For 49 years, Ah Eng and Dou E were trapped in the "513" timeline. In 1969, post-election tensions gripped Kuala Lumpur when the Cantonese street opera "Snow in June" showcased Dou E, portrayed by the troupe master. Amid a riot, Ah Eng and her mother sought refuge with the troupe, losing contact with her brother and father. In 2018, Ah Eng returned to Kuala Lumpur and unexpectedly encountered "Dou E" at the cemetery.
1986, in a Malaysia-Thailand border village, a recently widowed Siamese woman still cooks her husband's favourite dish. After her son brings the husband's ancestral tablet home, the durian tree starts bearing its fruits while red spinach grows under the tree...
Popo
Iqbal and his mother have a special talent for seeing things that others cannot. Together with his father, who doesn’t share their sight, they work as exorcists until one day his mother meets a tragic end, saving Iqbal from an attack by a particularly malevolent spirit. With his mother gone, Iqbal’s father attempts to end the family’s suffering by binding his son’s abilities by using a mystic, but it only half works. When Iqbal and his friends inadvertently unleash a very nasty spirit in a fit of adolescent abandon, he learns that his abilities aren’t completely gone... but are they strong enough to save the people he loves from a fate worse than death?
Grandmother
Discovering a severed bird that is missing its body, Ah Ger decides to make a mock body for the poor creature and give it a proper burial. Her intentions prompt an unexpected visit by the ghost of her late grandmother appearing in the form of the dead bird, urging Ah Ger to help find and care for her egg. Her actions caused her to be terribly misunderstood and punished by her mother.
Aunty Kaew Kaew
태국과 말레이시아 국경에 있는 작은 마을에서 어린 시절을 보낸 감독이 목격한 사건을 바탕으로 만든 영화. 1987년, 청은 정성껏 모시는 나독공의 사당에 들어온 뱀을 쫓아내다 옆집을 부수게 된다. 옆집 깨우와 남은 크게 화를 내는데, 얼마 후 남은 집을 고칠 자재를 구하러 가다 트럭에 치여 죽고, 깨우는 마을에서 사라진다. 청도 원인 모를 병으로 앓아 눕는데, 청의 아내는 백방으로 치료법을 수소문하다 산속 동굴에서 기도하는 여인을 만나게 된다.
Zhang, a middle aged man struggling with a dead end job as an insurance sales person, on the verge of divorce with his wife, losing custody of her daughter, and on top of all this he has to take care of his father who is suffering from Alzheimer's. Unknowingly Zhang is invited to join an underground fighting game for financial purposes, but eventually Zhang becomes hooked on the fights and turns professional.
Psychic
아버지도 오빠도 잠을 자지 못하는 병에 걸려 죽었고, 자신도 같은 병이라고 믿는 여인이 있다. 병의 원인을 찾던 의사는 단순한 유전병이 아니라 일제 시대의 비극적인 사건에 얽힌 저주라고 확신한다. [인육만두]를 만들었던 허먼 여우가 다시 선사하는 멋진 고어 장면을 만날 수 있다.
Headmistress
바닷가 마을에 방사능 화학 공장 건설로 한바탕 소동이 일어난다. 이상주의적인 교사와 일군의 고등학생들은 어느 순간 고향의 영혼을 위해 싸우고 있는 자신들을 발견한다. 실화에 기반한 영화 은 사랑을 찾으려 하지만 정치와 슬픔에 갇혀버린 말레이시아 역사와 젊은이들에 대한 호소력 있는 이야기다. (2015년 제12회 서울환경영화제)
If It’s Not Now, Then When? mostly takes place in an apartment inhabited by three members of a family (though never at the same time): mother Pearlly Chua (from Tsai Ming-liang’s I Don’t Want to Sleep Alone), daughter Tan Bee Hung and young son Kenny Gan. Their father seems recently to have died. The mother leaves early and returns late, out on long walks in the park with a lover whom the daughter and her best friend try to spy on. The daughter pecks away at a computer at work and has a desultory affair with her married boss, which he carries on between his business and family phone calls. And the son breaks into cars and “recycles” the electronics he finds.
Mrs. Chew
Mrs. Chew and her three daughters run a small but flourishing restaurant. Most of the customers come for the house specialty: Homemade Curry - cooked from an old family recipe. Nobody suspects that the special ingredient that turns Mrs Chew's curry from standard fare into a gourmet's delight is human flesh!
Madam Tien
최근 말레이시아에서 가장 주목 받고, 가장 활발하게 작품활동을 하고 있는 우밍진의 칸영화제 진출작. 돈을 벌어 일본으로 떠나고 싶어하는 19살 소녀 핑은 이모 티엔의 기괴한 사업계획인 ‘베이비 팩토리’에 동참하기로 결심한다. 그러나 티엔의 거짓을 알게 되면서 둘의 관계는 급속히 무너지기 시작한다. (2010년 15회 부산국제영화제)
Free interpretation of the myth. Tsai Ming-liang propels a woman neglected by her lover in the mob of the bus station of Kuala Lumpur.
To celebrate its 60th anniversary, the Cannes Film Festival invited around thirty filmmakers to create three-minute short films to compose the collective film Chacun son cinema. Tsai Ming-liang proposed a twinned piece with his feature Goodbye, Dragon Inn, an exploration of the movie theater as a public space and collective experience. Shortly after, Tsai put on this new version of the piece, twenty minutes longer, which was presented at the Venice Biennale.
Lady Boss
대사를 극도로 배제한 채, 외로움의 치명적인 상처에 대해 말하고 있는 차이 밍량의 신작. 말레이시아의 쿠알라룸푸르. 이주노동자 라왕은 불랑배들에게 얻어맞아 거리에 쓰러져 있는 노숙자를 자신의 숙소로 데려가 극진한 간호를 한다. 근처 커피숍의 웨이트리스는 식물인간이 된 여주인의 아들을 돌봐야 한다. 몸이 회복된 노숙자는 우연히 웨이트리스를 만나 가까워지지만, 라왕은 절망에 빠진다. 도시를 잠식한 외로움을 드러내는 차이 밍량의 치밀한 연출이 더욱 정교해졌으며, 리 캉생 또한 생애 최고의 연기를 펼쳐보인다.
Tsai interrupted his pre-production for The River to make this pioneering documentary for Taiwan's nascent AIDS-awareness campaign. Ignoring instructions to 'play down the gay angle', he centres the film on his own very candid conversations with two HIV+ young men. Sadly the identities of the interviewees have to be concealed, and so the freewheeling camerawork focuses most often on Tsai himself; but the sense of rapport between the director and his 'new friends' is palpable and very moving, even to Western viewers already only too familiar with these issues.
