A conversation with Prebet Sapu director Muzzamer Rahman
The filmmaker talks political imbalance, interracial relationship and living small in the big city.
National politics was caught up in a glorified game of musical chairs. Throughout the filming of Prebet Sapu, no less than three governments had come into power, each promising reformations and revitalisations that never arrived. Muzzamer Rahman had to rework parts of his screenplay just to keep up with the times. After all, the story critically portrays life on the margins in urban Malaysia—the plight of the powerless in the big city—as it observes the intricacies of the country’s politics.
Prebet Sapu follows a rough-hewn Aman whose life has been in a downward spiral since the passing of his father. Hoping to make a better life for himself, he sets off to Kuala Lumpur with only a beaten-up old car in his possession. It doesn’t take long before the glitter in his eyes starts to dim as reality hits hard and he finds himself without a roof over his head, leading him deeper into the seedy underbelly of the ever-twinkling metropolis.
Desperate to get back on his feet, Aman resorts to illegally driving for an e-hailing service where he’s once again confronted with the cold hard truth of city living as he meets passengers from all walks of life including the doe-eyed Bella with whom he strikes up an unlikely friendship. Drawing from his personal experiences, Muzzamer cultivates the bond between the two characters, transcending racial, social and economic divides.
Let’s talk about the very first scene. That shot from the bottom of a grave. The bleakness of it all, elevated by the black-and-white photography, sets the tone so well for the story to come. Do you mind sharing your thought process in creating that scene?
Opening shots are very important for any film. The film opens with the main character putting his father to rest and to me, that is a metaphor for a new beginning. The burial of the father symbolises the burying of the past. To move forward, we have to bury the past. But the question now is what does our generation have to do next? What awaits us moving forward?
While we’re at it, can you tell us about your decision to go with black-and-white photography?
I have always been curious to see what Kuala Lumpur might look like in black and white. But at the same time, I didn’t want to make a black-and-white film just for the sake of it. There must be a rationale behind it. So, I injected Aman with the colour-blind trait. Furthermore, the film in essence is a discussion about the racial divide perpetrated by irresponsible politicians and how we are all relatively colour-blind when it comes to these things.
Throughout the film, the protagonist is more often than not put at the mercy of, as the film describes it, the outsiders. Is this your way of showing the country is kinder to the outsiders than to its own people?
Yes, we can read it as that but to me, everyone in Kuala Lumpur is an outsider. So, it depends. Take the character Bella as an example. She might feel like she’s an outsider but at the same time she owns a house and many other things. In that regard, she’s luckier than Aman. I think it’s not so much about who will have it good or better here as who is luckier.
So it’s a case of Kuala Lumpur not being able to accommodate everyone?
Maybe that’s it. Maybe it’s just Aman putting too much trust or hope in Kuala Lumpur but it does not work out the way he has hoped. Also, part of the issue, for me, comes from the policies that have been put in place by the government, the politicians. They’re the ones who construct the problems here because the city, and Malaysia in general, is endowed with great resources but somehow our own people are still facing the same troubles.
Can you talk about the interracial friendship between Aman and Bella? How did your personal experience help shape the dynamic between the two characters?
Yes, at the time of writing, I was in an interracial relationship with my Catholic girlfriend who is now my wife. I discovered that while Malaysia is a multiracial country and we do live in harmony, we are also quite divided. We are pressured into a system that promotes division. That’s the issue that I want to highlight in this film. There’s a line in the film that expresses Bella’s dislike towards the Malays. However, the only reason she’s that way is because she goes to a Chinese school and is surrounded by the Chinese community. She doesn’t know anyone from different racial backgrounds until she meets Aman. Same goes for Aman.
Prebet Sapu seems like a departure from your other, more light- hearted fare. How would you describe your direction and identity as a filmmaker?
That’s an interesting question. As a filmmaker, I’m open to tackle and explore any genre. I have directed a romantic telemovie, a horror comedy and now a drama. I think many of the good films today are of the hybrid genre. Before this, maybe five or ten years ago, most films presented at prestigious film festivals were slow-burn arthouse films but now we can see quality thrillers and horrors making the cut. So, I think it is the era that everything can be hybrid and must be hybrid.
Who or what are your biggest influences—for Prebet Sapu and in general?
In general, the one who influences me most is U-Wei Haji Saari. I used to study his works and attend his talks and I found myself moved by his words and his idea of cinema. For Prebet Sapu, specifically, I was inspired by the visuals and narratives of Martin Scorsese’s Taxi Driver, Wong Kar-Wai’s Happy Together and Joko Anwar’s A Copy Of My Mind.
What’s next for you?
I just finished writing my next script. It’s a horror story revolving around a husband and wife and we’re looking to shoot it this month. At the same time, I will be assisting my Prebet Sapu producer who is also my wife as she plans to direct a feature film sometime next year. We’re currently in the process of development.
