Fahmi Mustaffa

I interviewed Fahmi Mustaffa in Chawan Bangsar sometime ago and today the interview was published in the Sun  

Headline : Switching Lanes 
By Bissme S

Last year, Fahmi Mustaffa bravely quit a stable job as a biology lecturer, and turned to a new career path – writing fiction. 
“At the end of the day, I only have one life and I want to live [it] my own way,” says Fahmi, 29. 
The Kemam, Terengganu, native adds: “I have a soft spot for literature. I spent my childhood making up stories. During my schooldays, my teacher always asked me to read my essays to the class.” 
Fahmi initially expected some resistance from his family, but fortunately, his mother understood his motivation for leaving his full-time job to pursue his passion for writing. 
“She wants me to do something that makes me happy,” he says. 
His debut novel, Laknat, which deals with the subjects of homosexuality and religion, earned him some success. The book also sparked some interesting discussions. 
“I tackled [a topic] people want to discuss but are too afraid to [approach],” says Fahmi. 
Prior to Laknat, Fahmi had attempted to write novels, but never managed to complete one. 
“Laknat was different,” he says. 
“Laknat was something I wanted to complete so I could send it to a publisher. Before Laknat, I felt so insecure about my writing.” Now, Fahmi’s second novel, a science fiction tale titled Suatu Hari Nanti Manusia Akan Melupakan Tuhan, has also been published. The story is set in a postapocalyptic future where survivors have created a new human race. They believe that their creations are better than God’s, and God is slowly becoming a forgotten character. But there is a small fringe community who still believes in God and religion, and this sparks a conflict between the factions. Readers will find Fahmi’s future world vastly different from the one they are familiar with today. For example, half of that future United States is underwater. And today’s bitter enemies, the Isrealis and Palestinans, have made peace. 
“My second novel is like an experimental piece of history,” he says. “[Humans] are comfortable living within their divisions, but in times of fear, [we] become close to one other. 
“All I want to say is that people can live together even though we are different.” 
One wonders what sparked his fascination with religious themes? “We live in an absurd world, where we are [always] looking for answers,” he says. 
“We are always curious to know if there is a higher power up there, watching [us]. “I find most of us worship religion, and not God. Personally, I believe nothing should come between you and God, not even religion.” 
Some critics have accused Fahmi of exploiting religion in his novels. He says: “If I wanted to capitalise on religion, I will just 
produce religious books, and say things people want to hear. But I did not do that. Instead I am saying things that people do not want to hear.” 
Does Fahmi himself have a conflict with God? 
“I am not angry with God,” he says. 
“All my talent comes from God. “My characters are full of questions. Some of [their questions] evoke anger. Personally, I think anger is a part of communication and interaction. If you angry with God, it means you are still communicating with Him.” Currently, Fahmi is in the midst of writing a new novel, which will be set in the Dutch city of Amsterdam. He visited that city for 10 days in May to do research for this novel. 
Fahmi strongly believes a good book should evoke emotions. He says: “When you put a painting in a gallery, the painting is not art. The gallery is not art. Art is what people feel for the painting. “Art is not meant to be understood. Art is meant to be felt. Art should be disturbing and discomforting. I live in distorted world and If I do not write what I see, I will go insane."

Below is  Fahmi with his books covers

PEKAK

theSun talks to the director and the main actors of  the movie Pekak which will hit the cinemas on Sept 1. Here is the movie 

Headline: Hearing A Different Beat 

By Bissme S

Most directors have the tendency to oversell their films. But not Khairul Azri Md Noor. He recently showed his first feature film, Pekak, to test audience reaction to it. And he was honest enough to say that some were impressed with what he had presented, but not everyone left the hall liking his film. 

“You cannot please everyone,” says the 35-year-old director. “Pekak is not everyone’s cup of tea.” 

Opening in cinemas on Sept 1, Pekak centres on deaf boy Uda, who sells drugs in order to pay for a surgery that will restore his hearing. His path crosses with Dara, a troubled schoolgirl who longs to escape from her overbearing father. Romance soon blossoms between the two. Playing the lovers are Zahiril Adzim and Sharifah Amani. Others in the cast include Sharifah Sakinah, Amerul Affendi, Iedil Putra, Zaidi Omar and Joe Flizzow. Khairul says: 

“If you analyse my film carefully, you will realise that my hero is not the only one who is ‘deaf’. Other characters have perfect hearing, but they refuse to listen.” 

In the film, Uda who is not allowed to listen to music is frequently seen wearing T-shirts featuring famous music bands. 

“I wanted to add a touch of irony in my film,” says Khairul, who also wrote the screenplay for Pekak.

The director is not afraid to break away from typical romantic drama tropes with his two leads. 

“I do not want to present a stereotypical hero.” 

Those familiar with literature might notice that the names of the lead characters are taken from the classic, tragic love story written by the late Usman Awang, Uda & Dara. But the similarities end there. 

“I wanted to take familiar names and use those names in a modern setting and a totally different situation,” he explains. 

For Khairul, his favourite scene in Pekak is when Uda’s boss, a drug pusher, gives Uda tips on how to win Dara’s heart. The scene adds some humour to the film. 

Speaking about the challenges of portraying Uda, the 32-year-old Zahiril describes the internal conflicts his character faces as the result of his refusal to accept the fact that he is deaf. 

"Uda is always seeking a ‘cure’ for his deafness,” he says. 

“He will read lips and will try not to use sign language.” 

Uda being deaf does not have much dialogue, so Zahiril has to rely on his facial expressions and body language to express the character’s emotions. 

“I love that challenge,” he says. 

“There are so few good scripts in our industry that challenge your boundaries as an actor, and test your acting skills. When a role like this comes your way, you do not think twice. You just grab it. After a long gap, I finally got a role that I am really excited about. ” Zahiril loves the fact that the director bravely shows the dark gritty reality of the illegal drug trade. 

“Pekak is not a sweet romance movie. It walks on the dark side.” Award-winning actress Amani desperately wanted to be in Pekak after she learned who else were signed to the project. 

“I am a huge fan [of most of them],” says Amani, 30. 

“They are really good actors.” She believes one way an actress can improve her acting skill is if she acts alongside talented co-stars. 

“I begged the director to let me audition,” she said. 

“I literally chased after the role.” 

Speaking about her character, she says: “Dara hates her life. She desperately wants to escape. Unfortunately, no one really listen her. Not her father and not even her best friend. The irony is the only person who really listens to her is a deaf boy.” 

She believes Pekak is a teen angst movie that will touch hearts and minds. 

“He exists for her, and she exists for him,” she adds. 

the director 

A Hipster's Choice

Today theSun published an interview I have done with Wan Nor Azriq where he picks ten books that every Malaysian Hipster should read 

Headline : A Hipster's Choice 
By Bissme S

THE WORD ‘hipster’ is one of the more recent additions to the modern vocabulary, but even though most people can readily identify what a hipster looks like, it’s difficult to pinpoint what being a hipster actually means. 
As author Wan Nor Azriq, 29, says: “If you can define a hipster, that means you not a hipster. Hipsters do not like labels and definitions.” 
However, this award-winning author who penned DUBLIN, Boneka Rusia Guido, Dompet Kulit Buaya, 86 and Soneta Roda Basikal among others, agrees to help give a better idea of who a hipster is. 
“Basically, a hipster fits the subculture that consists mainly of youngsters in their 20s and 30s living in urban areas such as Kuala Lumpur, Ipoh, and Johor Baru,” he says. 
“Hipsters are very eco-friendly. They prefer walking or riding a bicycle to driving a car because it’s healthier. They listen to obscure independent bands. They hang out at fancy and eccentric cafes. “They read underground poetry, and above all else, they value authenticity, creativity, and freedom. 
“Whatever is seen as mainstream and fashionable, they go against it. They strive for individualism.” 
Here are Wan Nor’s list of 10 books that he says hipsters should read:
 
1) Aku Tak Peduli   (Melayu Minimalis) 

This book describes the hipster culture as well as the other subcultures that exist in Kuala Lumpur. The writer also talks about the Malaysian independent music scene. The way he writes is like he is having a conversation with you.










2)Awek Chuck Taylor   (Nami Cob Nobbler) 

This novel defined a generation of Malaysians the way J.D. Salinger’s Catcher in the Rye did for his generation in the United States. This book will definitely strike a chord with girls who dream of becoming a sophisticated and intelligent woman like Mira in the novel. The hero is not your typical hero. One can even say he is kind of a born loser. He also talks about his relationship with two girls who happen to be sisters.


3) Mat Som  (Lat) 

This graphic novel centres on about a youth from Tanjung Maim who settles in Kuala Lumpur. He hangs out with the ‘in’ crowd because he wants to be seen as intelligent and sophisticated. He gets interested in the literary scenes. 
You will [recognise] some well-known personalites such as poet Usman Awang and writer Latiff Mohidin in the comic sketches.”


4)Stereo Genmai  (Ridhwan Saidi) 

This novel is perfect for hardcore hipsters. The story never moves in a liner fashion. It is very fragmented, and centres on a man looking for his girlfriend who goes missing after watching a movie. The story very clearly depicts the power of cinemas and films. 









5)Tiga Titik   (Fandy Taher) 

The book is about a boy who runs away from home and wants to travel around the world on his bicycle. I think, in the heart of every true hipster, there is a strong desire to run away, not just from  his birthplace, but also from mainstream culture.  After you have finished reading Fandy’s inspiring novel, I guarantee you will pick up your bike and begin your journey into nature.

6) Catatan Latiff Mohidin   (Latiff Mohidin) 

Just like a true hipster, this book escapes any rigorous label you can put on it. [It’s] part journal, part aphorism, part poetry, and part literary criticism. He talks about the various topics under the sun – from life to literature. 




7)Tapai   (Hishamuddin Rais) 

I choose this book because I think Malaysian hipsters are unique in their strong appetite for local and exotic food. So Tapai is the best food guide book you will find on the market as it combines Hishamuddin’s sharp witty observations and colourful descriptions of the many dishes that feed our Malaysian taste buds. 







8) Kentang    (Saharil Hasrin Sanin) 

A blend of graphic humour and witty social critique, Saharil really knows how to entertain his readers while making them feel smart. A light read for hipsters who are too busy saving the world.




9)Kopi Lejen   (Various authors) 

Coffee is an important beverage for hipsters. This anthology feature three various short stories where the writers cleverly relate their personal experiences with coffee. 










10) Sajak-Sajak Saleh   (Salleh Ben Joned) 

Indeed, Malaysian poetry doesn’t get any more vulgar and rebellious than the poems of Salleh Ben Joned. This book will appeal to the anarchist hipsters and angry young poets out there.

A Colorless Love

To celebrate Hari Raya, theSun feature a love story that goes beyond race and religion. 

Headline: Love is the  Answer 
By Bissme S

For couple Najua Nasir, 34, and Muhammad Paul Ellingham, 49, love certainly proves to be the unifying force in their relationship and marriage. 
Married for nine years, they are the proud parents to eightyear-old Aisha Marie  Ellingham, seven-year-old Alana Jane  Ellingham, and two-year-old Aila Claire Ellingham.   
The couple first met in 2000 when Najua went to the United Kingdom with her aunt for a holiday. 
“Paul was a friend of my aunt, and he came to the airport to pick us up,” she recalls. 
At that time, Najua was 19 and Paul, 34. Despite the 15-year age gap between them, a close friendship soon developed  between the pair. 
Six years later, in 2006, Paul took on a position as an oil trader in Kuala Lumpur. When he moved and settled down in the country, he and Najua began to see each other more often. Slowly their friendship  developed into a more serious relationship, and on July 7, 2007, they were married.   
“I received my parents’ blessings,” Najua says on her choice of a foreign husband. 
As she was not the first one in her family to marry someone from a different cultural and  religious background, her relatives were more open to their mixed  marriage. But there were other people who raised doubts about their  relationship. 
“They asked me why I had to marry a Mat Salleh, as if there were no more Malay guys left,” she says with a laugh. 
Some even tried to frighten her by saying foreign men just like to have ‘fun’ with local girls and once that was over, they would abandon the girls and go back to their native land. 
But Najua tuned out the  negative comments made about her relationship with Paul and just held on to her faith in her husband.  “One advice I would like to give to couples from different backgrounds who plan to get  married is not to dwell too much on their differences,” she advises. 
“All you need is to get your parents’ blessings, and I believe once you have that, everything will work out smoothly.”  
When asked what drew her to Paul, she says: “He is a very positive person and has a great zest for life. You hardly see him looking sad.”  
For Paul, it was his father who had encouraged him to marry Najua. “My father said it does not matter who I marry as long as I was happy,” he says. 
“I never looked at Najua as a ‘Malay woman’. I see her as the woman I love.” 
Paul did not have any  reservations adapting to his wife’s religion and culture. 
“I am still learning about  Islam,” he says. 
“My wife is  helping me understand Islam  better. [Anyway] even scholars take years to understand the religion.” 
For every Ramadan since his marriage, Paul has undergone the fast. He then dresses up in his baju Melayu for the first day of Hari Raya. The first time he put on a baju Melayu was in 2006, for his  company’s Raya open house. 
He was very conscious about wearing the baju Melayu when he first put it on, he says, but now, he is more at ease. 
“But I still need someone to tie the kain samping for me,” he adds with a laugh.  
On the second day of Raya, Paul will be travelling to Alor Star to visit his in-laws. 
“[My wife’s relatives] all treat me well and I feel very welcome and a part of the family,” he says. 
“My Malay is limited and so is their English. But we will still try to have a conversation. 
“Eastern culture emphasises on  family  relationships and I love that  element very much.”  
Their three daughters have no difficulty adapting to both cultures. “My parents are Christians, and my children are Muslims,” he says but adds that his parents love the children very much despite their cultural and religious differences. 
“They often Skype us just to talk to my children.”  
Paul points out that every marriage has its ups and downs, and theirs is no different. 
 “It is love that should keep you together,” he says. 
“It is also love that helps you overcome all  obstacles in the marriage.” 
Indeed, one can never  underestimate the power of love

David Teo & China

Film producer David Teo speaks to theSun about penetrating the movie scene in China.  Read the full story here 

Headline 
By Bissme S 

AFTER having produced over 130 films in his 15-year career in the local film industry, David Teo wants to spread his wings overseas. 
“I do not want to be a jaguh kampung any more,” says Teo, 51. 
“I want to think outside the box [and] find new markets and new audiences.” 
Teo, who is also the chief executive officer of MIG Pictures, hopes to set up a production house under MIG Pictures in Beijing by the end of this year. 
“This dream of penetrating the Chinese film industry has been playing in my mind since last year,” he says. 
“China is a booming market. In the past, the authorities there were not keen on the entertainment industry. They had all kind of censorship restrictions in place. But now, the authorities are more open-minded.” 
Once his production house is ready, Teo will immediately start producing movies with Chinese directors and actors. He adds that he will be bringing in a crew of Malaysians to work alongside the Chinese behind the scenes. 
“China has a long history in filmmaking. They have better skills than us. They can teach our crew new skills. When our crew return to Malaysia, they will be able to  their new knowledge. They will also be earning better money in China.” 
Teo is looking into ways to help Malaysian talents get a foothold in China as well by putting them into supporting roles in the movies he will be producting. 
The director-producer also intends to sell his Malaysian films over there. Pointing out that China has over 300 TV stations and 100 online TV outlets, he says he could easily sell his Malay movies with Chinese subtitles to these stations. 
“In a way, I am exposing Malaysian movies to a different market and audience.” 
He adds that we should take advantage of China’s huge movie audience. Giving the example of Stephen Chow’s Chinese New Year blockbuster Mermaid, which collected an astonishing RM1.8 billion at the worldwide box office, Teo comments: “We are only talking about millions at our box office, and they are already talking billions at their box office.” 
One wonders if Teo has any fears entering a market that is not familiar to him. 
“I have done my homework,” he says. 
“I am certain that I am on the right track. Entering a new market never frightened me. Business is all about taking risks. What frightens me is the people I am going to be working with. People can be unpredictable. The last thing I want is to be betrayed. 
“I want to be the lucky rat that falls into a pot that is filled with rice. I do not want to be the unlucky rat who falls into a pot that is filled with worms. Betrayal can be a bitter pill to swallow.” 
In the meantime, Teo has been keeping with his busy filming schedule with two local movies currently in production. The first is a Malay language comedy, Zack Kapcai, that centres on a man involved in illegal motorbike racing. When he learns from his mother that his estranged father is alive, he goes on a journey to find him, with hilarious results. The film, which stars Fad Bocey, Serina Redzuwan, Julia Marin and Shuk SYJ, is slated for release in local cinemas on July 14. The other is another Malay language film – a horror feature called Volkswagen Kuning, which opens on Sept 22. The film is about a man named Fuad, who brings his girlfriend Khaty back to his hometown to be introduced to his parents and relatives. Unfortunately, the couple get in an accident before they can reach their destination. Fuad is badly injured, but Khaty escapes without a scratch. However, it soon becomes clear that an evil spirit has possessed Khaty, and is out for blood. The film stars Pekin Ibrahim and Atikah Suhaime in the leading role.

The courage of Refugee

Today thesun published my interview with  Mahi Ramakrishnan who talks  about an art festival that she is organizing that celebrates the courage of refugee and her latest documentary Bodies for Sale. Here is the full story.  

Headline: Seeking Humanity in the Arts 
By Bissme S 

Documentarry filmmaker Mahi Ramakrishnan and audio visual artist Goh Lee Kwang are the brains behind the three-day Refugee Festival, taking place at Black Box, Publika Solaris Dutamas, in Kuala Lumpur, from June 24 to 26. 
“It is difficult to live the life of a refugee,” says Mahi in a recent interview, pointing out the fact that these people have left everything behind in their home countries, where they are often oppressed and suppressed. 
“They come to a new country in search of a better future,” she adds. 
“They are not victims. They are survivors. And this festival celebrates their courage.” 
The festival will feature screenings of short films and documentaries, photography exhibitions, poetry reading, dance performances, and a bazaar selling food and artworks by the refugees.
 However, there are Malaysians who believe refugees add to social ills here. “We are always afraid of something we do not know,” says Mahi. 
“Come to the festival, and meet the refugees and listen to their stories. You will realise that they are just like us. “
All they want is a better life for themselves and their family. 
“We have to realise that these refugees are a part of our community. We should create a conducive environment for them to live in. “Malaysia can be a role model for other countries to follow in dealing with the refugee issue.” 
One of the highlights of the festival is an art exhibition by 16 refugee children depicting their lives in Kuala Lumpur, entitled KL Kita Je. 
Visitors can also write their names (with their IC number) on postcards which are addressed to our Prime Minister Datuk Seri Najib Abdul Razak. These postcards will be sent to the prime minister to urge him to provide proper education for the refugees’ children. 
“We have about 34,600 refugees below the age of 18, and it is important for these children to have a proper education,” she says. On her new documentary entitled Bodies for Sale, set to be screened at the festival on June 26 at 2pm, she tells of the heartbreaking and shocking stories she has documented. 
The 30-minute documentary depicts the abuse the Rohingyas have to endure at the hands of human traffickers. They range from rape to starvation, all while they are fleeing from persecution and injustice in their home country of Myanmar. 
“Whenever we talk about rape, we often imagine it is a woman getting raped,” says Mahi. 
“This time around, I managed to get a Rohingya man … to speak about his experience.” 
The man tells how four traffickers held him down, while taking turns to rape him. Mahi says that the rape took place in front of everyone, but none of the other refugees dared to stop it because they feared repercussion from the traffickers.
Mahi is also told of a sick game the traffickers used to play on the refugees. They would shout out that the authorities were conducting a raid and watch the refugees panic and start running for cover. The traffickers would then chase after the female refugees, catch them and rape them. 
“These sick people just love the thrill of scaring their victims,” Mahi says. 
“It [was] not only men and women who got raped. Children got raped, too.” 
For Mahi, these horrific tales were depressing to listen to, gut-wrenching and extremely upsetting. “
There is sense of helplessness and hopelessness in their situation,” she says. 
“It is difficult for me to emotionally detach myself from what I am hearing. I feel so sad and angry that there are people who have the power to stop this abuse, but they are doing nothing about it. 
“This has motivated me to make this documentary and show it to the public. I am hoping that, after watching this documentary, perhaps we could put our minds together and find a solution to stop the abuse of the refugees.”

K Rajagopal & A Yellow Bird

I had interviewed the Singapore  director K Rajagopal whose film A Yellow Bird was showed at the prestigious Cannes Film Festival. The story was published in theSun today. Here is the full story  

Headline: An Eye  For Realism 
By Bissme S

To have your film screened at the prestigious Cannes Film Festival is a great honour, and 51-year-old Singaporean director K. Rajagopal earned it last month with his first feature. A Yellow Bird, which tackles issues of racism and migrants in Singapore, was shown at Cannes under the International Critics’ Week category.
"The audience in Cannes found the film intense, and felt it showed a different side of Singapore which they were not familiar with,” says Rajagopal, in a recent interview with theSun. 
A Yellow Bird centres on Siva ( played by Singaporean actor, producer and director Sivakumar Palakrishnan) who is released after eight years behind bars. But when he returns home, his mother ( Seema Biswas) does not welcome him and his wife has abandoned him, taking away their only child. While searching for his wife and daughter, Siva saves Chinese immigrant Chen (played by Chinese actress Huang Lu) from a violent man. 
Chen is working as a prostitute to pay off her family’s debt. The girl begins to see Siva as a kindred spirit in a brutal world, and a relationship develops between them. But Siva’s violent past will not leave him alone. A Yellow Bird will be shown in cinemas in Singapore at the end of the year. 
“I have always given voice to the minority [groups] in my short films,” Rajagopal says. 
“Racism exists everywhere. In Singapore, racism is not overt but is simmering beneath the skin. The minorities shy away from discussing this issue as it can be uncomfortable to talk about it in a multiracial and modernised environment.” 
Explaining the title of his film, he says: “When I was a child, my mother used to say that if you see a yellow bird, make a wish because you will meet someone nice or receive good news. 
“I grew up believing this myth. I wanted to explore the idea of hope and false hope in my film.” 
To get the best out of his cast, Rajagopal held vigorous rehearsals. “The characters were quite dark and intense, so the actors must be carefully handled to get the best out of them.” 
Rajagopal had nothing but praise for his cast. 
“They were very much an intuitive and sensitive bunch, who took on the challenge to work hard and achieve the realism that was necessary for the film.” 
He even got lead actor Sivakumar to live on the streets for few days. He says: 
“The film is solely dependent on his character, as we follow him from beginning to the end. He needs to be very convincing as an ex-convict and homeless person and, at the same time, displays a strong sense of loneliness and hopelessness.” 
Rajagopal himself started out as a theatre actor. He has worked under renowned Singaporean directors such as William Teo, Pao Kun, Keng Sen and Ariffin Noer. 
“I learnt a lot from them,” he says. 
“But I wanted to be my own storyteller.” 
He began writing very simple stories which he made into award-winning short films. Rajagopal’s confidence grew with each win. He then focused on making films for televisions before venturing into his first feature effort. 
Rajagopal picks Adoor Gopalakrishnan as his favourite director as he admires this Indian director’s films. 
“He was one of the first filmmakers of Parallel Cinema in Kerala, India.” 
He also likes filmmakers such as Andrei Tarkovsky, Francois Truffaut, the Dardenne brothers and Mike Leigh. 
“They laid [open] life experiences in their films in a very realistic and lyrical manner without the frills,” he says. 
One can certainly see similar elements of realism in Rajagopal’s works, too.

A scene from the movie