
Malaysian Tamil Cinema quality rises thanks to young filmmakers
According to him, the new generation of creators has demonstrated the ability to deliver fresh, high-quality stories - an encouraging sign of positive development within the local film industry.
"The film I watched recently, Mirugasirisham, showcases the kind of quality often seen in works by first-time filmmakers. These are people who started out creating content for social media and YouTube, and now they're making films - and the results are truly impressive,' he said when contacted by Bernama.
Azmir Saifuddin also expressed his admiration for the film's strong storytelling, direction, and performances, noting that it was all the more impressive considering it was produced by newcomers to the industry.
"I was also pleasantly surprised by the storytelling, direction, and acting from this newcomer. The quality is on par with Tamil films from India.
"The problem is that this film hasn't been widely promoted. Many of our viewers still believe that watching local films in cinemas isn't worth it. But they should come out and support these screenings, because the quality of our local productions is now truly comparable,' he said.
He also explained that FINAS remains open and inclusive in its support for local film development, regardless of language or genre.
"We don't limit support based on language or genre. We regularly engage with the industry, including Tamil filmmakers, to understand current issues and trends,' he said.
He added that the improvement in the quality and reception of local Tamil films is evident in the success of C4 Cinta, which recorded box office earnings of over RM2.5 million last year, more than double the earnings of previous local Tamil films.
He also announced that the team behind the acclaimed film Jagat is set to release two new projects this year, one of which is a festival-style film that also promises high production quality.
Meanwhile, Mirugasirisham producer and general manager of Five Star Trading, Dr Sai Suthan Krishnan, said that despite receiving glowing reviews from critics and audiences across various communities, local Tamil films have continued to record disappointing box office figures.
"There are many young and emerging talents in Malaysia who are simply waiting for the right opportunity to showcase their filmmaking skills and tell stories that reflect our regional and cultural Malaysian roots.
"We discovered a strong script by Vijay Ganesh and a talented young team at Sage Heroes. With a like-minded and passionate cast and crew, Mirugasirisham came to life after two years in production,' he said.
Sai said the film has received excellent critical response, with viewers praising both its storytelling and technical execution.
"Every Malaysian who has watched the film, whether Indian or from other communities, has given glowing reviews, particularly for its storytelling and technical aspects. It's an engaging and entertaining two and a half hours, well spent in the cinema appreciating the film's sound and visuals,' he said.
"Producers and filmmakers rely on strong box office numbers to inspire confidence among potential investors. It encourages them to boldly support the next generation of passionate artists and filmmakers, helping to realise bigger dreams and create works of international quality,' he added. - BERNAMA
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The Star
4 hours ago
- The Star
The claw grip is trending, and it says a lot about women's fashion woes
Everywhere you look, women have their hands full. They are clutching water bottles, phones, cups of matcha and wallets. Now that it's summer, sunglasses dangle off the pinkies of already stuffed hands. Never mind that women's handbags, where these items could theoretically live, make up an entire industry and that bigger bags, in particular, are having a moment. The phenomenon, in which women are gripping their necessities without the aid of pockets or bags, is called the claw grip, and on social media, it has been crowned as a secret superpower. In one video on TikTok, a woman challenged herself to carry as many items as possible in one hand. She managed 15, including a lip balm, a pen, a bottle of hand sanitiser, a Kindle, a notebook, a wallet, a power bank, a comb and three water bottles. Read more: Why toes are taking over: Fashion's growing obsession with feet-first style An Instagram account dedicated to girls carrying things (which uses a profane synonym for 'things' and sometimes goes by GCS) posts images submitted by users of their hands full of various bric-a-brac. 'I have seen my grandma do the claw grip all her life,' comedian Atsuko Okatsuka said in an email. 'Every grandma of every culture and race always has, like, a napkin or a piece of trash that they've been carrying around for a long time, maybe years. 'I have taken on the passed-down tradition of claw hands myself,' she added. 'Whether it's mayonnaise packets, or napkins or my cellphone, I am always holding stuff.' For Halle Robbe, personal experience with this tradition prompted her to create the GCS account on Instagram. In 2021, Robbe had run out to a nearby bodega. 'I just brought my keys, my wallet and my AirPods with me, and then I was going to get a Red Bull,' she said, noting that she did not bring a bag. 'I had it all in my hand so I took a photo and put it on my personal Instagram with some silly caption that was some version of, like, 'After hundreds of years of evolution, this is what I can do.'' Her friends responded to her post almost immediately, saying they do the same thing. Robbe created the GCS account that same day. She initially solicited photos from friends and co-workers, and now she receives more than 100 submissions a day. 'I think we've all been there when we have just, like, an assortment of stuff and we're running out the door,' said Abby Cox, 29, a fashion historian and a YouTube content creator. 'I need to make sure I have my glasses. I need my water bottle. Do I need to bring a snack? 'And so you're going out the door with your purse,' she added, 'And then the stuff that should be in your purse.' A popular theory around the origins of the claw grip is that it is a reaction to the fashion industry's refusal to provide women with the functional pockets that are standard in men's clothing. It was not always this way. As far back as the Regency and Victorian eras, women had pockets in the form of bags that were tied around their waists underneath their big, flouncy skirts, Cox said. Their dresses had slits through which women could access these pockets, which could be as big or small as necessary. Cox added: 'They would have pockets in the hems of skirts or they would have what we call butt pockets, because in the back pleats of gowns, you could hide a deep pocket.' In one of her YouTube videos, in which she is dressed in Victorian clothing, she put an entire bottle of prosecco in such a pocket. In the late 20th century, as female clothing shifted toward narrower silhouettes and lighter textiles, substantial pockets became difficult to incorporate, so they were sized down or erased from garments altogether, she said. In February 2024, Hailey Bieber's brand, Rhode, released a phone case with a built-in lip gloss holder that generated a wait list of more than 200,000 interested customers. Now the case and the lip gloss have become immediately recognisable, partly because of how many times they're seen peeking through women's hands – or particularly, Bieber's hands. This month, Glossier – which from its earliest days had packaged items in pink transparent reusable pouches – released a pair of terry-cloth shorts with a sliver of a pocket that fit only lip balms. There are also side pockets, which could fit a phone, and a single belt loop, potentially for key rings. There are also theories that the claw grip reflects the chaos of the minds of women who are thinking through to-do lists and mentally writing text messages and running errands all at the same time. 'I think holding things in our hands actually is our need to keep something in control,' Okatsuka said. 'I started getting submissions that were like, 'Oh, I'm carrying XYZ and the weight of the world' or something metaphorical like that,' Robbe said. The claw grip, she added, could be seen as 'an extension of or in parallel with the mental and emotional and spiritual burdens that women carry'. Read more: From kopitiam to cool: How the white tank top became a style staple for men It is an idea that artist Maira Kalman started to explore three years ago. 'One day at a farmers market, I saw a woman carrying an absolutely gigantic cabbage,' Kalman said in a 2023 TED Talk. 'It made me think of all the things women hold, literally and metaphorically.' Yes, they hold cabbages, balloons, phones. But also, in her own words, "the home and the family and the children and the food". "The friendships, the work, the work of the world and the work of being human. The memories and the troubles and the sorrows and the triumphs and the love. Men do as well, but not quite in the same way,' she added. She turned her observations into a book of paintings. It is called Women Holding Things. – ©2025 The New York Times Company This article originally appeared in The New York Times.


Sinar Daily
12 hours ago
- Sinar Daily
Irfan Zaini aims to bridge Malaysian, global film industries
Irfan, whose full name is Muhammad Irfan Mohamed Zaini, 30, achieved an impressive milestone by appearing in three Tamil films alongside renowned star Thalapathy Vijay, 51, who is also actively involved in politics in Tamil Nadu, India. 27 Jul 2025 12:01pm According to Irfan, the opportunity to act in India did not come easily. It required nearly five years of back-and-forth travel, meeting directors and producers, and even being scammed by individuals who made false promises. - Bernama photo KUALA LUMPUR - Behind his calm demeanour and modest smile, rising actor Irfan Zaini harbours a big dream-not just to be known on the local screen, but to serve as a bridge connecting the Malaysian film industry to the international stage. Irfan, whose full name is Muhammad Irfan Mohamed Zaini, 30, achieved an impressive milestone by appearing in three Tamil films alongside renowned star Thalapathy Vijay, 51, who is also actively involved in politics in Tamil Nadu, India. Irfan said that in trying to break into the Kollywood industry, there's no set strategy to follow, but his deep passion drove him to work hard and patiently wait for his chance. - Bernama photo The young actor from Kuala Lumpur made his debut in the film Kuruvi (2008) at the age of 12, followed by Greatest of All Time (GOAT) (2024), and is now working on Jana Nayagan, which is currently in production and expected to be released early next year. According to Irfan, the opportunity to act in India did not come easily. It required nearly five years of back-and-forth travel, meeting directors and producers, and even being scammed by individuals who made false promises. "People think I went there and immediately got acting roles, but the truth is, I lost a lot of time, money, and energy. Many are still waiting for their chance, but I consider myself lucky because I was desperate to act in India,' he said in an interview with Bernama recently. He said that in trying to break into the Kollywood industry, there's no set strategy to follow, but his deep passion drove him to work hard and patiently wait for his chance. "Maybe others would have given up halfway,' he added. Irfan, who gained recognition among Malay audiences after starring in Blood Brothers: Bara Naga, said acting in India opened his eyes to the vastly different work culture, with productions managed in a more professional and structured manner. "In Malaysia, a film might have only two to four assistant directors. But in India, they can have over 20. "Each has a specific role-some handle the filming locations, others coordinate hundreds or even thousands of crew members, and some focus solely on planning complex sets like large-scale action scenes. Everything needs to be managed efficiently and quickly,' he explained. He added that most film crew members in India are part of a film workers' union that protects their welfare, including compensation in the event of injury or death during filming. "But in terms of quality-like camera work and storylines-I think Malaysia is already on par with India, even though our films are mostly made with smaller budgets,' he said, expressing his determination not only to make a name abroad but also to open more doors for collaboration between the Malaysian and international film industries. He pointed to the Indian film industry's recent focus on pan-India films, which bring together actors and crew from different regions such as Tamil, Telugu, Hindi, and Malayalam, and are released in multiple languages simultaneously-creating a nationwide phenomenon. "If they can bring together actors from different cultures and languages, I believe we too can start collaborating with neighbouring countries like Korea, Thailand, or Indonesia. "So when foreign actors appear in our films, our market will grow even bigger,' he said, believing that such a model could elevate Malaysian cinema on the global stage. - BERNAMA


The Star
13 hours ago
- The Star
Who is watching all these podcasts?
The following are the run times of some recent episodes of several of YouTube's more popular podcasts: 'This Past Weekend w/ Theo Von,' No. 595: Two hours, 14 minutes. 'Club Shay Shay,' No. 172: Two hours, 59 minutes. 'The Shawn Ryan Show,' No. 215: Five hours, four minutes. 'Lex Fridman Podcast,' No. 461: Five hours, 20 minutes. These shows follow the same general format: people sitting in chairs, in generically designed studios, talking. And, like many of the biggest podcasts these days, these shows are all released as videos. They don't feature particularly fancy camerawork, or flashy graphics, or narratives. All of them require time commitments typical of feature films, ballgames or marathon performance art installations. Yet going by YouTube's statistics, hundreds of thousands of people have viewed all of the above episodes. Which leads to comments such as this, as one fan wrote after a recent episode of Von's show: 'Truly, this podcast was amazing to watch.' So a genre of media named for an audio device – the iPod, discontinued by Apple in 2022 – and popularised by audiences enamoured of on-demand listening has transformed in recent years into a visual one. It's well established that the American brain is the prize in a war for attention online, a place that incentivises brief and sensational content, not static five-hour discussions about artificial intelligence. So what gives? Who exactly is watching the supersize video talk shows that have come to define podcasting over the past several years? At the highest level, the audience for video podcasts is simply people who consume podcasts. 'Who is watching these?' said Eric Nuzum, a podcast strategist. 'A person who loves podcasts who happens to be near a screen.' Indeed, according to an April survey by Cumulus Media and media research firm Signal Hill Insights, nearly three-fourths of podcast consumers play podcast videos, even if they minimize them, compared with about one-fourth who listen only to the audio. Paul Riismandel, president of Signal Hill, said this split holds across age groups – it's not simply driven by Generation Z and that younger generation's supposed great appetite for video. But dive a bit deeper into the data, and it becomes clear that how people are watching podcasts – and what counts as watching – is a far more revealing question. According to the Signal Hill survey, about 30% of people who consume podcasts 'play the video in the background or minimise on their device while listening.' Perhaps this person is folding laundry and half-watching 'Pod Save America,' or has 'The Joe Rogan Experience' open in a browser tab while they do busy work at the office. That describes Zoë McDermott, a 31-year-old title insurance producer from Pennsylvania, who said she streams video of Von's show on her phone while she works. 'I don't have the ability to watch the entire thing through, but I do my glance-downs if I hear something funny,' McDermott said. 'It's passive a little bit.' Still, this leaves everyone else – more than half of YouTube podcast consumers, who say they are actively watching videos. Here, it gets even trickier. YouTube, the most popular platform for podcasts, defines 'views' in a variety of ways, among them a user who clicks 'play' on a video and watches for at least 30 seconds: far from five hours. And the April survey data did not distinguish between people who were watching, say, four hours of Lex Fridman interviewing Marc Andreessen from people who were viewing the much shorter clips of these podcasts that are ubiquitous on TikTok, Instagram Reels, X and YouTube itself. All of which makes it hard to pinpoint a 'typical' podcast viewer. Is it a couple on the couch with a bucket of popcorn, streaming to their smart TV? Is it a young office worker scrolling through TikTok during his commute? Or is it the same person engaging in different behaviour at different points in the day? Alyssa Keller, who lives in Michigan with her family, said sometimes she watches 'The Shawn Ryan Show' on the television with her husband. But more often, she puts the video on the phone for a few hours while her children are napping. This means she sometimes has to watch marathon episodes in chunks. 'I've been known to take multiple days,' she said. 'Nap times only last for like two hours.' In February, YouTube announced that more than 1 billion people a month were viewing podcasts on its platform. According to Tim Katz, head of sports and news partnerships at YouTube, that number is so large that it must include users who are actually mainlining five-hour talk shows. 'Any time you have a number that large, you're going to have a broad swath of people consuming in lots of different ways,' Katz said. Recently, The New York Times asked readers if and how they consume video podcasts. Many of the respondents said they played video podcasts in the background while attending to work or chores, and still treated podcasts as audio-only products. A few said they liked being able to see the body language of podcast hosts and their guests. Still others said that they didn't like video podcasts because they found the visual component distracting or unnecessary. Video can have its drawbacks. Lauren Golds, a 37-year-old researcher based in Virginia, said she regularly hate-watches podcasts at work – in particular 'On Purpose,' which is hosted by British entrepreneur and life coach Jay Shetty. She said she had had awkward encounters when co-workers have looked at her screen and told her that they love the show she's watching. 'There's no way to say it's garbage and I'm watching it for entertainment purposes to fill my need for hatred,' Golds said. One thing a 'typical' podcaster consumer is less likely to be these days is someone listening to a full-attention-required narrative program. Say 'podcast' and many people still instinctively think of painstakingly produced, deeply reported, audio-only shows such as 'Serial' and 'This American Life,' which listeners consumed via audio-only platforms such as Apple Podcasts and the iHeartRadio app. Traditional podcasts relied on host-read and scripted ads to make money, and on media coverage and word of mouth for discovery. And it was a lot of money, in some cases: In 2019, to take one example, Spotify acquired Gimlet – one of the defining podcast producers of the 2010s – as part of a US$340mil (RM1.4bil) investment in podcast startups. Now, the size of the market for video podcasts is too large to ignore, and many ad deals require podcasters to have a video component. The platforms where these video podcasts live, predominantly YouTube and Spotify, are creating new kinds of podcast consumers, who expect video. McDermott, the Von fan, said the video component made her feel like she had a friendly guest in her home. 'It feels a little more personal, like somebody is there with you,' she said. 'I live alone with my two cats and I'm kind of in a rural area in Pennsylvania, so it's just a little bit of company almost.' The world of podcasts today is also far more integrated into social media. Clips of video podcasts slot neatly into the Gen Z and millennial behemoths of TikTok and Instagram. The sophisticated YouTube recommendation algorithm suggests relevant new podcasts to viewers, something that wasn't possible in the old, siloed model on other platforms. To get a sense of just how much things have changed, imagine the viral podcast appearances of the 2024 presidential campaign – Donald Trump on Von's podcast and Kamala Harris on 'Call Her Daddy' – happening without YouTube, TikTok, Instagram and X. You can't. In a sign of the times, in June, radio company Audacy shuttered Pineapple Street Studios, a venerable podcast producer known for its in-depth narrative shows such as 'Wind of Change' and Ronan Farrow's 'The Catch and Kill Podcast.' Jenna Weiss-Berman, who co-founded Pineapple Street, is now head of audio at comedian and actress Amy Poehler's Paper Kite Productions. Poehler's new podcast, 'Good Hang with Amy Poehler,' is typical of the genre: a charismatic, well-known host, interviewing other charismatic, well-known people. Weiss-Berman said she was concerned that the costs associated with high-quality video production would be prohibitive for smaller podcast creators, who faced almost no barrier to entry when all the genre required was a few microphones. 'If you want to do it well, you need a crew and a studio,' Weiss-Berman said. For podcasters with an established audience, the potential of video to open up new audiences for the world of talk podcasts is obvious. (The Times has introduced video podcasts hosted by some of its more recognisable columnists.) Adam Friedland, a comedian who started his video interview show in 2022, first came to prominence on an irreverent and lewd audio-only hangout podcast with two fellow comedians. He got an early taste of the limitations of traditional podcast distribution when he discovered fan cutups of the funniest moments of his old show on YouTube. 'There was an organic growth to it,' Friedland said. 'We weren't doing press or promoting it.' Friedland's new show is an arch interview program with high-profile guests and considerably fewer impenetrable – not to mention scatological – references. Along with that, distribution over YouTube has made a once cult figure something a bit closer to a household name, as he discovered recently. 'There was a regular middle-aged guy at a Starbucks who said he liked the show,' Friedland recalled. 'Some guy holding a Sweetgreen.' Friedland's show is the rare video podcast with a distinctive visual point of view. The vintage-looking set is a reconstruction of 'The Dick Cavett Show.' And Friedland made it clear that he prefers people to watch the show rather than listen to it. The many ways that Americans now consume podcasts – actively and passively, sometimes with another device in hand, sometimes without – bears an obvious similarity to the way Americans consume television. 'I think podcasts could become kind of the new basic cable television,' said Marshall Lewy, chief content officer of Wondery, a podcast network owned by Amazon. Think: shows that are cheaper to produce than so-called premium streaming content, consumed by audiences used to half-watching television while scrolling their smartphones, in a wide variety of genres. Indeed, although talk dominates among video podcasts, Lewy said he thought the trend for video would lead to more shows about food and travel – categories beloved by advertisers – that weren't ideal when podcasts were audio only. All of which calls into question the basic nature of the term 'podcast.' Riismandel, who runs the research firm Signal Hill, said he thought the category applied to any programming that could be listened to without video and still understood. According to Katz, the YouTube executive, the nature of the podcaster is undergoing a redefinition. It includes both audio-only podcasters moving to video, as well as social media content creators who have realised that podcasts present another opportunity to build their audiences. One concern with the shift to video, according to former Vox and Semafor video boss Joe Posner, is that people who are less comfortable on screen will be left out. This could lead to a deepening gender divide, for example, since women are much more likely to face harassment over their looks, especially from an engaged online fan base – and therefore potentially less likely to want to be on camera for hours on end. Still, for all the eyeballs moving to YouTube, audio remains the way most consumers experience podcasts, according to the April survey, with 58% of people listening to only audio or to a minimised or backgrounded video. And although YouTube is now the most used platform for podcast consumption, per the survey, it's far from monolithic; a majority of podcast consumers say they use a platform other than YouTube most often, whether it's Spotify or Apple Podcasts. That's why at least one pillar of audio-first podcasting doesn't see much to be alarmed about. Ira Glass, creator of the foundational long-form radio show 'This American Life,' said the fact that the podcast tent has gotten bigger and thrown up a projector screen doesn't threaten a program like his. 'That's a strength, not a weakness – that both things exist and are both called the same thing,' Glass said. He stressed that audio-only podcasting has formal strengths that video podcasts don't. 'There's a power to not seeing people,' Glass said. 'There's a power to just hearing things. It just gets to you in a different way. But if people want to watch people on a talk show, that seems fine to me. I don't feel protective of podcasting in that way. I don't have snowflake-y feelings about podcasts.' – ©2025 The New York Times Company This article originally appeared in The New York Times.