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Wahid Satay

Wahid Satay

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Mat ¾ (Mat Tiga Suku) 1964 (7.5)

”Tiga suku”, which literally translates into “three quarters”, is a Malay term used in the context of describing crazy, whacky or oddball-like behaviour; of being mentally “not quite there”. And “Mat Tiga Suku” is indeed an eccentric film that seeks to subvert our usual sense of logic, decorum and good taste. In this film, Mat Sentul is a poor and helpless man, lives in a house that talks to him, and daydreams about wealth and pretty princesses. It is an episodic adventure that follows the slapstick antics of Mat Sentul who, among many pranks, moves the bus-stop at his will, halts an aeroplane that does not give way, and pretends to be an office worker, a barber and a doctor.
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Pontianak Harum Sundal Malam 2004 (6.8)

Mariam, a well-known dancer from Kampung Paku Laris is caught in a love triangle between the rich, powerful and handsome Marsani and the poor but kind-hearted Danial. When Mariam chooses to marry Danial, Marsani continues to obsessively pursue her. But when tragedy occurs and Mariam is found dead, while Danial's boat sinks at sea, strange things begin to occur. Fast forward 60 years later, and a young girl named Maria bears an eerily striking resemblance to the late Mariam.
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Siti Zubaidah 1962

Siti Zubaidah is based upon the 19th century poem 'Syair Siti Zubaidah Perang Cina'. It centers on Siti Zubaidah, the wife of Sultan Zainal Abidin, who is left defenseless after her husband is taken hostage by a Chinese empress. She eventually allies herself with Princess Rukia of Yunnan, who had fled her own palace under threats of sexual assault. Taking matters into their own hands, they adopt male identities and lead a military conquest across China to rescue the Sultan. Directed by B. N. Rao and starring Maria Menado, the Cathay production borrowed from both of its niches at the time: the film language and costume styles of Malay cinema and Chinese wuxia films, resulting in an imagined reality fusing both visual cultures. At the core of the myriad garbs, armour, accessories and makeup donned by the characters, the tale chronicles the adoption of transformative identities to overcome adversity, enact justice and revenge.