Flower in the Pocket

A film without a mother. A film with a father who has withdrawn into himself. And especially a film with two charming crooks who have no trouble misleading the audience. While the father throws himself into his shop-window dummy firm and seems to look for love among the lifeless models, his sons Ma Li Ahh and Ma Li Ohm roam the streets. Out of sight of adults, the kids have adventures, big and small, and find a little comrade in the form of a puppy. He becomes the most valuable thing they have, but it’ll soon be in danger of losing.
The film is an example of what has become known as the Malaysian New Wave. In fact it’s a small wave of closely cooperating film makers who make touching features on small budgets on digital video, with the film makers themselves acting as producers, scriptwriters, crew and even actors in each other’s films. For instance the film maker and cameraman James Lee can be seen here in one of the leading roles (the father).
But Liew Seng Tat cannot be exchanged for any other Malaysian film maker. His film and certainly also his earlier short films have an outspoken style of their own and are characterised by a melancholy absurdism and a slightly perverted cheerfulness. In this way, the film floats in an intangible way between being a film for children and for very mature adults. (GjZ)

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