15-12-2023 (KUALA LUMPUR) Malaysia’s inaugural fully crowdfunded film, “Pendatang,” is set to premiere on YouTube on December 21. Directed by Ng Ken Kin and produced by Kuman Pictures, this Cantonese-language dystopian thriller delves into the repercussions of escalating ethnic resentments among Malaysia’s diverse races. In a bold move, the film, which would not have passed Malaysia’s Film Censorship Board (LPF) scrutiny due to its sensitive subject matter, opted for an online release to reach a wider audience.
Ng Ken Kin justified the choice of YouTube, stating that it is a universally accessible platform, ensuring viewership for those both within and outside the country. Pendatang was initially conceptualized for free online distribution, an arena beyond the LPF’s jurisdiction, contingent on reaching a fundraising target.
Amir Muhammad, the managing director of Kuman Pictures, initiated an Indiegogo campaign aiming to raise US$70,700 by October 6, 2022. Despite a slow start, a last-minute surge, driven by an influential figure in a WhatsApp group and a substantial contribution from Malaysian film production company Sunstrong Entertainment, enabled the project to surpass its goal.
The successful fundraising meant that production would commence at the end of 2022, with the film’s release date moved up to December 21, 2023, from the initially planned August 2023. Ng Ken Kin expressed optimism that the December release could provide a unique holiday film experience for families and friends.
Penned by Lim Boon Siang, “Pendatang,” meaning “immigrant” in Malay, unfolds in a future Malaysia segregated by an oppressive Segregation Act, where ethnic groups inhabit closely monitored zones. The narrative revolves around the Wong family, a Chinese-Malaysian household, grappling with forced relocation due to a minor traffic offense. The family faces a moral dilemma when they discover a lost young Malay girl, risking imprisonment under the stringent Segregation Act.
Ng Ken Kin emphasized the film’s underlying message, challenging the superficial nature of racial distinctions and advocating for shared humanity. The success of Pendatang’s crowdfunding campaign reflects a shift in societal attitudes beyond divisive rhetoric, suggesting a desire for progress among Malaysians.
Given Malaysia’s unpredictable censorship landscape, with instances of films facing cuts or bans even in online platforms, Pendatang’s unique crowdfunding approach proves to be a viable alternative for filmmakers seeking creative expression beyond conventional channels. Despite potential future challenges, the film’s success showcases the resourcefulness of filmmakers in navigating Southeast Asia’s conservative artistic climate.
Amidst budget constraints, Pendatang stands out for its exceptional quality, underscoring the viability of alternative funding models. Ng Ken Kin expressed hope that the film’s success would inspire other filmmakers to explore similar avenues, recognizing the diverse approaches needed for different projects.
Amir Muhammad, who has faced bans on several of his documentary films, remains steadfast in advocating for artistic expression. He emphasized that films need to be made, and filmmakers who believe in their work must persist in bringing their visions to life.
In a region where artistic freedom often contends with conservative values, Pendatang’s journey highlights the resilience of filmmakers in finding innovative ways to convey their narratives and engage audiences, irrespective of budget constraints.
