#SHOWBIZ: Sun-J marks Jagat's 10th anniversary with re-release, sequels
Joining the celebration are two new feature films serving as spiritual sequels titled 'Macai', a gritty crime drama premiering on July 24, and 'Fire On Water', a satirical romantic drama debuting on Sept 18.
While each film is a standalone, both explore alternate life paths for Appoy, the young protagonist of the original story.
EAST MALAYSIA
Its director, Shanjhey (Sun-J) Kumar Perumal, 45, revealed that 'Jagat' will be screened in cinemas in Sabah and Sarawak for the first time, along with 'Macai' and 'Fire On Wate'r.
Regarded as one of the best Tamil-language films from Malaysia, 'Jagat' grossed over RM330,000 at the box office and took home the Best Picture and Best Director awards at the 28th Malaysian Film Festival.
In a recent interview with NST, Sun-J said: " 'Macai' is a gritty crime thriller, and 'Fire On Water' a satirical romantic drama. While each stands alone in terms of genre and narrative, they are thematically linked through a shared origin: the crucial turning point faced by Appoy, the young protagonist of 'Jagat'.
"In the haunting finale of 'Jagat', Appoy appears to be on the cusp of entering the criminal underworld. But what if he has chosen another path?
"These two films explore divergent possibilities born from that moment. 'Fire On Water' reimagines Appoy as a thoughtful, academically inclined youth who eventually becomes a filmmaker, using cinema as a means to explore questions of identity, love, and artistic truth. 'Macai', on the other hand, envisions the darker path — Appoy's descent into drugs, violence, and systemic entrapment."
SPIRITUAL
Sun-J said that together, they function as spiritual sequels to 'Jagat', exploring parallel realities that illustrate how a single decision can lead to radically different destinies.
Development on both films began between 2018 and 2021, with production spanning from 2022 to 2024.
"I discovered actor Harvin Raj while I was shooting a documentary for MySkills Foundation — an organisation that came on board as a co-producer for 'Jagat'.
"I first saw him at the Tamil school in Melawati. There was something about him — his boyish look, his innocence, and the quiet intensity in his presence — that immediately struck me.
"I instinctively felt he was meant to be the lead," said Sun-J.
The greatest challenge in all three films was securing both the budget and the right talent.
"Although my budgets for 'Macai' and 'Fire On Water' were each roughly double what I had on 'Jagat', they still amounted to only about a quarter of the financing typical for mainstream Malaysian Tamil or Malay releases.
"Even with accolades like Best Film and Best New Director under my belt, finding investors willing to back a Malaysian Tamil feature remains an uphill battle.
"Thankfully, government creative‐industry grants allowed me to match the original budget for — effectively doubling my resources for each subsequent production.
"To make every ringgit and every crew member count, I wore multiple hats — director, producer, meticulously overseeing every department."
UNIVERSAL
Sun-J's stories tap into a universal truth about the human condition — yet they aren't inherently crafted for mainstream tastes.
"My goal has always been to bridge that gap, to engage a wider audience without sacrificing authenticity or emotional honesty."
Sun-J is fortunate to build ongoing collaborations with three exceptional talents.
First, Karnan Kanapathy who appeared as the minor character Rocho in 'Jagat' but went on to carry the leads in 'Macai' and 'Fire On Water'.
Second, Kuben Mahadevan, who played Appoy's father Maniam in 'Jagat', and took on the role of the henchman lead in 'Macai' and embodied Appoy's loyal friend in 'Fire On Water'.
Third, Tinesh Sarathi Krishnan who debuted as Chicago in 'Jagat' and later portrayed a pivotal middle‑aged character in 'Fire On Water'.
"Both Karnan and Tinesh were nominated for Best Actor at the same BMW Shorties competition — Karnan ultimately swept the award," said Sun-J.
Sun-J said that while Malaysian Tamil cinema has undeniably advanced in technical quality — thanks largely to more affordable, high‑performance equipment — its storytelling and sensibilities remain, for the most part, heavily indebted to South Indian formulas.
"Aside from Shobaan's 'Simple Manushan', which breaks the mould, few features depart from that influence.
"However, a new wave of filmmakers is beginning to flip the script.
"Ananth Subramaniam's short 'Bleat' is slated for Cannes' Critics' Week, while Krityishaa Karunagaran swept multiple categories — including Best Short Film — at the latest BMW Shorties for 'Tomorrow is Spring'.
"Within a few years, I'm confident we'll see Malaysian Tamil features that honour our cultural roots and assert a fresh, autonomous aesthetic — stories that are unmistakably ours, told with both technical confidence and creative daring," said Sun-J.
BRIDGE
He added: "We can bridge gaps between Malaysia's many communities, fostering empathy and shared understanding among Malaysians themselves.
"Beyond our shores, too, the opportunity is vast, for example with some 80 million Tamil speakers around the world, the non‑Malay/non‑English market dwarfs our local audience — but has so far been largely focused on South India.
"I believe that, with time — and strategic government support to help fund and distribute multilingual Malaysian stories — these boundaries will eventually fall."
Sun-J concluded that with such interventions, he is confident the non-Malay and non-English Malaysian cinema can break through market constraints and claim its place on the world stage.
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