What Is PENDATANG?

PENDATANG Is a script by Lim Boon Siang that we received as part of our first screenwriting competition in 2019. It is a dystopian thriller set in a Malaysia where the different races are not allowed to mix, by force of draconian law. The story starts when a Chinese family moves into their new house and discovers a small Malay girl hiding there. Should they just ‘get rid’ of her or risk their own safety by trying to smuggle her back to “the Malay area”?

Why Crowdfunding?

Since this is a Malaysian story that is made by Malaysians for other Malaysians, we thought of getting backers from the public instead of relying on large companies or corporate sponsors. This would enable the movie to be made and screened, without commercial or bureaucratic considerations.

What Does PENDATANG Aim To Achieve?

It primarily seeks to entertain, as it’s a solid script that has the potential to be a riveting movie. But along the way, we believe the themes of the film will be able to spark conversations about the direction in which we are headed, as individuals and members of a larger collective such a society and nation.

The film aims to share one of many perspectives on the possible impact and danger of racial politics on the lives of ordinary people. This is a story of our collective fears and what can happen if we allow these fears to shape our lives. It is also a story of hope, of humanity and how individual courage can overcome the deepest racial divides.

To get viewers to see and think from a humanity standpoint on issues that directly affect our lives.

How Does PENDATANG Make A Difference?

We believe there are many untold stories in Malaysia; some are held back due to lack of funding or fear of censorship (whether official censorship or market restrictions). PENDATANG is a story that deserves to be seen. That is why we will make the movie available for free and will not profit financially. If our crowdfunding succeeds, it will encourage many others to try this route to get their films made and indirectly encourage them to make films that are truthful to their visions, be it arthouse, experimental or commercial projects.

The success of this film will open up the possibilities of future films with strong, relevant and impactful stories being made independently by filmmakers and scriptwriters, funded directly by the public. This will also show that there can be support beyond the traditional government and commercially-led production and funding structures for the on-going creation and production by independent Malaysian creators.

Risks & Challenges

Everyone who read it thought it was a terrific script with a strong speculative premise and well-rounded characters. But we also thought that getting it funded and released through conventional channels would be a challenge due to its themes of racism and extremism. So it remained KIV for three years.

We choose ‘Fixed Funding’: if we don’t raise at least RM300,000, any money pledged would not be charged to the backer – and the movie won’t get made. We feel this is the fairest solution. Trying to shoot PENDATANG for less than that amount would require reducing the scope of the script and production which are already tight and minimal. And we won’t want to take your money for such a compromised product.

About PENDATANG

Synopsis

In the not-too-distant future.

One year after the 927 Incident, WONG (42), his wife, SHAN (39), and their two children, XIN (17) and BOBBY (11), are forced to relocate to an assigned Malay traditional house within the racially designated area. A staunch supporter of the referendum-sanctioned Segregation Act, Wong tries his best to smooth things out for his family who is upset by the move.

However, it’s easier said than done. Due to the seismic societal change and martial law, all civilian communication networks are down while local daily supplies are scarce and rationed, distributed by an unruly group of local militia headed by VINCENT (40s), a relocation officer too soft for his own good. HO (24), Vincent’s deputy and the de facto leader of the “former” gangsters, is merely biding his time to overthrow him and establish his own authority.

Luckily, one of the militia members, BOTAK (20), turns out to be the tomboyish sister of Xin’s best friend who has moved to the area a few years ago. The family relies on her to get medical supplies for Bobby, who has asthma.

Just as the family tries to settle down, however, a big surprise, or rather a shocking discovery, is in store for them—a terrified 9-year-old Malay girl is found hiding in the attic. As anyone found harboring people of other races—who are to be killed on sight—could be sentenced to jail for 25 years, the family is plunged into a moral dilemma. Things get complicated when Shan comes up with a crazy idea—to smuggle the girl over to “the other side”…

Genre

It is an action thriller and drama, in mainly Cantonese and Malay. It is planned to be about 90 minutes long, the same as regular movies in cinemas.

Character Introduction

Wong (Male, 42)

Used to run a phone shop in pre-segregation Malaysia, Wong Kim Teck is the pivotal character of the film. As the epitome of the disillusioned and disgruntled Malaysian Chinese, he voted yes in the referendum on segregation, thinking it was best for the future of his family and race. Settling down in a turbulent environment run by the unruly militia, he strives to ensure the safety of his beloved family and sees the young Malay girl as nothing but trouble.

Shan (Female, 39)

Having voted no in the referendum, Tay Hui Shan used to be a yoga teacher before relocating to the “Chinese area”. Principled and stubbornly idealistic, she is disturbed by the absurd racial polarization of the country. Moral courage prompts her into action to help the Malay girl despite Wong’s protest and indignation. 

Xin (Female, 17)

As Wong and Shan’s eldest child, Ke Xin is given the task to take care of her brother, Bobby, whenever her parents are not around. Apolitical like many of her peers, she misses her former classmates and the good old days. Despite her obedient and gentle nature, she surprises us with her inner strength and sense of justice when push comes to shove.

Bobby (Male, 11)

The youngest child of the Wong family, Bobby is often inquisitive and playful despite suffering from asthma. Having no friends in the new environment, he sees the Malay girl as his potential playmate although his father warns him to stay away from her. Bobby’s dependence on asthma medications complicates the situation as the family relies on the militia for their supply. 

Malay Girl (9)

Alert and wary, the young Malay girl has witnessed horrible things that make her distrustful of the adults. Despite her young age and fragile look, she’s a born survivor. 

Ho (Male, 20s)

The ultimate antagonist of the story, Ho is the obnoxious head of the militia of the designated Chinese area that the Wong family has moved to. In charge of the security and the rationing, he and his men have been grudgingly carrying out the orders of the officially elected Relocation Officer. Greedy for wealth and power, Ho is a ticking bomb time ready to explode.

Mei Yun (Female, 20)

Nicknamed Botak, Mei Yun has shaved her head and joined the militia to fulfil her vow to avenge her younger sister who lost her life in the racial riot. Being a friend of the Wong family yet blinded by rage, she is the wild card in the film. 

Auntie Koo (Female, 60s)

Working as a truck driver, Auntie Koo does her best to survive in the post-segregation country. Wong relies on her need to find closure with her son’s death to do the right thing at the most crucial moment. 

Vincent (Male, early 40s)

Having gotten the job of the Relocation Officer through his uncle, the rather cowardly Vincent has a hard time getting the militia to work with him. Apart from being “English-educated”, he is deemed a traitor by Ho and his men because of what his uncle is doing. 

Eddie Chong (Male, 50s)

An unscrupulous pro-segregation politician, Eddie Chong has used his position as the District Officer to smuggle furniture to the “Malay areas”. The fortune he’s now amassing makes him a target of the increasingly ambitious Ho. 

Hamid (Male, 50s)

A childhood friend and business partner of Eddie Chong, Hamid is the shrewd District Officer of the neighbouring Malay area. Together with Eddie, he tried to stir up racial sentiments to sway the result of the referendum so they could get what they wanted. 

Look & Feel

The Team 

Lim Boon Siang (Scriptwriter)

Boon is an MFA in Screenwriting graduate from Dodge College of Film and Media Arts at Chapman University, California. His short film project, Call Me Sugarplum (2006), won Audience Favourite Drama at Route 66 Film Festival, USA. His first feature film 《大英雄小男人》Petaling Street Warriors won Best Non-Malay Language Film at the 25th Festival Filem Malaysia and was nominated for Best Screenplay at Golden Wau Awards 2013. Starring Sofea Jane, his second film, Orang Itu, is currently on Netflix (https://www.netflix.com/my/title/81490244)  Other original screenplays include Chained (Gold Award at 2017 California Film Awards); 《出海记》The Lost Chronicle (Top 20 Projects at the 2016 Beijing Film Market; finalist at 2017 Orb Media China-Hollywood Screenwriting Fellowship; Top 6 finalists for the ATF Animation Pitch 2019); 《再见猫城》The City of Cats (Top 20 Projects at the 2018 Beijing Film Market). Hello Ghost 《对不起，撞到你》/《考什么鬼》 (renamed Die Die Top Student), Pendatang and Jadian 《异变》were chosen as part of the Hot List Screenplays of Kuman Pictures and Feisk Productions’ Horror Screenwriting Contest 2019. Makhluk《怪》got into the Hot List of Kuman Pictures’ Horror-Thriller Screenwriting Contest 2022.  

Ken Kin (Director)

Ken Kin is a self-taught filmmaker who started his career in a television station as a sound recordist. He lent his experience in location sound recording to many indie filmmakers in the early 2000s with the likes of James Lee, Tan Chui Mui, Woo Ming Jin and many others. This is also when he started making his own short films.  In 2003, he made his first short film Tong Wah Heng, which was premiered at the Malaysian Shorts – a local event that showcases independent films. The short film was eventually screened at the 26th Asian American International Film Festival, New York and also picked up the 2nd runners-up prize at the Cyberjaya Digital Film Competition. One of his short films The Other One won the Best Short Film at the 24th Festival Filem Malaysia in 2011. He was also invited by local independent filmmaker James Lee to write and direct a horror short film as part of the 3 Doors of Horror omnibus in 2013. His segment, Horror Mission has garnered favourable feedback from the audience. Ken Kin then broke into the local television industry as a director and has helmed a string of television series like 5 Jingga, Geng Bas Sekolah, Kapten Boleh, Ghaib and Astro Boo’s Horror Short Film series, amongst others. His agility in the medium has allowed him to direct other television formats such as magazine (Cutipedia, Hajat, Carta 10, MyHAUS), formatted game/reality show (Project Fight Club), music video (James Baum – Dirinya sebenar), and telemovie (Laksam Girl). As a fervent film buff, he also co-founded an indie film club, TDSC, located in the suburban Taman Desa which holds regular film screenings for all movie buffs.

Amir Muhammad (Co-Producer)

Malaysian publisher, filmmaker and occasional writer. His books as writer are Rojak: Bite-Sized Stories, Yasmin Ahmad’s Films and 120 Malay Movies. As publisher, his company Buku Fixi has published over 250 books since 2011, with a focus on urban pulp fiction. The film/TV rights to 7 of the books have been sold, and 4 have been released. He is a partner at Da Huang Pictures, which has created several award-winning films such as Flower in the Pocket (dir. Liew Seng Tat) and Love Conquers All (dir. Tan Chui Mui). He directed Lips To Lips (2000), 6Shorts (2002), The Big Durian (2003), Tokyo Magic Hour (2005), The Year of Living Vicariously (2005), Lelaki Komunis Terakhir (2006), Apa Khabar Orang Kampung (2007), Susuk (2008), Malaysian Gods (2009), Kisah Pelayaran ke Terengganu (2017) and Tomorrow, Tomorrow, Tomorrow, and Tomorrow…(2021). He is the founder of Kuman Pictures and executive produced five movies since being set up in 2018, including Roh which won Best Film at the 31st Malaysian Film Festival, and has been sold to Netflix worldwide and Shudder. Amir is also the recipient of the Nippon Foundation’s Asian Public Intellectuals grant 2004/5 to study independent film in Japan and Indonesia. 

James Chong (Co-Producer)

James Chong is the founder at CAUSE/EFFECT – Ideation, Service Design & Strategy and co-founder and Chief Strategy & Commercial Officer for OLFAC3 Perfumes (www.olfac3.com) – the award-winning Independent Luxury Artisanal Perfumery House from Malaysia. His initiatives and accomplishments include developing and building the financial model for Tony Fernandes in his takeover of AirAsia, developing 3G Content strategy for ASTRO/Maxis to secure the 3G spectrum for Maxis in Malaysia, founding ASTRO Mobile and launching the first 4G WiMAX Wireless Broadband Service in South East Asia as the EVP of Product Strategies & Development for P1. He also co-conceptualised & executive produced the Busan International Film Festival entry 15Malaysia, the acclaimed short-film anthology from Malaysia. Apart from that, he founded AIDSAware, which was one of the most impactful cross-media campaigns on HIV & AIDS awareness in Malaysia while it was active. He assisted Sony Interactive Entertainment Worldwide Studios (SIE WWS, San Diego) on expanding beyond the US to Malaysia, leading to SIE WWS setting up their first international studio in Malaysia, led and launched Telekom Malaysia’s webe community – the first fully-funded crowd-backing platform empowering Malaysians to co-create positive change together. From 2014-2020, he launched and led Zafigo.com, ZafigoX (www.zafigox.com) and Hello Zafigo (www.hellozafigo.com) from 2014-2020. Zafigo is founded by Datin Paduka Marina Mahathir to inspire & empower women through independent travel and community.

Elise Shick

From 2016 to 2018, Elise Shick volunteered for Southeast Asian Cinema Conference, Next New Wave Young Filmmakers Workshops, Asian Film Archive, joined SeaShorts Film Festival as publicity manager while working on both commercial and independent film industry as line producer, prop assistant and casting director. In May 2018, she joined Kuman Pictures as producer and has since co-produced six feature films – Two Sisters (dir. James Leel), Roh (dir. Emir Ezwan), Irul: Ghost Hotel (dir. M.S. Prem Nath), Ceroboh (dir. Feisal Azizuddin), Die Die Top Student (dir. We Jun Cho), Rahsia (dir. Shamyl Othman; Astro Shaw) – all of horror and thriller genres. She also produced short films Perhaps That Elephant Is Still Asleep (dir. Kuok Hong Yoeng; Taiwan Public TV Service) and Mop (dir. Joon Goh). Trained at Working Title Film Curator and Screening Professionals and Film Criticisms Workshop (Japan Foundation Asia Center, Tokyo), she curated films for Calcutta International Film Festival, Chicago Subtitle Southeast Asian Short Film Festival, University of Philippines Film Institute and Tokyo Image Forum and wrote film criticisms for Next New Wave Young Filmmaker Workshop 2017, SeaShorts Film Festival 2018, Yamagata International Documentary Film Festival 2019,  Asian Cinema Education 2021, Asian Movie Pulse and Thoughts On Films. She is also one of the founding members of Cinemata Film Collective. 

Director’s Showreel

Production Timeline