You’ve heard of the werewolves of London, but what about the were-tigers of Malaysia? Fangoria Studios has announced its first feature film, and it’s a modern, practical effects-driven creature-feature. Sitora is inspired by a lost Malay horror film from 1964 called Sitora Harimau Judian. The film was written and directed by Malaysian auteur P. Ramlee, but it is rumored […]
The post Fangoria Studios Announces Its First Movie With Creature Feature ‘Sitora’ appeared first on /Film.
The post Fangoria Studios Announces Its First Movie With Creature Feature ‘Sitora’ appeared first on /Film.
- 7/7/2021
- by Danielle Ryan
- Slash Film
Fangoria Studios' first film has just been announced! We have details on Sitora, a creature feature from writer/director Diffan Sina Norman that will be filming in Malaysia:
"Fangoria has always celebrated the art and craftsmanship behind genre storytelling, and will continue that legacy with modern creature feature Sitora. The film is set in the rural fringes of a rapidly expanding urban sprawl. Production will focus on practical effects and real village locations. The film will be sweaty, kinetic, feral and, like a tiger, wildly unpredictable. The story centers on a tyrannical shaman who peddles the threat of a supernatural half-man, half-tiger, as a means of preserving his feudal control. Sitora unravels current events in an unexpected setting, forcing us to examine some of our thorniest issues with a fresh perspective.
Sitora is inspired by a lost Malay horror film from 1964 entitled Sitora Harimau Jadian. The film was written and...
"Fangoria has always celebrated the art and craftsmanship behind genre storytelling, and will continue that legacy with modern creature feature Sitora. The film is set in the rural fringes of a rapidly expanding urban sprawl. Production will focus on practical effects and real village locations. The film will be sweaty, kinetic, feral and, like a tiger, wildly unpredictable. The story centers on a tyrannical shaman who peddles the threat of a supernatural half-man, half-tiger, as a means of preserving his feudal control. Sitora unravels current events in an unexpected setting, forcing us to examine some of our thorniest issues with a fresh perspective.
Sitora is inspired by a lost Malay horror film from 1964 entitled Sitora Harimau Jadian. The film was written and...
- 7/7/2021
- by Jonathan James
- DailyDead
Udine Far East Film FestivalUDINE, Italy -- As the first black-and-white Malay-language film in 30 years, "Kala Malam Bulan Mangambang" aspires to be a stylish homage-cum-pastiche of the Golden Age of Malay Cinema. Yet, despite glorious chiaroscuro cinematography, brilliant replica of the '50s studio set feel and a giddy whirl of genre elements from thriller and musical to horror and political satire, director Mamat Khalid seems content to imitate rather than subvert or offer any interesting perspective on the era. With incoherent scenes stirred into a plot as thick and an ending as cloying as coconut milk, it becomes what it parodies.
The film did poorly in the domestic market where audiences are most likely to pick up on his film and period references, so overseas appeal is even lower, except to scholars of Malay film classics or culture.
The title means "Night of the Full Moon", which is when men disappear in a village. Arriving to solve the mystery is Saleh (Rosyam Nor), a laid-off reporter who stumbles on two intertwined leads. The first spoofs noir detective and spy thrillers with as much subtlety as "Austin Powers" with comic timing too slow for anyone used to TV skits and mainstream farces.
The inclusion of a Communist conspiracy also colors the film with an ideological stance out of place with its tone of mindless tomfoolery. Another supernatural subplot about a phantom's curse imitates low tech effects and make-up of old horror films with affection, but there is little self-conscious humor to distinguish the overblown ending from the real McCoy.
For those who know who P. Ramlee is, the modeling of Saleh on the legendary Malay entertainer's screen personas yields some in-jokes. The film's biggest charm factor comes from its femme fatales -- a sultry Chinese songstress (Corinne Adrienne), a nubile hostess (Avaa Vanja) and a sweet Malay village girl (Umie Aida), all of whom radiate more charisma and personality than their gender and ethnic stereotypes require.
Cast: Rosyam Nor; Umie Aida; Avaa Vanja; Corinne Adrienne. Writer-director: Mamat Khalid. Producer: Gayatri Su-lin Pillai. Directors of photography: Y.M. Raja Mukhriz, Raja Ahmad Kamaruddin. Art Director: Wan Nazrul Asraff. No MPAA rating, 110 minutes.
The film did poorly in the domestic market where audiences are most likely to pick up on his film and period references, so overseas appeal is even lower, except to scholars of Malay film classics or culture.
The title means "Night of the Full Moon", which is when men disappear in a village. Arriving to solve the mystery is Saleh (Rosyam Nor), a laid-off reporter who stumbles on two intertwined leads. The first spoofs noir detective and spy thrillers with as much subtlety as "Austin Powers" with comic timing too slow for anyone used to TV skits and mainstream farces.
The inclusion of a Communist conspiracy also colors the film with an ideological stance out of place with its tone of mindless tomfoolery. Another supernatural subplot about a phantom's curse imitates low tech effects and make-up of old horror films with affection, but there is little self-conscious humor to distinguish the overblown ending from the real McCoy.
For those who know who P. Ramlee is, the modeling of Saleh on the legendary Malay entertainer's screen personas yields some in-jokes. The film's biggest charm factor comes from its femme fatales -- a sultry Chinese songstress (Corinne Adrienne), a nubile hostess (Avaa Vanja) and a sweet Malay village girl (Umie Aida), all of whom radiate more charisma and personality than their gender and ethnic stereotypes require.
Cast: Rosyam Nor; Umie Aida; Avaa Vanja; Corinne Adrienne. Writer-director: Mamat Khalid. Producer: Gayatri Su-lin Pillai. Directors of photography: Y.M. Raja Mukhriz, Raja Ahmad Kamaruddin. Art Director: Wan Nazrul Asraff. No MPAA rating, 110 minutes.
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.