‘Pendatang’: an intense, thought-provoking dystopian thriller
Malaysia’s film landscape witnessed a groundbreaking moment with “Pendatang”, its first entirely crowdfunded movie. Having amassed over 270,000 views and counting on YouTube since its premiere on Dec 21, this dystopian thriller has quickly become the talk of the town.
Is “Pendatang” truly worth a watch, or is it merely riding the wave of popularity by pushing boundaries with its racial themes, skirting around Malaysian censorship?
The brainchild of writer Lim Boon Siang and director Ken Kin, it’s safe to say this is not your run-of-the-mill dystopian feature. Set in a Malaysia governed by a Segregation Act, this Cantonese-language film delves into a society where ethnic groups are strictly divided.
The story centres on a Chinese-Malaysian family forced to relocate to a rural area after a minor traffic offence. Their world takes a turn when they encounter a lost Malay girl, and a potential 25-year prison sentence under the new law.
From the get-go, the movie – presented by Kuman Pictures with co-producers Amir Muhammad and James Chong – wastes no time painting a vivid picture. Barbed wires and armed security personnel are the early cues that this is a Malaysia straight out of your worst nightmares.
What immediately becomes apparent is the stellar performances from its main cast, particularly the family at the narrative’s core.
The film starts with moments of comedy weaved into the story, preventing it from succumbing to the all-too-common trope of relentless darkness seen in films like “Divergent”.
Take, for instance, the scenes where Wong, played by Freddy Chan, comically chases the Malay girl around the house, almost like shooing away a pesky rat. His failed attempt at scaring her off with a snake is downright giggle-worthy.
At first glance, the family appears typical, akin to those found in Malaysian neighbourhoods. Yet, their ordinary lives are set against the backdrop of this rather harsh dystopian reality.
The script introduces lines that might catch you off-guard, like the unsettling warning: “Lie to us again and we’ll send you over to the Indian side.” This casual delivery underscores the oppressive nature of the society depicted, and makes it abundantly clear that the writers refuse to pull punches.
Around the one-hour mark, the film takes an intense turn, and this transformation is epitomised by Nick Davis’ outstanding portrayal of Ho Kar Leong, the intimidating head of security. Davis injects a palpable intensity, turning the film into an edge-of-your-seat experience.
“Pendatang” also successfully avoids falling into predictable traps. It doesn’t resort to clichés like turning villains into sudden heroes or revealing everything was just a simulation.
While the characters undergo development, it’s done in a way that doesn’t induce eye rolls. The film intentionally leaves some loose ends, introducing elements like the “927” incident and confining its focus to Chinese society, prompting viewers to contemplate what might be unfolding in other areas.
Without spoiling too much, “Pendatang” is also an emotional roller coaster, particularly as it reaches its conclusion. It’s safe to say you won’t see it coming.
All in all, “Pendatang” emerges as a breath of fresh air, skilfully balancing humour, social commentary and suspense, making it one of the best dystopian films in recent times.
The movie not only marks a milestone in Malaysia’s cinematic journey: it also serves as a catalyst for conversations about unity, and the power of independent filmmaking to resonate on a global scale.
And there you have it, not just a film recommendation, but a subtle plea for a sequel – “Pendatang” is that kind of ride.
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