A review on Abang Adik, the thin threads of life, justice and death
I cried way too much watching this film.
Preface & Synopsis.
I will always remember the words of an auntie I met while I was meeting with fellow stateless activists during my time as an intern. She said to us, “my daughter would ask me, mommy when will I become like the other kids? Why am I not a Malaysian?”.
Such words reflect the true reality of stateless individuals in Malaysia. Although they are born to Malaysian parent(s), citizens of this rich and diverse country, the right of citizenship are however not extended to them. Even for those who are constitutionally recognised as being Malaysian, their status remains “Warga Asing”. The plight and uphill battles of stateless individuals in Malaysia shows the complexities of a system that does not share empathy nor respect to individuals who deserve the basic right of being Malaysian.
It is this IC, this lightly tinted blue card, that determines whether or not an individual is a Malaysian citizen or not. It is also this card, where it plays a central role throughout this film. Abang Adik is a film about two brother (which are not biologically related) who were born stateless. While Adik has a valid birth certificate, he has no other form of registration to say that he is a Malaysian citizen. On the other hand, Abang, was made an orphan when his house burned down as a child killing his entire family as well as all the documentation associated with him.
This film depicts the life of the two brothers as they struggle to survive as stateless Malaysians in their uphill battle for recognition for citizenship. I won’t spoil further, but it’s certainly a film with a storyline that sticks and will make you cry. Jin Ong, the director, truly is a marvel.
Although these are fictional characters, such cases exist in real life. In fact, I’ve worked on a case that is similar to Adik’s and I’ve heard of former cases that were exactly like Abang’s. It truly shows how involved the writing team was in writing these stories and how realistic the portrayals are.
The mirrors of urban poverty.
What is interesting is the decision to set the film in Pudu, Kuala Lumpur. However, as the audience follows the film it all makes sense as to why Pudu was selected.
Pudu, a neighbourhood right next to the busy CBDs of Kuala Lumpur is an example of the urban sprawls that exists throughout this metropolis. As it sits between major developments and has a diverse population amongst various classes and races, it is a representative of the reality of urban life in Malaysia.
Pudu in itself is a place where commerce, whether legal or illegal, never stops and it is how the protagonists find themselves in different aspects of society. While both Abang and Adik are very much in poverty, it is interesting to view and speculate how their environment had influenced them in the jobs they take, the people they meet and the mannerisms they conduct.
As such, urban poverty depicted in this film reflects all aspects of the life of those who live like Abang and Adik. With crime, poverty and deception at every corner, the film conducts itself in a way where it commits in portraying all of it. However, I’d argue that the film struggles in attaching the real-life sufferings of those in urban poverty to the story line of Abang and Adik.
Regardless, the cinematography and overall direction of the film allows the viewer to truly sympathize the livelihoods of those less fortunate and the struggles they face in such conditions.
Saya Juga Anak Malaysia - the polarities of statelessness
With the central core of the film surrounding the issue of statelessness, it serves as a reminder that while citizenship is a right to many of us, it is also a privilege.
While statelessness in itself is very broad and applies to various individuals under different provisions of the constitution, Abang and Adik’s case is simple, there is a lack of documentation. In reality, lack of documentation, typos, or even failure to register for documentation at birth are all causes to statelessness. Similarly, foundlings who are entitled to citizenship under section 19(b) of the Federal Constitution are also often times rejected for citizenship. However, do not be confused or misguided, this film is not about individuals who have citizenship in foreign countries, this film is about Malaysians who don’t have citizenship period.
Seeing that the research and surveying for this film took close to a year. The simple fact that they recognised the causal link between poverty, depression to being stateless in itself is impressive. What is even more impressive is the explicit portrayal of the real-life stigmas Malaysian society have towards stateless individuals. Interestingly, the film doesn’t only linger on the systemic struggles of being stateless, rather it also touches on the many emotions’ stateless individuals face.
Through Adik and Abang, we can see how these emotions play out in their lives. While Abang exists on one side of the spectrum; where he believes through hard work, effort and humbleness would allow him and his brother to have a better life. On the other side, we have Adik who believes that the only way for him and his brother to escape the cycle of poverty is through obtaining proper documentation, even if it means breaking the law.
The identity of being stateless sticks, it affects every aspect of their lives. Even though they are not illegals in the country, the very fact that they don’t have proper documentation makes them susceptible to arrests and harassment. Such is portrayed in one scene where Abang was horrified when a group of police officers walked past him and his brother. Truly, it makes you angry as to why, just why, are those who are stateless subjected to humiliation and abuse simply for the lack of a blue IC.
Reinforcing Malaysianess
Even though this film was largely screened in other Chinese speaking countries (in fact it was screened in Taiwan before Malaysia), the film reinforces Malaysianess through its filmography and screenwriting.
The elements of Malaysianess can be found virtually everywhere, in every single scene. However, unlike most Malaysian films where it often only caters to the perspectives of one ethnic or social group (think tv3 or astro films) this film takes it to a whole new level. Safe to say, the directors are not afraid to include aspects of Malaysia that many of us fail to acknowledge or realise are part of our society. From the love interest of Abang who is a Chin refugee, to Kak Money who is a trans woman. These characters play a central role in discussing and painting the image of what is Malaysia.
Therefore, the film is a reflection of Abang and Adik’s plight in proving that they’re Malaysian. It shows the sheer struggle of stateless individuals in proving and there is even a scene where we can see Adik cross an overpass, and that overpass had a billboard that reads “Saya Anak Malaysia”. They’re just as Malaysian as all of us, just as Malaysian as Nasi Lemak and just as Malaysian as our terrible driving skills.
It is these small details that really makes you appreciate the weight of the film and how peculiar and unique it is to Malaysia. It is the fact that every aspect of our lives is Malaysian and that even if we’re denied citizenship, called pendatangs or don’t fit the stereotype of what constitutes as “Malaysian”, we are nonetheless part of this society and this nation. It is a love story to everything about Malaysia, the good bad and ugly.
Yet ironically, for a country where the protagonists love so much to the point where they will risk their lives (literally) to obtain an IC, the country chooses to treat them like shit. It is no surprise to say that the current institutions and systems put in place in Malaysia constantly bullies stateless individuals, especially stateless children.
In my own experience, I’ve seen how JPN officers show 0 remorse to struggling parents who are trying to obtain citizenship for their children. I’ve seen them laugh after throwing back forms and documentation to stateless individuals to re-submit and rewrite. I’ve seen how relentless the Home Ministry and its lawyers are in appealing court decisions granting children citizenship. Scary how much hate a country has for a group of people, people who profess their love and patriotism for said country.
Death.
Death is ever present, it is there from the start of the film, it is there at the end of the film. In fact, it is death that really makes this film special. Death plays a central role, it is the reason why Abang is stateless and it is the reason why tears roll down from both ours’ and Abang’s eyes.
Like a boat floating in an endless sea of desperation, pain and suffering; death in this film paints itself as a glooming demon that eventually consumes everything, even those who are not deserving of it. Perhaps, it depicts death as an unfair, sick and greedy being where even those who have done good are subjected to it. Thus, death is a puppet the directors use in portraying the intricacies of morality and the dilemmas both the characters and the audience face.
However, death in this film is not only used as a drive to create depth and emotion, but also to depict the inequalities and societal issues in Malaysia. Death is not just viewed from a naturalistic way but through analysing its systemic effects on Malaysia’s marginalised communities. From the death penalty to the abuse of migrants and other marginalised groups, death is used creatively to depict the societal and systemic issues in this country.
Conclusion
While this review is rather short, there’s actually a lot to talk about this film. If not for the fact that I cried 2 times writing this and that my hands hurt, I would have written more. Enough about me, this film is truly one of the best locally produced films in Malaysia with a cast that overwhelmingly exceeds in bringing out the story to life. From the cast direction to the cinematography that is familiar to Leslie Cheung, this film has little to no flaws.
Although, there are certain scenes where it felt empty and unnecessary, the film nonetheless tries to tie everything together through the characters and small hidden details. To see the most marginalised communities being represented on the big screen really brings tears to eyes, it is almost as if the era of Yasmin Ahmad is back. However, this film really covers a lot of issues in Malaysia which I simply cannot talk fully about so maybe part 2?
We need films that drives impact, we need films that inspires and we need films that represents ALL Malaysians. With that, I end my review.
With Love,
Stan <3