of the past is the more human decision. I am no fan of stories where women mull over lovers like it's the biggest problem one could possibly have (why not spend the time trying to solve our climate crisis instead?), but I'm glad her decision was not based purely on cost-benefit analysis either.
‘I'll Trust this January’ by Virginia Kennedy
Focusing entirely on shot, setting, and star-power (the beautiful cast included Craig Fong of Spinning Gasing fame), this film falls short in terms of storyline. A married woman decides to take revenge on her adulterous husband by going on a trip with him to find a man to fuck. Such a plot deserves more in-depth treatment. The audience cannot be expected to empathise with a character that we cannot understand, and by goodness, this woman makes little sense. Why would she go on a trip with the husband, allow him to help direct her selection of random-male-to-fuck, and expect that the planned sexual encounter would do anything to make her feel better? The notion that she is out for revenge is too simplistic. The film left me with many questions; I only wish the multiple dimensions of its characters were better teased-out so that I could see those questions as worth answering.
'Sub Rosa' by Nadiah Hamzah
Well-executed although highly unoriginal treatment of the classic subject of cross-cultural relationships. The film could have been more interesting had it been longer, to allow for greater character development and material that would make the result less textbookish.
‘She’ By Idora Alhabshi
Bernice Chauly was wonderful here. What an emotive face! The focus on pure, raw emotionality was powerful and felt realistic. I liked that the audience seemed to observe rather than feel with the protagonist, although perhaps those who have gone through a harrowing divorce might identify with her.
‘Bare Hands’ by Nadira Ilana
Had the feel of a home-movie, the kind you make in a couple hours on a rainy day for the family to watch after dinner. The image of bare hands seemed confused: are we talking about love in spite of physical appearances or rather in spite of the capability, or lack thereof, of expressing love and giving pleasure? Unfortunately, the poetry was lost in the pretension. The clip felt repetitive and too long by half, although it was only two-odd minutes: a sure sign that substance was entirely lacking.
‘Kow Loon Story’ by Juliane Block
A solemn, sincere attempt at capturing a woman's sense of desolation and melancholia living in a city that seems to exclude her, to have no space or desire for her. The protagonist takes to planting origami shapes around the city in an attempt to express her individuality. Sadly, by the time someone picks the shapes and searches for the individual behind them, it is too late for her. The profound depression (which she cannot actually bring herself to voice) that led her to such creative expression also led to her suicide. Individuality is precarious and cannot sustain itself without support and recognition. And these she cannot find in the bland, impersonal city that held but could not house her. A poetic film that manages to articulate sentiments in silence.
‘2 Boys, 2 Girls and A Beat Up Car’ by Mien.ly
A refreshing departure from indie short films that focus on highly conceptual images at the expense of telling a good story. We go on an enjoyable ride with two young women on their way to meet their boyfriends. The women are a professional lawyer and fearless activist respectively—strong, independent women who do not suffer fools but who are not without a mischievous, good-humoured side. The boyfriends themselves are middle-of-the-road, 20-something yuppies. They are fairly one-dimensional, but that is probably a necessary editorial cut to keep the film more a comedy and less a tragic love complex.
It is not entirely by chance that we see the two women hit it off and the two men share so much affinity for one another. Gender has a role to play in this story after all. The particular upbringing of each character—affected in large part by whether the character is recognised as male or as female—sets her or him up to respond to the world in different ways. The women typify a certain generation of young Malaysian females: ambitious professionals, committed social activists, politically savvy, and determined to live lives increasingly on their own terms. It is unsurprising that they should connect as they do. It is lovely to see that such a connection can now more imaginably and more visibly take the form of a sexual relationship. We have come a long way.
But the comedy is not without cautionary notes. Homophobia is alive and well, even among young professionals who may travel in more progressive circles. Arbitrary detention is still used to silence whistleblowers and political opposition. All is not well in our beat-up country, and we must wish those who attempt to live here the best of luck.
‘It’s Not About Anything, It’s About Everything’ by Crystal Woo and Sidney Tan
Funky graphics and a pretty original, if bizarre, storyline. The protagonist agonises about choosing between two lovers. She shares a history with one, full of good memories, but perhaps he is a thing of the past? Lover No. 2 is younger, fitter, good looking; perhaps a better choice for now and with an eye to future pleasure? The climax of this film was at the point where our protagonist has to choose between a lolly that will take her to the past and a pill that will take her to the future. She chooses the lolly. It's hard understand why someone would choose an already-experienced past over a wholly new future. She might have done so in a fit of nostalgia, granted. But perhaps our protagonist has a deeper appreciation for the fact that it is only with reference to our past that we make decisions presently. Or perhaps she is incapable of the heartlessness required to dump her old lover for the younger one. (Interesting how so many men—especially middle-aged ones—are perfectly capable of such heartlessness. Perhaps our protagonist needs a greater sense of entitlement to her own pleasure?) Whatever the reason, her choice of the past is the more human decision. I am no fan of stories where women mull over lovers like it's the biggest problem one could possibly have (why not spend the time trying to solve our climate crisis instead?), but I'm glad her decision was not based purely on cost-benefit analysis either.
‘I'll Trust this January’ by Virginia Kennedy
Focusing entirely on shot, setting, and star-power (the beautiful cast included Craig Fong of Spinning Gasing fame), this film falls short in terms of storyline. A married woman decides to take revenge on her adulterous husband by going on a trip with him to find a man to fuck. Such a plot deserves more in-depth treatment. The audience cannot be expected to empathise with a character that we cannot understand, and by goodness, this woman makes little sense. Why would she go on a trip with the husband, allow him to help direct her selection of random-male-to-fuck, and expect that the planned sexual encounter would do anything to make her feel better? The notion that she is out for revenge is too simplistic. The film left me with many questions; I only wish the multiple dimensions of its characters were better teased-out so that I could see those questions as worth answering.
'Sub Rosa' by Nadiah Hamzah
Well-executed although highly unoriginal treatment of the classic subject of cross-cultural relationships. The film could have been more interesting had it been longer, to allow for greater character development and material that would make the result less textbookish.
‘She’ By Idora Alhabshi
Bernice Chauly was wonderful here. What an emotive face! The focus on pure, raw emotionality was powerful and felt realistic. I liked that the audience seemed to observe rather than feel with the protagonist, although perhaps those who have gone through a harrowing divorce might identify with her.
‘Bare Hands’ by Nadira Ilana
Had the feel of a home-movie, the kind you make in a couple hours on a rainy day for the family to watch after dinner. The image of bare hands seemed confused: are we talking about love in spite of physical appearances or rather in spite of the capability, or lack thereof, of expressing love and giving pleasure? Unfortunately, the poetry was lost in the pretension. The clip felt repetitive and too long by half, although it was only two-odd minutes: a sure sign that substance was entirely lacking.
‘Kow Loon Story’ by Juliane Block
A solemn, sincere attempt at capturing a woman's sense of desolation and melancholia living in a city that seems to exclude her, to have no space or desire for her. The protagonist takes to planting origami shapes around the city in an attempt to express her individuality. Sadly, by the time someone picks the shapes and searches for the individual behind them, it is too late for her. The profound depression (which she cannot actually bring herself to voice) that led her to such creative expression also led to her suicide. Individuality is precarious and cannot sustain itself without support and recognition. And these she cannot find in the bland, impersonal city that held but could not house her. A poetic film that manages to articulate sentiments in silence.
‘2 Boys, 2 Girls and A Beat Up Car’ by Mien.ly
A refreshing departure from indie short films that focus on highly conceptual images at the expense of telling a good story. We go on an enjoyable ride with two young women on their way to meet their boyfriends. The women are a professional lawyer and fearless activist respectively—strong, independent women who do not suffer fools but who are not without a mischievous, good-humoured side. The boyfriends themselves are middle-of-the-road, 20-something yuppies. They are fairly one-dimensional, but that is probably a necessary editorial cut to keep the film more a comedy and less a tragic love complex.
It is not entirely by chance that we see the two women hit it off and the two men share so much affinity for one another. Gender has a role to play in this story after all. The particular upbringing of each character—affected in large part by whether the character is recognised as male or as female—sets her or him up to respond to the world in different ways. The women typify a certain generation of young Malaysian females: ambitious professionals, committed social activists, politically savvy, and determined to live lives increasingly on their own terms. It is unsurprising that they should connect as they do. It is lovely to see that such a connection can now more imaginably and more visibly take the form of a sexual relationship. We have come a long way.
But the comedy is not without cautionary notes. Homophobia is alive and well, even among young professionals who may travel in more progressive circles. Arbitrary detention is still used to silence whistleblowers and political opposition. All is not well in our beat-up country, and we must wish those who attempt to live here the best of luck.
Wednesday, October 7, 2009
Press Release
Press Release: Herstory Films Project
The Herstory Films Project was recently launched by a collective of feminist writers, educators, and filmmakers who are keen on creating spaces for Malaysian women to come together and learn how to share their stories with others using broadcast media. The group seeks to collect stories about love, sex, and desire from Malaysian women, with an emphasis on diversity and personal experiences of falling in—and out—of love in a distinctly Malaysian context.
The group initiated this project in response to several observations: first, the recent global trend of collecting oral histories on a variety of subjects; second, the juxtaposition between the preponderance of statistics and news reports on Malaysians' sex lives and sexual preferences and the sheer lack of personal narratives on the subject in the public domain; and third, the even greater lack of women telling their own stories of desire. According to group spokesperson and filmmaker Mien Lor, “When you pay attention to the media, you notice it is so often men talking about and giving purportedly expert advice on the subject of women's sexuality. Why aren't our voices—as women-identified Malaysians—being heard? Telling a story is a great way to reclaim these voices, these spaces, these larger narratives. Besides, it's an interesting subject, isn't it?”
Twenty of all received submissions will be selected to be made into short films that will then be screened in mini-film festivals around the country.
More details may be obtained at the Herstory Films Project website at http://herstoryfilmsproject.blogspot.com/. Malaysian women who would like to ask further questions or submit their stories may do so by emailing herstory@kryss.org or call 012-6969455. Deadline for submissions of stories is 31 January 2010.
The Herstory Films Project was recently launched by a collective of feminist writers, educators, and filmmakers who are keen on creating spaces for Malaysian women to come together and learn how to share their stories with others using broadcast media. The group seeks to collect stories about love, sex, and desire from Malaysian women, with an emphasis on diversity and personal experiences of falling in—and out—of love in a distinctly Malaysian context.
The group initiated this project in response to several observations: first, the recent global trend of collecting oral histories on a variety of subjects; second, the juxtaposition between the preponderance of statistics and news reports on Malaysians' sex lives and sexual preferences and the sheer lack of personal narratives on the subject in the public domain; and third, the even greater lack of women telling their own stories of desire. According to group spokesperson and filmmaker Mien Lor, “When you pay attention to the media, you notice it is so often men talking about and giving purportedly expert advice on the subject of women's sexuality. Why aren't our voices—as women-identified Malaysians—being heard? Telling a story is a great way to reclaim these voices, these spaces, these larger narratives. Besides, it's an interesting subject, isn't it?”
Twenty of all received submissions will be selected to be made into short films that will then be screened in mini-film festivals around the country.
More details may be obtained at the Herstory Films Project website at http://herstoryfilmsproject.blogspot.com/. Malaysian women who would like to ask further questions or submit their stories may do so by emailing herstory@kryss.org or call 012-6969455. Deadline for submissions of stories is 31 January 2010.
Terms and Conditions for Your Story!
HerStory Film Project
INVITE YOU TO SEND IN YOUR STORY!
Terms and Conditions:
1. Content:
a) Stories from own experiences (as a woman or a person identified as a woman)
b) As a witness to someone else’s experience in relation to the writer, eg: how by witnessing that event affect the storyteller.
2. Format:
a) narrative story (no more than 5 pages, font size 12, Times New Roman, Double Spacing)
b) Screenplay format (no more than 10 pages, Courier, font size 12, double spacing)
c) Audio form (cassette, cd or wav if send online; to cater for women who can’t write, eg: stories from your grandmother)
3. Language: Malay or English (dialogue in stories can be of any language spoken in Malaysia as long as a translation is provided in Malay or English.
4. Please include details below with your stories:
a. Name: (please specify if you would like to use a pen name if the stories is to be made public but do send us your real name for working purposes.)
b. Pen Name: (if required)
c. Address:
d. Handphone:
e. Housephone:
f. Email:
g. Please give a brief background on yourself eg. where do you grow up, what do you do etc. (not more than 100 words).
h. Please state if the stories is from your own experience or did you bear witness to someone else’s, and why do you want to tell this story. (not more than 100 words).
5. Selection of the final 20 stories by the panel of juries is final. Information on the juries will be published here soon.
6. The selected storytellers are to workshop their stories with Herstory organizers and women filmmakers to be made into scripts and then into films together, if chosen.
7. The 20 stories will be workshop and from there, a selection of 5 stories (or more, depending on funding and resources) will be made into short films.
8. When finished, the films will be part of ‘Women In Love’ Film Fest that will be brought to all over Malaysia, made available online, in workshops as well as screened in any other avenue possible.
9. By sending us the stories, storytellers agreed to all the terms and conditions above.
10. Deadline for stories to be received is 5pm, 31 January 2010.
11. Stories to be send to/ contact info:
∑ Email: herstory@kryss.org
∑ Address:
Herstory Films Project
B-10-10,
USJ One Avenue,
Persiaran Mewah,
USJ 1, 47600
Subang Jaya,
Selangor.
∑ Website: herstoryfilmsproject.blogspot.com
∑ Phone: 012-6969455
INVITE YOU TO SEND IN YOUR STORY!
Terms and Conditions:
1. Content:
a) Stories from own experiences (as a woman or a person identified as a woman)
b) As a witness to someone else’s experience in relation to the writer, eg: how by witnessing that event affect the storyteller.
2. Format:
a) narrative story (no more than 5 pages, font size 12, Times New Roman, Double Spacing)
b) Screenplay format (no more than 10 pages, Courier, font size 12, double spacing)
c) Audio form (cassette, cd or wav if send online; to cater for women who can’t write, eg: stories from your grandmother)
3. Language: Malay or English (dialogue in stories can be of any language spoken in Malaysia as long as a translation is provided in Malay or English.
4. Please include details below with your stories:
a. Name: (please specify if you would like to use a pen name if the stories is to be made public but do send us your real name for working purposes.)
b. Pen Name: (if required)
c. Address:
d. Handphone:
e. Housephone:
f. Email:
g. Please give a brief background on yourself eg. where do you grow up, what do you do etc. (not more than 100 words).
h. Please state if the stories is from your own experience or did you bear witness to someone else’s, and why do you want to tell this story. (not more than 100 words).
5. Selection of the final 20 stories by the panel of juries is final. Information on the juries will be published here soon.
6. The selected storytellers are to workshop their stories with Herstory organizers and women filmmakers to be made into scripts and then into films together, if chosen.
7. The 20 stories will be workshop and from there, a selection of 5 stories (or more, depending on funding and resources) will be made into short films.
8. When finished, the films will be part of ‘Women In Love’ Film Fest that will be brought to all over Malaysia, made available online, in workshops as well as screened in any other avenue possible.
9. By sending us the stories, storytellers agreed to all the terms and conditions above.
10. Deadline for stories to be received is 5pm, 31 January 2010.
11. Stories to be send to/ contact info:
∑ Email: herstory@kryss.org
∑ Address:
Herstory Films Project
B-10-10,
USJ One Avenue,
Persiaran Mewah,
USJ 1, 47600
Subang Jaya,
Selangor.
∑ Website: herstoryfilmsproject.blogspot.com
∑ Phone: 012-6969455
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