Malaysian Queer Cinema >> Dalam Botol

            Here it comes to the very last movie to watch in this semester. Watched Dalam Botol / Anu Dalam Botol to learn for Malaysian Queer Cinema.

Malaysian Queer Cinema

            In 2010, FINAS (National Film Development Corporation Malaysia) announced its revsion of film censorhip guidelines regading society’s marginal ‘misfits’ is now can be shown on Malaysian screens. The ‘misfits’ (eg: homosexual) are allowed with a condition, the characters repent at the end of the film or suffer retribution. (Like Film Noir?)

            Since then, Malaysian cinema embraces the ‘misfits’. In 2011, Dalam Botol directed by Khir Rahman was released in 2011. The pioneer film of Malaysian Queer Cinema had mediocre box-office earnings and received mixed reviews from the critics.

          The critics said the film is a progressive feat for Malaysian screens to allow homosexuality to take center stage. It’s a big step for the issue to be addressed in mainstream cinema. However, the conditional offer is regressive as it violates modernization of society, limiting the filmmaker’s freedom of expression. Another critic Gaik Cheng Khoo, who is a Malaysian academic who teaches gender and cultural studies voiced the policy is not a good move as the homosexual characters repent or face negative consequences.

         Apart from that, with the release of Dalam Botol, it means the birth of Malaysian Queer Cinema. It can be seen that the film’s representation can be seen as a major queer character contribution to global queer cinema.

Synopsis

            Ghaus and Ruby is a homosexual couple. Ruby, whose actual name Rubidin, disappear for two months as he undergone sex reassignment surgery to satisfy a simple wish by Ghaus. However, Ruby misinterpreted Ghaus and leads Ghaus to end their relationship as Ghaus couldn’t accept Ruby’s current physical conditions as as women. Ruby who returns as Rubidin, then in love with a girl that he knew in his village, and planned to get married.

Analysis

            Personally saying, I don’t really like the film. The storyline is a bit too draggy, perhaps can improve on the pace of storytelling. But most importantly, the message is delivered. And there goes Malaysian’s attempt on Queer Cinema!

            Ruby, is a transexual character that the typical Malaysian would call as “pondan”, or the Chinese name it “na-pek” on the first look. Apart from wearing female clothing and wig, Ruby doesn’t seem too much like a female. The film doesn’t provide much screen time to present the transitions of transexualism. But it’s not totally a bad thing though. It makes us easier to adapt Ruby back to himself as Rubidin.

            The film highlights a hybird version of homosexual. Ruby/ Rubidin is a homosexual, and he undergoes the sex reassignment surgery, it brings sexuality to another level of discussion. It is to emphasize sexuality is multiplicity.

            Also, Dalam Botol questions the societal norms in hegemony. It’s about the acceptance of homosexual relationships, marriage between a transexual and a straight and gender identity.

The homosexual couple Ghaus and Ruby are designed to suffer. For example, the couple get weird stares from the people out from toilet cubicles. Both of them doesn’t not have a good ending, even after they separated.

The selfish Ghaus reveals the identity of Ruby being a transgender man to Rubidin’s mother eventually halt the happiness of a transexual. It depicts the society would not accept the existence of transexual. What even worse, is a marriage between a transexual and a straight. The society just won’t allow it.

Family values is also a thing to look for in Dalam Botol. As soon as the family acknowledge Rubidin has transformed to Ruby, the ill father begs Ruby to become a man so that the old man’s wish of his son cleanses his body will come true. Ruby who loses Ghaus and doesn’t want to lose his family, fulfill his father’s wish and be a filial Rubidin. And later, he fulfill’s the mother’s wish to marry the girl Dina who lives in the same village. But still, reality kills. Not sure if the villagers knew about his identity, but the panic Rubidin choose to run away from the ceremony as he has ultimately chosen his transexualism and lives his life in remorse.

             Besides, I think it’s a smart move to have the setting on Malays. Queer on Malay community, it brings the queer’s struggle to a new level.

Conclusion

            It’s happy to see FINAS makes room for the misfits but it’s sad too. It contributes a bad influence to the Malaysian society! For instance, the society will develop a mindset that homosexual will get judged and not allow to have happiness. It creates discouragement but since we’re living in a conservative country, it’s hard to avoid.

            Last but not least, hope to see more Malaysian films coming to challenge the status quo. I believe the Malaysian LGBT community would be joyous for that.

References

1- Film Studies lecture notes