A week-long ASEAN Film Festival showcasing Southeast Asian contemporary feature films from each of the ten member-states of the Association of Southeast Asian Nations (ASEAN): Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Singapore, Philippines, Thailand and Vietnam took place in London from 22-27 April 2024. The ASEAN London Committee (ALC) in collaboration with the SOAS Centre of South East Asian Studies, has put together a programme of recently released and critically-acclaimed studio films for the general viewing public. All films were subtitled in English. The Opening Night reception on 22 April 2024 started with speeches by H.E. Mr. Thani Thongphakdi, Ambassador of Thailand in the UK, and Prof. Rachel Harrison (SOAS).
The opening speeches were followed by the screening of the first film, “A Time to Fly” (บินล่าฝัน) from Thailand, directed by Saksiri Koshpasharin (released 2023, duration 1 hr 40 mins). The film was inspired by the true story of Mong Thongdee, a young boy from the rural mountains of northern Thailand who unexpectedly wins a local paper plane tournament. Now a member of Thailand’s national team, he has the opportunity to travel to Japan for an international paper plane competition. However, he encounters a major obstacle: despite being born in Thailand, he is stateless, without citizenship. Travelling abroad remains only a distant dream for Mong, but alongside his teachers, lawyers, journalists, and the Thai public, there are calls to amend birth right laws to fulfil his dreams before it’s too late. It is a refreshing new film telling a touching story with a great soundtrack, superb performances by all the child actors, and showcasing beautiful elements of Shan culture in northern Thailand.
“Water Lemon”, directed by Lem Lorca (released 2015, duration 1 hr 45 mins) was the film representing the Philippines. The contemplative drama is set in the coastal town of Mauban, on the coast of the province of Quezon, where the mundane lives of its inhabitants interconnect to create jolts in their flatlined lives. While the film emphasizes the tranquility of the sea-side location, the variety and relationships of the characters are its greatest beauty. The opening scene introduces Filemón, a bright young man with Asperger’s syndrome, who is obsessed with water and nicknamed “Lemon” by his townspeople. His mother silently suffers her son’s being different, and the recent death of her husband. Against all odds, Filemón befriends an elderly retired engineer, the only person who understands his concerns about the ocean and the town’s water supply. The film raises questions about communication and language use in a multi-lingual society, the generational divide, issues around globalisation and climate change, and the underlying desires of leaving the small-town blues. This is one of the films where you hope there will be a second part.
The Burmese film that was originally announced has the title “If My Lover were a Flower” (ချစ်သူသာပန်းတစ်ပွင့်ဖြစ်ခဲ့လျှင်), directed by Nay Paing (released 2024, duration 1 hr 52 mins). This example of independent Burmese cinema is based on the novel with the same title by Ponnya Khin. In the festival programme the film was described as a story that “unfolds against the enchanting backdrop of Myanmar’s Inle Lake, where Mya Lay Shin grapples with the conflict between family duty and her forbidden love for Nay Mon from Yangon. Their impassioned romance challenges tradition and forces Mya Lay to make a life-altering choice in this poignant tale of love and sacrifice”. However, without announcement and lacking an explanation or introductory words prior to the screening, the film was not shown and instead replaced by the 2005 Burmese musical adventure drama “The mystery of snow” directed by Sin Yaw Mg Mg. Naturally, the mystery of the film swap attracts special attention to the originally announced movie that was pulled off the programme unexpectedly. When I enquired later, unforeseen technical issues with the DCP drive were given as an explanation. Disappointed cinema-goers can only hope that an online viewing option will become available soon.
Brunei selected a film with the title “Yasmine”, directed by Siti Kamaluddin (released 2014, duration 1 hr 49 mins). Set in modern Brunei, the Karate kid-inspired movie “Yasmine” tells the coming-of-age story of a sweet-natured and irrepressibly enthusiastic high school girl who learns the local martial art of Silat. Despite her father’s disapproval and her school’s underdog Silat club, led by a coach who mainly lies down on a bench fanning himself, Yasmine decides to take matters in her own hands and starts leading the team. At first, Yasmine’s secret activities are well hidden. When her father, who would prefer to see Yasmine focus on her studies, eventually finds out, he decides once and for all to save his daughter from what he believes to be her downfall. But sometimes, even fathers can learn something from their daughters…
“When Mom Gets Old” (ពេលម៉ែចាស់ទៅ) is the title of the film from Cambodia, directed by Poan Phoung Bopha (released 2022, duration 1 hr 42 mins). As mothers age, they often begin to complain more frequently and repeat themselves, which can be frustrating for their children. This dynamic often leads to generational tensions, resulting in arguments and clashes between traditional and modern perspectives. This common scenario unfolds in families everywhere. ‘When Mom Gets Old’ explores the lives of mothers and the challenges they face within their families, reflecting broader societal issues. This is the third movie in Poan Phoung Bopha’s Mother series, which started with “A Mother’s Heart” and proceeded with “Modern Mothers.” The movie is based on her acclaimed novel published in 2019. Although the topic of the film may seem simple, it is one that every family can understand and relate to, no matter in which part of the world they live.
Vietnam’s film with the title “Story of Pao” (Chuyện Của Pao), directed by Ngo Quang Hai (released 2006, duration 1 hr 38 mins) is a renowned classic in Vietnamese cinema, celebrated for its immersive portrayal of the life and culture of ethnic communities. This poetic yet realistic movie, filmed in the stunning highlands of Vietnam using the genre of a personal narrative, emphasizes the desire for freedom and happiness within the cultural fabric of the Hmong. Pao is a beautiful innocent Hmong girl who always questions about what happens in her family: Why does her adoptive mother suddenly disappear by the stream? Why does her biological mother not live with her and her younger brother? On the journey to find the truth about her life, Pao finally discovers her mother’s secret. The film has garnered widespread acclaim, winning several awards for its exceptional storytelling and portrayal of ethnic life in Vietnam.
“Ajoomma” is the title of the film originating from Singapore, directed by He Shuming (released 2022, duration 1 hr 30 mins). It tells the story of a widowed Singaporean housewife – or ajoomma (Korean for “auntie”) – who is obsessed with Korean soap operas. She goes on a group tour abroad on her own for the first time in her life when her son, who was supposed to accompany her, cancels at the last minute. When she is accidentally left behind by the tour group in a random place of Korea, she embarks on a journey of self discovery and unlikely bonds are formed, and finally she finds more than she bargained for in Seoul. The film premiered at the 2022 Busan International Film Festival and it is the first official Singaporean-South Korean co-production, mostly shot in South Korea.
Malaysia’s film “Ola Bola”, directed by Keng Guan Chiu (released 2016, duration 1 hr 53 mins) is set in the 1980s during tumultuous economic times. This sport drama, inspired by the glory of the Malaysia national football team that entered the 1980 Olympic Games, is about an unlikely team of footballers whose disagreements have left them with a streak of embarrassing losses. Personal issues have caused each of them to crack under pressure while the team slowly falls apart. They have only one chance left for international glory, and this multicultural team has to find it in their hearts to overcome their individual odds and unite for the sake of an entire country. But unknown to them, their greatest test is yet to come, one that will make or break their fighting spirit and the nation’s hopes and aspirations. Whilst all this may sound very serious, the film is full of brilliant humour and really good fun to watch.
The film from Laos with the title “The Signal” (ສັນຍານ), directed by Lee Phongsavanh (released 2023, duration 1 hr 39 mins) was my personal highlight of this film festival. The Lao New Wave Cinema production tells the story of a young country girl who comes to the city in search of her father after the loss of her mother, but secrets and mysteries force her to re-evaluate when a family needs to come together and when it needs to let go. The storyline is a take on the complexity of life’s reality, comparable to a large piece of colourful Lao brocade with an intricate pattern, woven together with witty dialogues, brilliant humour and soft horror, thus bringing to light a deeper philosophical meaning: horror, just like happiness, is nothing but a state of the mind. The film emphasizes the calmness of the Lao way of life and explores – in a subtle, unpretentious manner – fundamental questions about the nature of existence: the essence of consciousness, illusion and delusion, the importance of compassion, the value of forgiving, and the power of letting go.
Indonesia’s contribution was the film “The Jungle School” (Sokola Rimba), directed by Riri Riza (released 2013, duration 1 hr 30 mins). Based on the autobiographical book with the same title by Time Magazine’s 2004 “Hero of Asia” Butet Manurung, the film follows an anthropologist-turned-teacher aiming to establish a school for the Orang Rimba people native to Bukit Dua Belas National Park, a conservation area in Sumatra, Indonesia. Hiking the Makekal riverbed with the help of two local boys as guides, the optimistic educator begins to teach children living in the remote forest whose communities possess a healthy suspicion of outsiders. Adapting her methods to their needs, Butet reflects on the precarious balance between tradition and modernity, the role of education, and what meaningful engagement with this community could look like. As the Orang Rimba struggle with forces affecting their land and livelihoods like park expansion, illegal logging, and palm plantations, education reveals its value. The film raises provocative questions about conservation and cultural transformation in a time mired with change for the Orang Rimba while providing a vivid snapshot of their lives.
The film festival presented some refreshing new views on Southeast Asian societies, their cultural strengths as well as their struggles. It was good to see some contributions highlighting the lives of ethnic minority communities and women, as well as films addressing environmental issues and challenges that people with neurodiversity are facing.
Review by Jana Igunma (SEALG Committee Member)
Southeast Asia Library Group (SEALG) 
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