By Dr Lee Seungyeon
Film is a powerful instrument for nation-building and a bridge that connects diverse cultures. Nowhere is this more evident than in the relationship between South Korea and Malaysia, sharing a remarkable common ground through the medium of film.
While South Korea is widely recognised as a global cultural exporter and Malaysia as an eager consumer, closer examination reveals a much more dynamic exchange.
Malaysia and South Korea are societies with conservative undercurrents, where works tackling sensitive social issues might not be fully accepted domestically but receive acclaim abroad.
For instance, the Malaysian film Tiger Stripes (2023) by Amanda Nell Eu won the Grand Prize at the 2023 Cannes Critics’ Week and was celebrated at the 29th Busan International Film Festival (BIFF). However, it was censored for the domestic market.
This resonates with South Korea’s Parasite (2019), the globally acclaimed film but was seen by some at home as a critique from the “leftist” director Bong Joon-ho.
Films like these redefine cultural norms, challenge social expectations and open new dialogues – struggles that resonate in Malaysian and South Korean societies.
Both countries have undergone rapid modernisation, grappling with shifting roles, family structures and societal expectations.
These experiences are marked in films of both nations, helping audiences from each side recognise elements of their own stories in foreign narratives. It’s within this overlap that the unexpected cultural affinity between Malaysian and South Korean audiences begin to emerge – a connection built on empathy and shared experiences.
The narrative of Malaysian director U-Wei Haji Saari’s The Arsonist (Kaki Bakar), an adaptation of William Faulkner’s Barn Burning (1939), centres on an immigrant labourer father grappling with social and financial hardship, within which his son embarks on a coming-of-age journey.
This storyline captivated Korean audiences at the 1st Busan International Film Festival. Tiger Stripes, on the other hand, navigates through identity, self-discovery and societal norms in the tiger – a figure deeply rooted in the folklore of both countries.
The Arsonist resonates with both South Korean and Malaysian audiences, especially on themes of social justice and inequalities that modernity often exacerbates. Both films transcend cultural boundaries to address complex themes like resilience in the face of poverty and the struggle for identity within societal constraints.
Film festivals have played a crucial role in fostering this cultural exchange. Celebrated at BIFF, one of Asia’s premier film festivals, these films have enjoyed a global platform that spotlights Malaysian cinema, paving the way for future works.
Malaysia and South Korea’s cinematic relationship can be strengthened by collaborative efforts for mutual benefits. In 2019, the two countries signed a memorandum of understanding focused on ICT cooperation. This was followed recently by a visit from Communications Minister Fahmi Fadzil to South Korea.
The collaboration aims to bolster co-productions, technology sharing and talent development, with an emphasis on leveraging Korea’s film production techniques, AI and box-office system to enrich Malaysia’s growing media sector. These initiatives go beyond individual projects, creating space for filmmakers to work together.
A recent example of this cross-cultural collaboration is the 2023 film The Lord Musang King, directed by Korean filmmaker Lee Mun Ho. The film features a transnational from both Malaysia and Korea and was produced by a predominantly Malaysian crew.
Despite a modest reception, it captures cultural elements familiar to Malaysia and Korea – such as family, vengeance and the iconic durian fruit as a nuanced metaphor.
The Lord Musang King serves as a strong example of collaborative potential between the Malaysian and Korean film industries, setting the stage for Malaysian cinema to reach wider international audiences through cross-cultural partnerships.
Looking ahead, film will remain a vital connector for Malaysia-South Korea relations. Joint initiatives like film festivals, arts, language and media programmes and co-productions lay the groundwork for a deeper cultural partnership.
Shared values and the mutual challenges of navigating sensitive social issues open unique opportunities for collaboration, allowing filmmakers to tell stories that resonate in both societies.
Through the universal language of film, Malaysia and South Korea continue to break down barriers and foster empathy. These cinematic exchanges build enduring bridges of mutual respect and shared perspectives that extend beyond the final credits. – BACALAHMALAYSIA.MY
- The writer is assistant professor at University of Nottingham Malaysia and a member of the Malaysia Scholars on Korea Network (MASK)
