Director Chong Keat Aun, who has built a reputation for narratives steeped in the rich tapestry of Southeast Asian history and folklore, is currently wrapping up production on his latest project, “Mother Bhumi.” This multi-lingual film explores themes such as land conflicts, mysticism, and female empowerment through an engaging dramatic narrative.
The movie has been chosen for the Hong Kong – Asia Film Financing Forum (HAF), a market event that runs simultaneously with Hong Kong FilMart.
In a northern Malaysian hamlet during the late 1990s, the story unfolds around Hong Im (Fan Bingbing), a widowed farmer who works tirelessly in the rice fields by day and heals villagers as a spiritual healer at night. However, a chain of enigmatic occurrences compels the revelation of her husband’s true fate, compelling her to maneuver through the intricate tapestry of history, politics, and personal memories.
Under a production budget of $1.8 million, the film is being jointly produced by Malaysia’s Janji Pictures Production and Italy’s Volos Films Italia. Notably contributing as a producer to this venture is Wong Kew Soon, who was involved in Chong’s “Pavane for an Infant” at Tokyo 2024. Stefano Centini, another producer with credits like “Viet and Nam” (Cannes 2024) and “Tomorrow Is a Long Time” (Berlin 2023), became interested in the project due to his long-standing admiration for Chong’s films.
Ever since ‘The Story of the Southern Islet,’ I’ve been keeping tabs on Chong’s work and had the pleasure of meeting him, along with producer Kew Soon, in Taipei a while ago. When my recently established Italian company was seeking Asian co-production opportunities, learning about their latest collaboration with the exceptionally talented Fan Bingbing, who is reprising a role reminiscent of her performance in ‘I am not Madame Bovary,’ made me incredibly excited. I sensed this project had great potential and that our Italian collaborators could play a significant role in molding its narrative for a wider international audience. Notably, I’d like to give a shoutout to editing consultant Walter Fasano (‘Call Me by Your Name’), who graciously offered valuable input during the editing process.
Through his Italian film production company, Volos Films Italia, Centini is representing Italy at the HAF market, joining a group assembled for this purpose by Italy’s DGCA-MiC, with backing from Cinecittà and Istituto Luce.
Chong based “Mother Bhumi” on real accounts from his childhood.
Raised near the boundary between Malaysia and Thailand, I frequently listened to tales of territorial disagreements in my small town. These arguments were rooted, to some extent, in the Anglo-Siamese Treaty of 1909, when the Siamese monarchy transferred Malay territory to British colonists. Despite Malaya achieving independence, contentions over land rights persisted and escalated to such an extent that some resorted to supernatural means to resolve their disputes. Among these stories, a particular character always caught my attention: a woman of mixed Thai-Chinese descent who was a farmer. During the day, she assisted villagers in resolving land disputes; at night, she would transform into a witch, employing her powers to heal women. Eventually, she disappeared without a trace, leaving only whispers about what had happened to her.
From 2003 to 2006, I immersed myself in field studies that unearthed a myriad of contrasting tales concerning her disappearance, sparking an even greater curiosity within me. “Some whispered she had provoked local authorities and sought refuge on the Thai border, while others hinted at a dramatic encounter with an Indonesian shaman, leading to her vanishing into the mountains,” I recall. Each narrative only served to heighten the enigma surrounding her fate, fueling my fascination. The intricate tapestry of her story, laced with political boundaries, mysticism, and feminism, compelled me to breathe life into it on the silver screen.
The title “Mother Bhumi” is inspired by the Sanskrit term for ‘earth’ and pays tribute to Malaysia’s indigenous communities, implying a connection to their ancestral lands.
Working with Fan Bingbing, Chong shares, “Upon our initial encounter, I inquired, ‘Would you be willing to have your stunning screen image marred for the film?’ Incredulously, she agreed immediately. Through preparation and shooting, she braved the searing heat of the rice fields, where temperatures regularly hit 35 degrees Celsius. In spite of the grueling circumstances, she remained focused, helpful, and incredibly connected to her character. Her ability to adapt and emote added a profound layer to her portrayal.
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2025-03-19 04:42