MALAYSIAN DEVELOPMENT LAB FOR FICTION FEATURE FILMS (mylab)

mylab Info Book 2022

Organized by Supported by

Partner Organizations
 TABLE OF CONTENTS
1. Malaysian Development Lab for Fiction Feature Films (mylab)
– Introduction PG 1
a. mylab Curator - Lorna Tee PG 2
b. mylab Advisor - Haris Sulong PG 3

2. Group Leaders
a. Bradley Liew PG 4
b. Marie Dubas PG 5
c. Meiske Taurisia PG 6
d. Raymond Phathanavirangoon PG 7
e. Roshanak Behesht Nedjad PG 8
f. Stefano Centini PG 9

3. Script Mentors
a. Coreen Jimenez PG 10
b. Françoise von Roy PG 11
c. Marten Rabarts PG 12
d. Samantha Horley PG 13

4. Directing Mentors
a. Anthony Chen PG 14
b. Anurag Kashyap PG 15
c. Ho Yuhang PG 16
d. Ifa Isfansyah PG 17
e. Joko Anwar PG 18

5. Industry Mentors - Liza Dino PG 19

6. Lectures
Session ONE (June 2022)
- The Dossier by Alemberg Ang PG 20
- Film Financing in South East Asia by Bianca Balbuena PG 21
- Writing Cinema by Francoise von Roy PG 22

Session TWO (August 2022)

- Navigating Labs & Project Markets
by Raymond Phathanavirangoon PG 22
- European Film Financing by Roshanak Behesht Nedjad PG 22
- Understanding Genre by Samatha Horley PG 22
- International Sales by Sébastien Chesneau PG 23
- Busan Insider by Seri Park PG 24
 Session THREE (October 2022)
- Presenting Your Project by Marten Rabarts PG 24
- The Art of Editing by Lee Chatametikool PG 25
- Writing The Sound Design by Vincent Villa PG 26
- Panel: Producing in South East Asia PG 27
- Funding Roundtable: Up Close with Funds PG 30

7. Case Study
Session ONE (June 2022)
Vengeance is Mine, All Others Pay Cash - Directed by Edwin
Produced by Meiske Taurisia and Muhammad Zaidy PG 33

Session TWO (August 2022)

Interchange - Directed by Dain Iskandar Said
Produced by Nandita Solomon PG 36

Session THREE (October 2022)

Ajoomma - Directed by He Shuming
Produced by Anthony Chen and Co-produced by Lee Joonhan PG 38

8. mylab Projects
Project A - Absolute (Mutlak) PG 42
Project B - Life I Stole (Hidup Aku Curi) PG 43
Project C - The Depth of Darkness (Kaali) PG 44
Project D - Maybe Today, If Not Today, Maybe Tomorrow
(每一天，阳光和雨和风) PG 45
Project E - Very Very Important Funeral (非常葬礼) PG 46
Project F - Under Foreign Skies (异地的天空) PG 47
Project G - Mother Maybe (Inahing Baka) PG 48
Project H - Unmother PG 49

9. Jury
a. Christian Jeune PG 50
b. Nashen Moodley PG 51
c. Oh Jungwan PG 52

10. Awards
a. FINAS Award PG 53
b. TAICCA Award PG 54

11. Selection Committee

a. Lorna Tee PG 55
b. Haris Sulong PG 55
c. Nandita Solomon PG 55

12. mylab Team &

National Film Development Corporation Malaysia (FINAS) PG 55
13. Partner of mylab
a. Busan International FIlm Festival (BIFF) |
Asian Contents & Film Market (ACFM) PG 56
b. Singapore Film Commission (SFC) PG 57
c. Film Development Council of the Philippines (FDCP) PG 58
d. Taiwan Creative Content Agency (TAICCA) PG 59
e. Korean Film Council (KOFIC) PG 60

14. Gallery PG 61
1. Malaysian Development Lab for Fiction Feature Films (mylab) - Introduction

The Malaysian Development Lab for Fiction Feature Films (mylab) is an incubator
programme for teams of scriptwriters, directors, producers to work on the script and project
development with international experts in scriptwriting, directing, producing, distribution,
and markets/festivals. Each project selected would be at the early stage of development
with scriptwriter, filmmaker, producer attached with a feature film aimed at regional & global
audiences.

Participants from mylab will be from Malaysia, Singapore and the Philippines for 2022.

During mylab, participants are expected to enhance their knowledge, skills and project
development plans under the guidance of notable script mentors, group leaders, film
directors and other film industry experts through personalised meetings, lectures and case
studies.

The participants of mylab will also develop skills to evaluate, feedback and support each
other and work closely with their mentors and fellow participants to uplift the community
and industry ties in Malaysia and beyond.

By the end of the program, each project should deliver a package of script, budget,
financing plan, dossier, and pitch ready that is developed for the market.

The final in person session will take place alongside the Busan International Film Festival,
in the city of Busan and is an official programme of the Asian Contents and Film Market
(ACFM).

mylab is organized by the National Film Development Corporation Malaysia (FINAS) in

partnership with Busan International Film Festival (BIFF)/ Asian Contents & Film Market
(ACFM), Singapore Film Commission (SFC), Film Development Council of the Philippines
(FDCP) and Taiwan Creative Content Agency (TAICCA). The Korean Film Council supports
mylab networking activities in Busan.

mylab Workshop Schedule

Session One: 7th -12th June, 2022 (ONLINE)

Session Two: 15th - 21st August, 2022 (ONLINE)
Session Three: 3rd - 11th October, 2022 (In person at Busan, South Korea)

1
 a. mylab Curator
Lorna Tee

Lorna Tee is a film producer, programmer, trainer and curator, dividing her time between Asia
and Europe. She has worked with Focus Films (Hong Kong), Variety (USA), Irresistible Films
(Hong Kong/ Japan), and also film festivals such as Berlinale, CinemAsia Film Festival and
others. She produced the first pan-asian film awards, the Asian Film Awards in 2007. She was
the co-founder and Head of Festival Management for the International Film Festival & Awards
Macao until 2020.

Selected filmography includes The Beautiful Washing Machine, Rain Dogs, Crazy Stone, My
Mother is a Bellydancer, The Shoe Fairy, At the End of Daybreak, Lover’s Discourse, Come
Rain, Come Shine, Postcards from the Zoo, Mrs K and HBO’s Folklore Episode (Toyol). She is
producing with her Malaysian production company Paperheart, and with Amsterdam-based
company, An Original Picture, primarily focusing on films for an international audience.

She mentors and lectures with film training programmes/ labs (SEAFIC, EAVE, London Film
School, DW Film Akademi, Attagirl and more), primarily with emerging filmmakers, including
collaborating with various international film institutions and film funds in multiple capacities. She
is currently the year-round programming consultant for Cinematheque Passion in Macao and
the curator of mylab, an incubation development lab for filmmakers with feature films for
international coproductions.

Tee has been invited to be on the jury at the Berlinale, Guanajuato (Mexico), Independent Film
& TV Awards (HK), Durban (South Africa), Sydney (Australia), Semaine de la Critique (France),
Zurich (Switzerland), BFI London FF (UK), Q Cinema (The Philippines), Jecheon FIlm & Music
Festival (South Korea), Sarajevo (Bosnia), Tokyo (Japan), European FIlm Festival Palic
(Serbia) and more. She has served on the board for festivals such as Shanghai IFF, Jakarta
IFF, Busan IFF, and Cinemart (IFF Rotterdam).

She has been awarded the Filmmaker of the Year award by the Chinese FIlm Association of
Malaysia in 2021 and been listed in The Hollywood Reporter Next-Gen Asia in 2010.

2
 b. mylab Advisor
Haris Sulong

Haris has more than 30 years of production experience. During his early career in production,
he was involved very closely in a highly rated sitcom named ‘2+1’ and another Pi Mai Pi Mai
Tang Tu! Nurtured in the ranks as Trang Creative’s AV Coordinator and Traffic Controller, Haris
become Production Manager at Warna Motion, and later Producer of TVCs and Film Director
for a local sitcom at Cinematic with Othman Hafsham.

In 1992, he left for Vancouver to pursue his film studies in Vancouver Film School. Then
followed a more lucrative freelance career, where he producing numerous TVCs,
documentaries, TV programs and a feature film. Ultimately, a strong desire to become a Film
Director urged Haris to take on the role of 1st Assistant Director, then Film Director, winning
awards for Petronas Deepavali’s “Duelling Masseurs”, and Rejoice’s “Postman”, amongst
others. He also shoots many TVC’s for Indonesia and Vietnam.

Today he is a partner of CURRENT PICTURES. Notable award-winning commercials under his

belt include Out Of The Box (Silver Kancil Awards ’01), Agip Oil (Finalist New York Film
Festival ’03), and Frisian Flag Campaign (Pariwara ’04, Indonesia). Haris also produces award
winning movies made for TV( Telemovies) and feature for Current Pictures Notable ‘REDHA’
Malaysia’s Oscar and Golden Globe Submission in 2016. He served on the board of FINAS
from 2019 to 2022.

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2. Group Leaders

a. Bradley Liew

Bradley Liew is a Malaysian-born Philippines-based Producer and Director. He is an

alumnus of the NAFF Fantastic Film School, Berlinale Talents, Tokyo Talents, Locarno
Filmmakers Academy, EAVE Ties That Bind and the Sam Spiegel International Film
Lab.

In 2016, he completed his debut feature, Singing in Graveyards. It made its world
premiere in-competition at the Venice International Film Festival Critics’ Week. His
second feature film, Motel Acacia, a creature-horror genre, made it’s world premiere at
the Tokyo International Film Festival.

Bradley has gone on to work on multiple long-form narrative series including detective
thriller The Tapes for iWant and the Malaysian Episode Ayizah, Ayizah for HBO Asia’s
Folklore Season 2. He was the show-runner of Astro Malaysia’s Doors: A Philippine
Horror Anthology and Cignal Philippines’ Now Streaming Anthology Series.

He is the Producer of Lav Diaz’s anti-musical: Season Of The Devil (Berlinale Main
Competition), his upcoming film-noir When The Waves Are Gone and Truong Minh
Quy’s Viet and Nam. He is also co-producing debut Vietnamese filmmaker Pham Ngoc
Lan’s Cu Li Never Cries and Lorcan Finnegan’s Nocebo starring Eva Green and Mark
Strong.

4
b. Marie Dubas

After having studied literature and philosophy, Marie Dubas started producing short
films in 2008 in several production companies before founding Deuxième Ligne Films in
2014 in Normandy. Her recent credits include John Trengove's The Wound (Sundance
17, Berlinale Panorama 17), Teona Mitevska’s God Exists, Her Name Is Petrunya
(Berlinale Competition 19) and Le Bao’s Taste (Berlinale Encounters 21). Marie is an
EAVE 2013 graduate and serves as a Media Program expert. Deuxième Ligne Films
also develops French feature films, and occasionally collaborates with French
broadcasters on documentary and fiction series.

5
c. Meiske Taurisia

She entered the film industry in 2004, started as a wardrobe stylist and later as
producer. Since then, she has been producing (short & feature) films that travel and
relevant to the International audience. Postcards from the Zoo (2012, Berlinale), Rocket
Rain (2014, Karlovy Vary), The Fox Exploits the Tiger's Might (2015, Critic's Week), and
more.

In 2016 she co-founded Palari Films and produced Posesif (2017, SGIFF), Aruna & Her
Palate (2018, Culinary Cinema, Berlinale). Both films won several awards at Festival
Film Indonesia. In 2021, Palari Films released Ali & Ratu Ratu Queens, a Netflix
Original. In the same year, world premiered Vengeance Is Mine, All Others Pay Cash at
Locarno and won the Golden Leopard and numerous other accolades.

Aside from producing films, since 2012 she is actively involved in supporting
independent films with initiatives such as Kolektif (distribution), Kinosaurus (micro
cinema), and LOCK (film lab). Meiske Taurisia studied Architecture and Art & Design for
Bachelor; Fashion Strategy and Public Policy for her Master.

6
d. Raymond Phathanavirangoon

Raymond PHATHANAVIRANGOON is a film producer who co-founded and serves as

Executive Director of Southeast Asia Fiction Film Lab (SEAFIC), an intensive script and
development lab for Southeast Asian filmmakers. Previously he was international
programmer for Toronto International Film Festival as well as Programme Consultant for
Hong Kong International Film Festival and Programme Delegate at Cannes Critics'
Week. Prior to that, he was Director of Marketing & Special Projects (Acquisitions) for
sales agent Fortissimo Films. He acted as Reading Committee Member for Hong
Kong-Asia Film Financing Forum (HAF) and was advisory member of the Asian Film
Awards (AFA). He was jury member at festivals such as Berlinale, Sarajevo,
Vladivostok, Seattle, Antalya, Jecheon and others. His producing credits include Pen-ek
Ratanaruang’s SAMUI SONG and HEADSHOT, Boo Junfeng's APPRENTICE, Josh
Kim’s HOW TO WIN AT CHECKERS (EVERY TIME), Pang Ho-Cheung’s DREAM
HOME and ABERDEEN, the upcoming 13 LIVES by Ron Howard, among others. He
was named Future Leaders: Producers in 2013 by Screen International and was
awarded Producer of the Year in 2017 by Asian Film Commission in Busan.

7
e. Roshanak Behesht Nedjad

Roshanak began working in the film industry as a festival coordinator and production
manager. In 1999, she started her first production company Flying Moon. Until 2014
they produced arthouse films, with over 30 international awards, among them the
German Film Award in Gold, the Golden Leopard and the Prix Europe Iris. In 2012,
Roshanak ventured into Serious Games for children and won the 2016 German
Computer Game Award for Best Serious Game. Under the label In Good Company she
started yet another enterprise with a focus on international co-productions, with an
emphasis on European features, aiming to entertain on a smart level. Roshanak also
works as an expert and consultant for various institutions and training organisations
such as EAVE. She is a member of the German as well as the European Film Academy,
an EAVE graduate and group leader.

8
f. Stefano Centini

Stefano Centini is a Taiwanese-Italian producer and director based in Taipei and Rome.
His works range from TV documentaries for international broadcasters such as Netflix,
HBO, National Geographic and BBC to indie and auteur-driven feature films and
documentaries. In 2016, he produced Absent Without Leave, which was in competition
in Busan IFF (Wide Angle) and won the Audience Award in Singapore Film Festival.
With his newly funded company Volos Films, he has produced the documentaries A
Holy Family (Visions du Réel International Competition) and Divine Factory as well as
the feature films Far Away Eyes (Visions du Réel Burning Lights competition) and
Singaporean director Jow Zhi-Wei's debut feature Tomorrow is a long time, in
collaboration with Singapore producers Akanga Films and Potocol. He is a member of
EAVE and an alumni of Berlinale Tokyo Talents.

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3. Script Mentors

a. Coreen Jimenez

Monster Jimenez is a filmmaker and a Managing Partner of THIS SIDE UP, a content
creation house that develops stories for advertising and entertainment. She is
concurrently running Arkeofilms, an affiliate company that produces independent films.

She is one of the founding members of FilDocs (Filipino Documentary Society), an

organization dedicated to elevate and promote documentaries in the Philippines. Their
first major project is mounting Daang Dokyu, a documentary festival to celebrate 100
years of doc filmmaking in the country.

Her notable producing credits include Respeto (2017), Apocalypse Child (2015) and a
documentary she directed, Kano: An American and His Harem (2010)—critically
acclaimed films that have gone all over the world and continue to be sold in various
territories. She has sat in several local and international juries for grants and film
festivals.

She just wrapped STILL: a musical narrative series which is a co-production with Viu
and This Side Up. She just premiered an absurd drama entitled Leonor Will Never Die
(dir. Martika Escobar) which won at the Sundance World Dramatic Competition 2022
for a Jury Award for Spirit of Innovation.

10
b. Françoise von Roy

Based in Berlin, Françoise von Roy works internationally as a script advisor on diverse
projects, including genre, experimental, documentary, art film and serial narratives.
Apart from consulting on individual productions, she lectures on development and
screenwriting and mentors students at various institutions, e.g. the Dutch Film
Academy, German Film and Television Academy (dffb), Zurich University of the Arts
(ZHdK), University of Malta and Civica Scuola di Cinema Luchino Visconti. She has
worked for the Venice Biennale Cinema College and consults regularly on projects
selected by the Kuratorium Junger Deutscher Film and the German Ministry of Culture
and Media (BKM). Together with Franz Rodenkirchen at solace23 she holds the regular
script development workshop ‘Script Circle’ for writers and filmmakers and the yearly
intensive workshop ‘6 Days of Practice’ for producers and other professionals involved
in script development. Françoise has worked in the film and television industry since the
1990s in various fields of production and development. She holds an MA in Media
Production and a BA in Film and Philosophy from the University of Kent at Canterbury,
UK. Françoise is particularly interested in supporting filmmakers in their individual
processes of development - at any stage, from early idea, screenplay, to editing -
discovering what and how their works will communicate and engage, whilst always
acknowledging that this is a creative process.

11
c. Marten Rabarts

With more than 30 years experience in the film industry Rabarts most recent position
was Festival Director of the New Zealand International Film Festival a role he took up in
2019 following almost 5 years heading EYE International at the EYE – the national film
museum of the Netherlands.

Prior to this, Marten was Head of Development & Training of the National Film
Development Corporation of India, in Mumbai. Previously, was Artistic Director of
Binger Filmlab in Amsterdam for 12 years which saw such successes as Michael
Roskam’s Bullhead, cult hit The Babadook by Jennifer Kent, Cannes winning Salvo by
Fabio Grassadonia & Antonio Piazza and Adina Pintilie’s 2018 Golden Bear award
winner Touch Me Not.

Furthermore, Marten was a founding member of the advisory board of Torino Film Lab,
is a voting member of the European Film Academy, served on the board of European
Film Promotion and regularly serves on festival juries including the Berlinale (Short Film
Jury, Generation 14plus, Teddy Awards) Skip City Tokyo, Adelaide Film Festival and
Guanajuato Film Festival among others.

12
d. Samantha Horley

After twenty years in international film sales, development, production and marketing for
companies including Summit Entertainment and PolyGram, and as MD for The Salt
Company, involved with films including Memento, The Big Lebowski, Fear and Loathing
in Las Vegas, and Elizabeth, Samantha is now a consulting producer and script doctor,
specialising in honing the commercial viability of film and TV projects at any stage.

Clients have included BAFTA and Oscar winning producers David Parfitt and Gareth
Ellis Unwin, director Gurinder Chadha and Creative Scotland’s FOCUS initiative. She is
also an external assessor for The New Zealand Film Commission and Liverpool Film
Office.

She tutors and lectures widely for clients including NFTS, BAFTA, BFI Network, Arvon,
London Screenwriters’ Festival, most recently BFI and Screen Australia’s “Attagirl”
initiative and as supervisor for London Film School and Exeter University. Samantha
was the founder of The Vipers Nest, the creative collective for first-time filmmakers, and
she still enjoys working with and mentoring up-and-coming talent, independently and
professionally, with the likes of Ffilm Cymru, Encounters and Raising Films.

Samantha is now a screenwriter repped at United Agents. Her first screenplay was
optioned by Eleven Films for TV, she was awarded development funding by Ffilm
Cymru for her last and is currently in development on a romcom for the producer of
Amy Schumer’s I Feel Pretty. She also serves on The Writers Guild of Great Britain
Film Committee and Equality and Diversity Committee, is a BAFTA and BIFA juror.

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4. Directing Mentors

a. Anthony Chen

Anthony Chen trained at film school in Singapore and at the National Film and
Television School, UK. His shorts have screened and been awarded at numerous
prestigious festivals. With AH MA (GRANDMA), his 2007 short, he became the first
Singaporean awarded at Cannes.

Chen’s debut feature ILO ILO debuted at the 2013 Cannes Film Festival and was
awarded the prestigious Camera d’Or for best first feature. ILO ILO went on to become
an arthouse favourite, winning forty awards internationally, including four awards at the
50th Golden Horse Awards in Taiwan. His sophomore feature film, WET SEASON,
premiered in competition at the Toronto International Film Festival in 2019 and was
once again lauded critically, garnering 6 Golden Horse nominations and 12 international
awards. His latest short, THE BREAK AWAY, is part of the anthology film THE YEAR
OF THE EVERLASTING STORM. Produced by US distributor Neon, the film premiered
in Official Selection at the 2021 Cannes Film Festival.

He is currently in post-production on his first English-language film DRIFT with

Oscar-nominated actress Cynthia Erivo in the lead. He is also completing post on his
first Mainland Chinese feature THE BREAKING ICE, starring young Chinese stars Zhou
Dongyu, Liu Haoran and Qu Chuxiao.

As producer, he produces out of his Giraffe Pictures outfit based in Singapore.

Upcoming films include Singapore filmmaker He Shuming’s feature debut AJOOMMA
and Thai director Sorayos Prapapan’s debut feature ARNOLD IS A MODEL STUDENT.
In pre-production are Indonesian director Mouly Surya’s fifth feature THIS CITY IS A
BATTLEFIELD and Filipino director Petersen Vargas’ second film SOME NIGHTS I
FEEL LIKE WALKING.

14
b. Anurag Kashyap

The most influential Indian filmmaker of recent times with a superlative career including
more than 50 films as a Director, Producer, Screenwriter, Editor and Actor. He was
awarded the Knight of the Order of Arts and Letter by the French Government . His
work continues to be acclaimed globally starting with the Grand Jury Prize for Black
Friday at IFFLA 2005, and a nomination at Locarno film Festival that year. In the coming
years, 3 of his directorial films had Director Fortnight Premieres, at Cannes, including
Gangs of Wasseypur, Ugly & Raman Raghav 2.0.

He has produced many acclaimed films like the BAFTA nominated The Lunchbox, and
the Un Certain Regard premiered Udaan and Masaan and Peddlers at the International
Critics Week at Cannes.

15
c. Ho Yuhang

Yuhang was born in Petaling Jaya, Malaysia. He studied engineering at Iowa State
University in the US. His directing debut MIN (2003) won the Special Jury Prize at the
Festival des 3 Continents in Nantes, France. His third film RAIN DOGS (2006) became
the first Malaysian film to compete in the Venice Film Festival. AS I LAY DYING won the
Tiger Awards for short film in the International Film Festival of Rotterdam and the Grand
Prix in the Kurosawa Foundation competition in 2008. The next feature AT THE END
OF DAYBREAK won the NETPAC Award at the Locarno Film Festival and garnered
seven Best Actress Awards for the lead actress Kara Hui. He received the Financial
Times Emerging Voices film award for his short TRESPASSED in 2015. He reunited
with Kara Wai in 2016 for the feature-length film MRS K, a Malaysia-Hong Kong
co-production. In 2017, he was among the five award-winning Southeast Asian
directors invited by National Gallery Singapore to create filmic interpretations of Asian
masterpieces of their choice from the gallery’s collection. Between 2018 and 2019, he’s
involved in the HBO anthology series FOLKLORE and FOOD LORE. A Netflix series
THE GHOST BRIDE followed. MRS K is currently being remade by Universal Pictures.

16
d. Ifa Isfansyah

IFA ISFANSYAH graduated from the Television Department of Indonesian Institute of

Art Jogjakarta. He began his career in cinema as Producer and Director of several short
films, including BE QUIET, EXAM IS IN PROGRESS! (Tokyo ShortShort, Competition,
2006) and HALF TEASPOON (Grand Prize Hong Kong Independent Film Video Award
& competition, IFFR 2008). In 2001, he started his company Fourcolours Films with
other local filmmakers in order to produce and support Indonesian filmmakers. He was
selected by the Asian Film Academy BUSAN in 2006 and got a scholarship to attend
the Im Kwon Taek College of Film & Performing Arts, KOREA. Then back to Indonesia,
he directed his first feature film, GARUDA DI DADAKU (2009), which encountered a
great commercial success. His second film, THE DANCER (2011) was awarded Best
Director and Best Picture at the Indonesian Film Festival. His directing work include
martial art film GOLDEN CANE WARROR (2014) and his latest film LOSMEN BU
BROTO adapted from legendary TV Series in 1980 era. Since then he has produced
SITI (Eddie CAHYONO, Telluride 2015), TURAH (Wicaksono Wisnu LEGOWO,
Indonesian Official Entry for OSCAR 2018), THE SEEN AND UNSEEN (Kamila
ANDINI, Toronto 2017), MEMORIES OF MY BODY (Garin NUGROHO, Venice
Orizzonti 2018), YUNI (Kamila ANDINI, Toronto 2021) and BEFORE, NOW & THEN
(Kamila ANDINI, Berlinale Competition 2022. ISFANSYAH is also a founder of
JOGJA-NETPAC Asian Film Festival that started in 2006 and a founder of the JOGJA
FILM ACADEMY, which was established in 2014. Currently he is work for Netflix series
CIGARETTE GIRL.

17
e. Joko Anwar

Prior to becoming a filmmaker, Joko Anwar worked as a journalist, film critic. He is now
known as a versatile filmmaker whose works ranging from award-winning arthouse
movies to box office hits. His movies include Kala and The Forbidden Door (both landed
on the list of BFI's Sight and Sound Magazine's Best Films of the year), A Copy of My
Mind (Venice, Toronto), Indonesian horror hit Satan's Slaves, superhero movie Gundala
(Toronto), thriller hit Impetigore (Sundance) which was also Indonesian submission for
The Academy Awards, as well as Satan's Slaves 2: Communion, which is the first local
and South-East Asian film to be screened in IMAX.

18
5. Industry Mentor

Liza Dino

LIZA DIÑO is the president and CEO of Fire and Ice Media and Productions, a
Philippine-based entertainment company with an international reach that takes Filipino
creativity to the next level.

"Chair Liza" as she was fondly called, recently finished her term as the Chairperson and
Chief Executive Officer of the Film Development Council of the Philippines, the country's
national film agency. During her 6-year stint, she made it her mission to bring Philippine
cinema to the world stage and be at the forefront of global collaboration. In 2020, the
Philippines' launched its first global film incentive program, the FilmPhilippines Incentives,
promoting the Philippines as a filming destination and a co-production hub for foreign
productions. One of its unique support schemes is the ASEAN Coproduction Fund (ACOF),
a regional public funding grant that provides financial incentives to Southeast Asian
filmmakers partnering with a Filipino producer.

To further Liza's goal to strengthen collaboration within the Southeast Asian region and help
Filipino filmmakers bring their films to the global stage, she partnered with Matthieu Darras
of Full Circle Lab to conceptualize, create, and launch Full Circle Lab Philippines, a
Southeast Asian project and talent development program which aims to nurture and
develop Filipino and Southeast Asian projects for global potential. The Lab has supported
over 75 film projects and mentored 160+ participants from the Philippines and Southeast
Asia in its 4 years of existence.

19
6. Lectures

Session ONE (June 2022)

- The Dossier by Alemberg Ang

What is Dossier? What do we need it for? What is in a dossier? In this session, producer
Alemberg Ang will be giving us an overview of the ever necessary document, the dossier,
used for presentation and application to funds, project markets, festivals, investors, and
more and is the basis for the press kit for the films at a later stage.

ALEMBERG ANG was a schoolteacher for ten years before stumbling into his love for film
producing. His filmmaking is shaped by his passion for socio-civic issues, and Philippine
arts and literature. Working mostly with rising filmmakers, he seeks to give cultural
minorities a voice in world cinema. His first feature was Alvin Yapan’s The Rapture of Fe
about a battered wife’s journey into freedom won the Best Digital Feature at the Cairo
International Film Festival in 2009. He recently co-produced the Japanese film, Plan 75
about Japan’s social systems and their care for their elderly. The film premiered at the Un
Certain Regard section in Cannes and won the Camera D’or Special Mention for a first time
filmmaker. Alemberg has participated at various international training programmes like
Berlinale Talents, Locarno Open Doors, Tribeca Film Institute Network, Cannes Docs, and
EAVE’s Producers Workshop.

20
 - Film Financing in South East Asia by Bianca Balbuena

Film Financing in South East Asia. What are the funds, what is equity, how to manage
waterfall and recoupment and cash flow, and case studies of financing genre and arthouse
films.

Bianca Balbuena is a Philippine-based producer and CEO of Epicmedia Productions Inc.

which has produced over 40 feature films, shorts and series most notably Venice Film
Festival Lion of the Future “Engkwentro" by Pepe Diokno, Berlinale Silver Bear "A Lullaby
To The Sorrowful Mystery" by Lav Diaz, Cannes Film Festival Critics Week’s “The Manila
Lover” by Johanna Pykko, and local blockbuster hits “That Thing Called Tadhana”, “Fan
Girl” and “Patay Na Si Hesus”, all acquired by Netflix after a successful domestic run. She
has also done several co-productions with Japan, Australia, France, Norway, Vietnam,
Malaysia, Indonesia and most recently with Ireland starring Eva Green and Mark Strong.
She was also part of the jury at the film festivals in Sydney, Fribourg, Seashorts, Durban
and Qcinema. Mentored at Locarno Open Doors, Talents Tokyo, Berlinale Talents, she is
also EAVE’s ambassador for Asia. She was awarded Busan Asian Film Commissions
Network Producer of the Year and the Asia Pacific Screen Awards FIAPF Outstanding
contribution to Asia Pacific cinema. She is also an educator at the University of the
Philippines Diliman.

21
 - Writing Cinema by Francoise von Roy
(Please refer to Francoise van Roy’s profile under Script Mentor)

Cinema can do more than tell stories. Too often it is forgotten that the power of cinema lies
in its use of images and sound (and sometimes their absence!), as well as duration. The
combination of these three make cinema something that can be experienced, not just
understood.

Writing screenplays can be challenging, because we have to use words to convey

something that will eventually be images and sound and be experienced over time. At the
same time exploring and discovering what it is that you are wanting to communicate with
your film is a vital part of development. Writing and rewriting can be part of this process and
finding approaches to this that work for you, will allow you to become more clear about
what and how you want your film to communicate.

Session TWO (August 2022)

- Navigating Labs & Project Markets by Raymond Phathanavirangoon

(Please refer to Raymond Phathanavirangoon’s profile under Group Leader)

Applying to international labs and project markets for your film can be quite a challenge,
especially for young filmmakers from Southeast Asia without prior international experience.
Worse, they require so much paperwork! In this talk, producer Raymond
Phathanavirangoon who previously was Executive Director at SEAFIC, shall give an
overview of the major labs and project markets around the world, and help go through each
of the standard requirements for international submission to explain how to make them
more effective.

- European Film Financing by Roshanak Behesht Nedjad

(Please refer to Roshanak Behesht Nedjad’s profile under Group Leader)

This lecture will delve into financing non-European films with European financing sources
and will cover topics such as understanding coproduction, financing sources available, the
art of managing information and documentation and best practices and examples.

- Understanding Genre by Samatha Horley/ Moderated by Marten Rabarts

(Please refer to Samantha Horley’s profile under Script Mentor)

The lecture will be an exercise to understand why it is so important to identify the genre and
subgenre of your film and how the genre will impact the positioning, distribution, marketing
and audience for your film.

22
 - International Sales by Sebastien Chesneau/ Moderated by Coreen Jiminez

Up close and personal with international sales agent, Sebastien Chesneau of CERCAMON
moderated by producer Coreen Jiminez. The session will explore the role of the sales
agent, on how to find the right sales agent for your film, the terms and condition of the sales
agency agreement, and how to work with a sales agent to get the best for your film at film
festivals and markets.

Sebastien CHESNEAU has been working in the film business for over 20 years. He
previously worked for France Télévisions Distribution, Celluloid Dreams and Rezo. End of
2014, he launched Cercamon, a world sales company selling around 8 films a year
internationally. Cercamon means World Searcher in Occitan language. The company
attends all major markets and festivals. Films include: "The High Sun" (2015) from Dalibor
MATANIC (Jury Prize Un Certain Regard, Cannes Film Festival), "Yuni" (2021 - Platform
Prize TIFF 2021) & "The Seen and Unseen" (2017 - Grand Prize, TOKYO FILMeX) from
Kamila ANDINI, "Leonor will never die" from Martika RAMIREZ ESCOBAR, "Pop Aye"
(2017) from Kirsten TAN (Official Selection Sundance, VPRO Big Screen Award).

23
 - Busan Insider by Seri Park/ Moderated by Yve Vonn

Getting to know the Busan International Film Festival (BIFF), Asian Contents and Film
Market (ACFM), The Asian Cinema Fund (ACF), the Asian Project Market (APM), Platform
Busan and more from a real Busan insider.

Seri Park has been working for Asian Project Market (APM), a family program of Busan
International Film Festival (BIFF) since 2013. Park majored English and German literature
and language and worked for educational field after her graduation. Her experience as a
volunteer at BIFF led her career to festival organization and she worked for Asian Film
Academy (AFA) of BIFF in 2010. In 2022, she's also been in charge of Asian Cinema Fund
(ACF) and Platform BUSAN as a manager of support programs.

Session THREE (October 2022)

- Pitching and Presentation - One Project, One Voice by Marten Rabarts

(Please refer to Marten Rabarts’s profile under Script Mentor)

This session will develop and shape each film teams’ understanding of the elements in their
film which are unique and engaging for future partners and collaborators. Each team will
workshop their pitch to enhance skillful efficiency in storytelling while firmly rooting their
presentation in the passion they each bring to the project.

24
 - The Art of Editing by Lee Chatametikool

Editing is what sets cinema apart from other artforms. In this session, we will explore what
editing is and why it is referred to as the final rewrite of the script.

In this session, we explore the foundation of editing and the magical way our mind creates
meaning out of two shots. This technique, called montage, is what sets cinema apart from
other artforms. Beyond the technical process of assembling the shots and scenes into the
final film, we will discuss why editing is the natural tool to drive the conflict, heighten the
tension, and enhance the story. We will see how the art of editing is central to the emotional
response of the audience. And why editing is often referred to as the final rewrite of the
script.

Lee Chatametikool is an award-winning film editor, director and post-producer. Over the last
20 years, he has edited over 30 feature films and shorts for many leading Asian directors
including Apichatpong Weerasethakul, Wang Xiaoshuai, Aditya Assarat, Anocha
Suwichakornpong, Boo Junfeng, Edwin, Kamila Andini and Kirsten Tan. His work has
screened in all major film festivals and he won Best Editor at the Asian Film Awards three
times. His directorial debut, Concrete Clouds, premiered in 2013 Busan Film Festival New
Currents Competition, and went on to win Best Film and Best Director at the Thai National
Film Awards. He was a co-founder and managing partner at White Light Post, Thailand's
leading post-production house for feature-film editing, colour grading and finishing. He
currently works for Netflix as Head of Post Production, Southeast Asia.

25
 - Writing The Sound Design by Vincent Villa

How to feel the temperature of a scene? How do we want the character to listen? What
information do we want the viewer to feel about the characters? In what type of sound
environment? The basis of sound design is the free association of sounds with images.

"The importance of working with young filmmakers is an opportunity for a sound designer to
remain in the act of creation from the first moments, where the freedom to create has no
equal, because that is where it all starts, this creation of a unique writing between image
and sound, which will be like a guide, a point of attachment, a reference, a unique style,
which will be shaped throughout the director's career."

Vincent Villa is a French sound designer, based between France and Cambodia.

In 2007, he launched Soundies Studio in Paris, but it was in 2010 that he visited Cambodia
for the first time, while working on the documentary “GOLDEN SLUMBERS” directed by
Davy Chou (Busan Film Festival, Forum Berlinale). “CAMBODIA 2099” (Cannes Directors’
Fortnight), “DIAMOND ISLAND” (Cannes Critic's Week) and the recent “RETURN TO
SEOUL” (Cannes Official Un Certain Regard), all directed by Davy Chou.

His meeting with filmmakers from Southeast Asia, have allowed him to sound design
acclaimed films from the region, such as “MOTEL ACACIA”, “THE TAPES”, “TASTE”, “THE
PREY”, “WHITE BUILDING”, and “FAN GIRL”, for which he won the Best Sound Award at
the 2020 Eddys Awards in the Philippines.

Vincent Villa is a major collaborator of the Cambodian production company

ANTI-ARCHIVE. Apart of the feature length films, he has worked with directors making their
first short films, such as Danech San with "A MILLION YEARS" and "SUNRISE IN MY
MIND", Sreylin Meas with “CALIFORNIA DREAMING” and with Ly Polen’s short
"FURTHER AND FURTHER AWAY" (Berlinale Short Competition).

In 2018 he met the French-Cambodian producer Loy Te, and created Kongchak Studio, an
audio post-production studio equipped with state-of-the-art equipment and certified Dolby
Atmos Theatrical Studio.

26
 - Panel: Producing in South East Asia

South East Asia is currently one of the most exciting regions of filmmaking. Audience
growth is continued to develop in the coming years, international, local investors and
platforms have descended into the region and we are seeing a more diverse and dynamic
filmmaking scene bursting into the global scene. What does this mean for film producers,
especially the independent producers of the region, who has worked hard to cultivate the
talents and audience over the years? Producers from Malaysia, Thailand, Indonesia,
Singapore and the Philippines will discuss the current state of film producing in their
countries - focusing on financing structures, distribution and audience per country and
where are the bright spots for producers in the region.

Panelist: Donsaron Kovitvanitcha

Donsaron Kovitvanitcha does many jobs in Thailand's independent film scene. He works as
a film writer, critic, and journalist for magazines and newspaper in Thailand. He works as
programmer for film festivals in Thailand such as Bangkok ASEAN Film Festival from 2015
to 2021. In 2017 and 2018, he was advisor to CinemAsia Film Festival, Amsterdam. In
2019 and 2020, he was advisor to Cinema du Reel International Documentary Film
Festival. In 2020, he is the preselector of short films for Busan International Film Festival
2020. In 2022, he becomes festival director of World Film Festival of Bangkok. Donsaron is
also an independent film producer, focusing on producing films from new talented Thai film
director such as Nontawat Numbenchapol’s Boundary (2013), Nawapol
Thamrongrattanarit's The Master (2015) and Die Tomorrow (2017), Anucha
Boonyawatana’s The Blue Hour (2015) and Malila: The Farewell Flower (2017),
Wattanapume Laisuwanchai’s Phantom of Illumination (2018). In 2022, the film Arnold is a
Model Student (first feature film by Sorayos Prapapan) which he produced, was in
Filmmakers of the Present competition at Locarno Film Festival.

27
Panelist: Haris Sulong
(Please refer to Haris Sulong’s profile under mylab Advisor)

Panelist: Liza Dino

(Please refer to Liza Dino’s profile under Industry Mentor)

Panelist: Yulia Evina Bhara

Yulia Evina Bhara is Producer and the founder of KawanKawan Media, a production
company based in Jakarta, Indonesia. She produced among others: On the Origin of Fear
(2016) by Bayu Filemon, Solo, Solitude (2016) by Yosep Anggi Noen, The Science of
Fictions (2019) by Yosep Anggi Noen, Documentary You and I (2020) by Fanny Chotimah,
Whether The Weather Is Fine (2021) by Carlo Francisco Manatad, Stone Turtle by Woo
Ming Jin (2022), Autobiography by Makbul Mubarak (2022).

Currently she is working on the project Jilah and The Man With Two Names and
Documentary Voice of Baceprot by Yosep Anggi Noen, The Songsmith by Bayu Filemon,
Tale of the Land by Loloe Hendra, Mayday by Eden Junjung and Tiger Stripes by Amanda
Nell Eu.

28
Moderator: Patrick Frater (Variety, Asia Bureau Chief)

Patrick Frater has over 20 years of experience writing about and analysing the international
entertainment industry, with publications including Variety, Screen International and Film
Business Asia. He was Asia editor of Variety between 2005 and 2009 and re-joined the
publication in July 2013.

29
 - Funding Roundtable: Up Close with Funds

The film funding landscape in Asia has become more vibrant in recent years with the
growth of the markets and awareness of the government agencies on the importance of
creating opportunities for filmmakers to collaborate more in the region and internationally.
Funding has also become more complex to tackle especially, for newer talents, so the
roundtable will enable the filmmakers to get up close with the funds as Purin Pictures,
IMDA Singapore, Film Philippines/ FDCP and Taiwan Content & Creative Agency (TAICCA)
Questions - What are these funds? What does it mean to try to apply for them? What are
the qualities in a project that are most important to each fund?

Panelist: Aditya Assarat (Director of Purin Pictures)

Aditya Assarat is a writer, director, and producer from Thailand. His feature films include
Hi-So and Wonderful Town, which won the New Currents Award from Busan and the Tiger
Award from Rotterdam. His most recent film, Ten Years Thailand, which he produced and
co-directed, premiered in Cannes. In addition to his own films, Aditya has also produced
the films of other younger Thai directors such as Eternity by Sivaroj Kongsakul, which won
the Tiger Award from Rotterdam, Mary is Happy, Mary is Happy by Nawapol
Thamrongrattanarit, which premiered in Venice, and W by Chonlasit Upanigkit, which
premiered in Busan. Finally, Aditya is the director of Purin Pictures, a non-profit foundation
based in Bangkok that supports Southeast Asian cinema.

30
Panelist: Joyce Tang (Manager of Taiwan's International Co-financing Program,
TAICCA)

After graduating from Fine Art Master at Chelsea College in London, As a producer and
commissioning editor, Joyce has been in the documentary and drama field and different
media platforms over a decade. During the period in PTS Taiwan and TAIWAN Creative
Content Agency, Joyce has focused on different subjects from environmental to social
issues, such as 'A Town called Success', 'The Island of 1000 violins', 'Raw and Cooked',
'Teenage Psychic' and etc.. Also, Joyce has worked with various international co-production
projects with Arte, French TV, NHK, HBO ASIA in the recent years.

Panelist: Kristin Saw (Assistant Director, Singapore Film Commission)

Kristin is currently Assistant Director under the Singapore Film Commission, part of the
Infocomm Media Development Authority of Singapore (IMDA). Since 2008, Kristin has been
working with a passionate team that supports the development of the Singapore media
industry and nurturing creative media talent that continues to shine on the international
stage. This includes designing initiatives such as grants for co-productions in Southeast
Asia to encourage collaboration within the region. Formerly a programmer for independent
films, Kristin has been rooting for Singapore talent and films ever since.

31
Panelist: Mirasol Cruz (Executive Director of FilmPhilippines Office, FDCP)

Mirasol Cruz is the lead officer for the Film Philippines Office, an office under the direct
supervision of the Film Development Council of the Philippines. She is a certified public
accountant in the Philippines, graduating from the University of Santo Tomas. Her career as
an accountant and public servant has brought her to different countries, exposing herself to
different cultures and environments to connect with different kinds of people. Full of integrity
and compassion, she has been of service to the Film Industry for 25 years and will continue
to be of service to bridge the gap of Filipinos and International productions and filmmakers.

Moderator: Raymond Phathanavirangoon

(Please refer to Raymond Phathanavirangoon’s profile under Group Leader)

32
7. Case Study

Session ONE (June 2022)

- Vengeance Is Mine, All Others Pay Cash. Directed by Edwin. Produced by Meiske
Taurisia and Muhammad Zaidy.

From an award winning novel to an award winning film - The Journey of Vengeance Is
Mine, All Others Pay Cash with the director and producers.

33
Director: Edwin

Edwin is a filmmaker based in Jakarta, Indonesia. He makes short films, and feature
films in Indonesia. His short Kara, the Daughter of a Tree became the first Indonesian
film selected at Director's Fortnight, Cannes Film Festival 2005. His first feature film
Blind Pig Who Wants To Fly got a Fipresci award at International Film Festival
Rotterdam 2009. His second feature Postcards From The Zoo was in competition at
Berlinale 2012. His latest project, Vengeance Is Mine, All Others Pay Cash won Golden
Leopard at Locarno Film Festival 2021.

Producer: Meiske Taurisia

(Please refer to Meiske Taurisia’s profile under Group Leader)

Producer: Muhammad Zaidy

34
Muhammad Zaidy began his career in Indonesia as a casting director for feature films
and music videos. He received his bachelor’s degree from Universitas Indonesia and
an MFA in New York. He produced several short films in New York and Los Angeles
before joining the publicist team at The Weinstein Company. In 2015 he returned to
Indonesia and became a co-producer for the feature film Athirah, along with Mira
Lesmana.

Along with Meiske Taurisia, he co-founded Palari Films and produced Posesif (2017),
directed by Edwin. Posesif won 3 Citra Awards at Festival Film Indonesia in 2017,
including Best Director, Best Actress, and Best Supporting Actor.

Muhammad Zaidy produced Aruna & Lidahnya in 2018, directed by Edwin. The film’s
cast included Dian Sastrowardoyo, Nicholas Saputra, Hannah Al Rashid, and Oka
Antara. Aruna & Lidahnya won two Citra Awards including “Best Supporting Actor” for
Nicholas Saputra and “Best Adapted Screenplay” for Titien Wattimena.

In 2021, he produced Ali & Ratu Ratu Queens, a Netflix original. The film was a
commercial success and became one of the most popular Indonesian films on Netflix.
The film won Citra Award in the “Most Favorite Film” category, and “Best Supporting
Actress” for Marissa Anita.

Zaidy’s latest film, Vengeance Is Mine, All Others Pay Cash, took home the Golden
Leopard, the top prize at the 74th Locarno International Film Festival. The film’s
ensemble cast included Marthino Lio, Ladya Cheryl, and Reza Rahadian. The film was
screened at the Toronto International Film Festival, Filmfest Hamburg, Busan
International Film Festival, and was selected as a festival opener at the Singapore
International Film Festival.

35
Session TWO (August 2022)
- Interchange. Directed by Dain Iskandar Said. Produced by Nandita Solomon.

Interchange, is Dain Said’s follow up to Bunohan and premiered on the Piazza Grande
at the Locarno International Film Festival 2016. The case study will look into the origins
of the story, the development and financing of the film, working with international cast
and crew and more with the director and producer/ scriptwriter, Nandita Solomon.

36
Director: Dain Iskandar Said

Dain Said is an award-winning Malaysian writer, visual artist and filmmaker whose
stories explore themes of memory, cultural hybridity and the human condition. His
versatile directing career spans features, tv commercials, creative documentaries and
video installations that have been produced and screened internationally. His critically
acclaimed features include Bunohan (2011), Interchange (2016) and Dukun (2018). His
latest feature, the horror Harum Malam (2022), is slated for release later this year.

Producer: Nandita Solomon

Nandita is the co-founder of Malaysian independent film production company Apparat,

which produces bold and game-changing films, that cross-over into international festivals,
sales and distribution. Apparat's first fiction feature, Bunohan (2011) was Malaysia's 2nd
official submission for the Foreign Language Oscar 2013. Apparat's films have been picked
up by Universal Pictures, HBO Asia and Netflix, and are screened at community-organized
events around Malaysia. Nandita has participated in international programs including
Locarno Open Doors Producers Lab, EAVE Ties That Bind and Crossing Borders. Nandita
serves as an Industry Advisor to the Malaysia Multimedia University's Faculty of Cinematic
Arts since 2019. She has served on the jury of the Jogja Netpac Asian Film Festival (2019)
and as a mentor for the Singapore SEA Film Academy 2020. Nandita is preparing for the
release of Harum Malam, a horror feature by Dain Said which she also co-wrote, as well as
Imaginur, a fantasy drama by Nik Amir Mustapha.

37
Session THREE (October 2022)
- Ajoomma. Directed by He Shuming. Produced by Anthony Chen and Co-produced by
Joonhan Lee

Ajoomma: The Curious Case Study of a Singaporean-Korean Co-production presented

by mylab & Platform Busan

Ajoomma, a debut film written/ directed by He Shuming, produced by Anthony Chen,

and co-produced by Joonhan Lee, has taken an unusual voyage from Singapore to
South Korea, featuring funding, location, cast and post-production from both countries.
With this case study, moderated by Liz Shackleton, we explore the journey of this
charming road movie, being the first Singaporean film to officially co-produce with South
Korea. Ajoomma world premieres in the New Currents Competition at the 27th Busan
IFF.

38
Director: He Shuming

HE Shuming graduated from the Puttnam School of Film and Animation, LASALLE
College of The Arts, Singapore. Recipient of a scholarship awarded by the Infocomm
Media Development Authority of Singapore, Shuming furthered his craft at the
American Film Institute Conservatory, where he completed his MFA in directing.
Shuming was conferred the Young Artist Award by the National Arts Council, one of the
most distinguished honours for the arts in Singapore.

AJOOMMA is his debut feature which world premieres at the Busan International Film
Festival in the New Currents competition.

Producer: Anthony Chen

(Please refer to Anthony Chen’s profile under Directing Mentor)

39
Co-producer: Lee Joonhan

Joonhan LEE is a Seoul-based filmmaker who runs The Whale Company, creating
quality Korean content that caters to world audiences.

Lee started his career in the TV commercial industry after finishing his studies in
photography at Chung-ang University. After a few years working as a commercials
producer in Seoul, he moved to New York to study cinema and received his MFA in film
producing from Columbia University.

He is the producer of the short film, “The Strange Ones,” directed by Lauren Wolkstein
and Christopher Radcliff which played at Sundance and SXSW. He also worked as
Consulting Producer for the feature version of “The Strange Ones,” which screened at
SXSW and Rotterdam International Film Festival in 2017. Lee also produced “The
Horizon,” directed by Minji Kang, an acclaimed feature-length interactive 360 VR film
that premiered at the 2022 Bucheon International Fantastic Film Festival.

Lee co-produced “Ajoomma,” directed by He Shuming and produced by Anthony Chen,

which is premiering at the 2022 Busan International Film Festival. Lee is developing
and producing an upcoming feature, “Mission” (a.k.a. The Seed), an international spy
action film with a Korean female lead.

40
Moderator: Liz Shackleton (Founder/ Editor of Streamlined & Asian Editor,
Deadline Hollywood)

Based in Hong Kong, Liz Shackleton is the founder of Chime Consulting, which
undertakes research and organises seminars and other events for companies exploring
the fast-developing content industries of China, India and the Middle East. She is also
Contributing Editor, Asia for Los Angeles-based Deadline (deadline.com), and recently
launched a weekly newsletter Streamlined (www.streamlined.news), about the content
industries in the Asia Pacific region, Africa and the Middle East.

41
8. mylab Projects

Project A

PROJECT TITLE (Original Language) : Mutlak

PROJECT TITLE (English) : Absolute
DIRECTORS : Effendee Mazlan, Fariza Azlina Isahak
SCRIPTWRITER : Fariza Azlina Isahak
PRODUCER : Effendee Mazlan
COUNTRY/REGION : Malaysia
GENRE : Action, Drama
LANGUAGE(S) : Malay, Indonesian
TOTAL BUDGET : MYR 11,000,000 | USD 2,417,040

Fariza Azlina Isahak Effendee Mazlan

LOGLINE
Centuries ago deep in the Nusantara jungles of Tana Purbamuda, a washed out warrior
leading a secret mission to assassinate a cannibalistic King risks derailing it when he
finds himself confronting a tragic past that binds him to the monarch he once served so
loyally.

EMAIL : fendi.mazlan73@gmail.com
EMAIL : sanggagaksdnbhd@gmail.com

42
Project B

PROJECT TITLE (Original Language) : Life I Stole

PROJECT TITLE (English) : Hidup Aku Curi
DIRECTOR & SCRIPTWRITER : Putri Purnama Sugua
PRODUCER : Tan Cher Kian
COUNTRY/REGION : Malaysia
GENRE : Drama
LANGUAGE(S) : Malay, Indigenous Languages
TOTAL BUDGET : MYR 1,250,000 | USD 300,000
PARTICIPATION IN OTHER LABS/ EVENTS :
2022 International Film Business Academy (Producing)
by Busan Asian Film School - AFiS
2021 Young Producer Workshop by Next New Wave
2021 Fiction Lab by Full Circle Labs Philippines
AWARDS WON FOR THE PROJECT :
2022 Asian Cinema Fund
2021 Most Promising Project Young Producer Workshop by Next New Wave

Putri Purnama Sugua Tan Cher Kian

LOGLINE
12-year old undocumented boy Nudin wants to attend a school trip to be with his
girlfriend Ina (12). His application has been rejected and he takes a chance in forging his
identity to achieve his goal. Attending the trip despite not getting approval from his
parents, later Nudin starts to foresee his circumstances living without an identity.

EMAIL : tancherkian@gmail.com
EMAIL : putripurnamasugua@gmail.com

43
Project C

PROJECT TITLE (Original Language) : Kaali

PROJECT TITLE (English) : The Depth of Darkness
DIRECTOR & SCRIPTWRITER : Gogularaajan Rajendran
PRODUCER : Kumanavannan Rajendran
COUNTRY/REGION : Malaysia
GENRE : Drama
LANGUAGE(S) : Tamil, Malay, English
TOTAL BUDGET : MYR 2,963,300 | USD 640,221
CONFIRMED FINANCING (Amount/Source) : MYR 108,000
PARTICIPATION IN OTHER LABS/ EVENTS :
2021 Next New Wave Producing Workshop
2021 Southeast Asian Project Pitch (SEAPITCH)
AWARDS WON FOR THE PROJECT :
2021 Next New Wave Support Award
2021 Krishen Jit Funds

Gogularaajan Rajendran Kumanavannan Rajendran

LOGLINE
1966, Plantation bordering a lush forest in Malaysia.
Kali (24) is a young wife and plantation worker of the Indian diaspora community who
struggles with her mother-in-law, Chellammal’s impatience to have an heir. She begins to
feel accepted when she eventually gets pregnant but a wrong decision triggers a
miscarriage and suddenly Kali faces the wrath of Chellammal, who turns everyone
against her.
Left alone, Kali discovers her divine connection to the forest and uses it to take revenge.

EMAIL : gogularaajan@yahoo.com
EMAIL : kumanavannan@gmail.com

44
Project D

PROJECT TITLE (Original Language) : 每一天，阳光和雨和风

PROJECT TITLE (English) : Maybe Today, If Not Today, Maybe Tomorrow
DIRECTOR & SCRIPTWRITER : Lim Han Loong
PRODUCER : Chua Jing Xuan
COUNTRY/REGION : Malaysia
GENRE : Family Drama
LANGUAGE(S) : Cantonese, Mandarin, Hakka Dialect
TOTAL BUDGET : MYR 1,980,550 | USD 455,527
CONFIRMED FINANCING (Amount/Source) : 83,000
PARTICIPATION IN OTHER LABS/ EVENTS :
2022 MIFFest Project Market
2022 Hong Kong-Asia Film Financing Forum
2021 HAF Film Lab
AWARDS WON FOR THE PROJECT :
2021 Script Consultation Award - HAF Film Lab
INTERNATIONAL PRODUCER(S) ATTACHED : Dax Pictures, Mainland China

Lim Han Loong Chua Jing Xuan

LOGLINE
In a town surrounded by limestone hills, where modernity and tradition coexist
uncomfortably, everything is changing fast as HOWE approaches adulthood - friends,
family, home; even the mountains. As he drifts between city and countryside, an
imminent death causes him to question his ideals.

EMAIL : hanloong.lim92@aiesec.net
EMAIL : dhp.chua@gmail.com

45
Project E

PROJECT TITLE (Original Language) : 非常葬礼

PROJECT TITLE (English) : Very Very Important Funeral
DIRECTOR & SCRIPTWRITER : Lim Kean Hian
PRODUCER : Omar Yunus
COUNTRY/REGION : Malaysia
GENRE : Dark Comedy
LANGUAGE(S) : Malay, Cantonese
TOTAL BUDGET : MYR 3,515,975 | USD 786,000
PARTICIPATION IN OTHER LABS/ EVENTS :
2021 Golden Horse Film Project Promotion

Lim Kean Hian Omar Yunus

LOGLINE
After the death of their Muslim-convert Chinese father, a Chinese Taoist elder brother
and his Malay Muslim younger half-brother fight for different burial rituals, they engage in
a ferocious Godzilla like battle of wits over their father’s dead body.

EMAIL : limkeanhian@gmail.com
EMAIL : nuar.yunus@gmail.com

46
Project F

PROJECT TITLE (Original Language) : 异地的天空

PROJECT TITLE (English) : Under Foreign Skies
DIRECTOR & SCRIPTWRITER : Anwar Johari Ho
PRODUCER : Eleanor Teh
COUNTRY/REGION : Malaysia
GENRE : Romance, Drama
LANGUAGE(S) : Mandarin, Sabahan Malay
TOTAL BUDGET : MYR 2,000,000 | USD 455,166
CAST/ CREW ATTACHED : 1. Shen Yilei (Cast)
: 2. Kelvin Yeoh (Cast)

Anwar Johari Ho Eleanor Teh

LOGLINE
Lei, a young Taiwanese woman living in London receives a mysterious wedding invitation
to her former Muslim Malaysian lover, Khairi. There, the past and present collide when
the bride, June, realizes that the two former lovers are very much still in love with each
other.

EMAIL : anwarjh.zian@gmail.com
EMAIL : eleanor.zian@gmail.com

47
Project G

PROJECT TITLE (Original Language) : Inahing Baka

PROJECT TITLE (English) : Mother Maybe
DIRECTOR : Sonny Calvento
SCRIPTWRITER : Arden Rod Condez, Sonny Calvento
PRODUCER : Sheron Dayoc
COUNTRY/REGION : The Philippines
GENRE : Fantasy Comedy, Drama
LANGUAGE(S) : Filipino, English, Japanese
TOTAL BUDGET : USD 600,000
CONFIRMED FINANCING (Amount/Source) : USD 150,000
PARTICIPATION IN OTHER LABS/ EVENTS :
2022 Full Circle Lab Philippines
2021 Sundance Institute Asia Intensive Program
AWARDS WON FOR THE PROJECT :
Scriptwriting Fund from CreatePH
Development Grant from CreatePH
INTERNATIONAL PRODUCER(S) ATTACHED : Weijie Lai (Singapore)

Sonny Calvento Arden Rod Condez Sheron Dayoc

LOGLINE
A son is reunited with his mother in Tokyo, Japan as their family joins an absurd but
high-paying Japanese game show on TV. But as he enjoys his renewed connection to
his mother, he discovers that at night, his mother becomes different.

EMAIL : hello@sonnycalvento.com
EMAIL : ardenrodcondez@gmail.com
EMAIL : sherondayoc@southernlantern.com

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Project H

PROJECT TITLE (Original Language) : Unmother

PROJECT TITLE (English) : Unmother
DIRECTOR & SCRIPTWRITER : Jen Nee Lim
PRODUCER : Ke Ning Lee
COUNTRY/REGION : Singapore
GENRE : Drama
LANGUAGE(S) : English, Mandarin
TOTAL BUDGET : USD 567,900
CONFIRMED FINANCING (Amount/Source) : USD 14,594/Pilgrim Pictures
PARTICIPATION IN OTHER LABS/ EVENTS :
2022 Full Circle Lab Philippines
2021 Asian Busan Film School

Jen Nee Lim Ke Ning Lee

LOGLINE
A free-spirited woman regrets becoming a mom when it dawns on her to become the
archetypal good mother, she must lose her personal identity to embrace this new selfless
one. A mythical being offers her a way out: unmother.

EMAIL : jenneelim@gmail.com
EMAIL : lee.kening@gmail.com

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9. Jury

a. Christian Jeune

Christian Jeune is Deputy to the General Delegate,Thierry Fremaux, and director of

the Film Department of the Cannes Film Festival, on behalf of which he takes care of
the selection and pre-selection process, takes care of foreign relations and conducts
a scouting activity of the works, especially in Asia. Jeune's long and prolific career in
the ranks of the Cannes festival began in 1983 at the Press Office and has held the
current position since 1995. He has also translated over 100 films from English to
French.

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b. Nashen Moodley

Nashen Moodley is in his eleventh year as Festival Director of Sydney Film Festival.
During his tenure, the festival has grown vastly. In 2019, the Festival program
presented 307 features and documentaries from 55 countries. Audience increased
63% from 115,000 in 2012 to a record high of 188,000 in 2019.

Moodley’s career in film programming has encompassed many leadership roles,

including Manager at the Durban International Film Festival (2001–2011) and as a
Programming Consultant for Dubai International Film Festival (2005–2017). During
Moodley’s 11 years at Durban International Film Festival, he dramatically increased
its content and reach. He also raised the profile of the African film industry by
establishing the Durban FilmMart, a program providing African filmmakers with the
opportunity to pitch film projects to financiers.

He has been a jury member at various film festivals worldwide including San
Sebastián, Busan, Toronto, Rotterdam, El Gouna, Durban and Tokyo film festivals.

Born in South Africa in 1978, Moodley studied English and philosophy at the
University of Natal and worked as a journalist before turning to film programming. His
writing has appeared in newspapers and magazines including The Guardian, GQ, the
Sunday Tribune, the Sunday Independent, and Mail & Guardian.

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c. Oh Jungwan

As the producer and founder of Bom Film Productions, OH Jung wan has focused on
producing accomplished feature films with a unique style that challenges the
conventional ideas of cinema.

Her filmography with Bom film productions includes the award winning box office
successes THE FOULKING( 2000), A TALE OF TWO SISTERS(2003), UNTOLD
SCANDAL(2003), A BITTERSWEETLIFE(2005), YOU ARE MY SUNSHINE(2005),
WOMAN ON THE BEACH(2006), NIGHT AND DAY(2008), A MAN AND A
WOMAN(2016).

As one of the most prolific and respected producer in the South Korean film industry,
she is also internationally established being a pioneer in cross border filmmaking by
partnering with filmmakers in Hong Kong, Japan and Thailand. She has been on the
board and jury member of many prestigious international film festivals and
organizations.

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10. Awards
a. FINAS Award by National Film Development Corporation Malaysia (FINAS)
One cash award valued USD 5,000 towards further development of the project

Winner
The Depth of Darkness (Kaali) (Malaysia)
Director / Scriptwriter : Gogularaajan Rajendran
Producer : Kumanavannan Rajendran

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b. TAICCA Award by Taiwan Creative Content Agency (TAICCA)
One cash award valued USD 5,000 towards the development of the project and the
invitation of the project participants to attend Taiwan Creative Content Fest (TCCF) to
pitch the project in Taiwan in 2023.

Winner
Mother Maybe (Inahing Baka) (The Philippines)
Director : Sonny Calvento
Scriptwriter : Arden Rod Condez, Sonny Calvento
Producer : Sheron Dayoc, Arden Rod Condez

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11. Selection Committee

a. Lorna Tee
(Please refer to Lorna Tee’s profile under mylab Curator)

b. Haris Sulong
(Please refer to Haris Sulong’s profile under mylab Advisor)

c. Nandita Solomon
(Please refer to Nandita Solomon’s profile under Case Study: Interchange)

12. mylab Team

Curator: Lorna Tee
Advisor: Haris Sulong
Project Coordinators: Lee Yve Vonn & Fong Lae Fhan
Designer/ BTS Photographer: Tony Tan Ying Huai @Black Canvas Room
BTS Videographer: Erik Moh & Kelvin Khoo @Plus One Studio
Webmaster: MC Chan @The Designers
IT Team: Eddy Tan Jia Cheng, Anis Husna Abd Aziz, Mary Grace Liew

National Film Development Corporation Malaysia (FINAS)

CEO: Prof Dr Md Nasir Ibrahim
Director of Production Management /Fund of FINAS: Mohd Fazli Abdul Aziz
Chief Asst Director of Fund: Siti Rahayu Ahmad Azmi
Senior Assistant Director (Funding): Siti Nor Aiysha Binti Masarudin
Executive Officer: Elysha Airul Ain Binti Jory Sham
Administration Assistant: Vimala Kirthi a/l Kunasilan

National Film Development Corporation Malaysia (FINAS)

The National Film Development Corporation Malaysia or known as FINAS is a

government agency and authority entrusted in spearheading the development of the
Malaysian film industry. Officially established since June 1981 through the National Film
Development Corporation Act (ACT 244), FINAS has been mandated as a statutory body
under the Ministry of Communications and Multimedia Malaysia (K-KOMM) with the vital
roles to uplift, nurture and facilitate the development of Malaysian film industry via its
strategies towards catalysing its domestic growth and its international visibility. Part of
the agency’s key missions are to position Malaysia as a privileged destination for
national and international productions; boost film industry services and facilities;
solidifying talent development with requisite skills and competencies, and; elevating the
support and encouraging the spirit of loving Malaysian films.

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13. Partners of mylab

a. Busan International FIlm Festival (BIFF) | Asian Contents & Film Market (ACFM)

The Busan International Film Festival (BIFF) is the largest international film festival in
Asia and the 27th edition of the festival will take place from October 5 to 14, 2022.

The Asian Contents & Film Market (ACFM) is a marketplace where diverse media
content from films to audiovisuals, publications, webtoons, and web novels are
traded.

As a networking and business platform for industry professionals worldwide, ACFM

provides various programs, including investment and co-production markets, industry
conferences and events, and film production funding programs.

Over 2,000 industry professionals from more than 50 countries participate in ACFM
every October during the Busan International Film Festival. ACFM 2022 will host a
physical market to provide in-person networking and business opportunities to
worldwide participants with online components supplemented.

For more information, please refer to https://www.biff.kr/eng/ |

https://www.acfm.kr/eng/

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b. Singapore Film Commission (SFC)

The Singapore Film Commission (SFC), part of the Infocomm Media Development
Authority (IMDA), is charged with developing Singapore’s film industry and nurturing
filmmaking talent. It is advised by a committee comprising members from the film,
arts and cultural community. Since 1998, the SFC has supported more than 800
short films, scripts, feature films, as well as film-related events in Singapore that
showcase home-grown talent and works. Some notable films by Singapore
filmmakers include POP AYE (Kirsten Tan), Ramen Teh (Eric Khoo), A Land
Imagined (Yeo Siew Hua), Ilo Ilo (Anthony Chen), the Ah Boys to Men series (Jack
Neo), and 881 (Royston Tan).

As part of its industry development role, SFC administers grants that are aimed at
supporting filmmakers to build up their portfolio and experience through the
production of content projects, as well as supporting filmmakers’ training and skills
upgrading at internationally renowned film labs and project development platforms.
Since 2019, SFC’s grant for Southeast Asia co-productions has also encouraged
feature film collaborations between Singapore creative producers and Southeast
Asian filmmakers.

For more information, please refer to https://www.imda.gov.sg/SFC

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c. Film Development Council of the Philippines (FDCP)

The Film Development Council of the Philippines (FDCP) is the national agency
under the Office of the President of the Republic of the Philippines responsible for
film policies and programs to ensure the economic, cultural, and educational
development of the Philippine film industry. It aims to encourage the film industry to
create quality films – from development to production, to distribution and exhibition -
and to conduct film-related events that enhance the skills of Filipino talents. The
agency also leads the film industry’s participation in domestic and foreign film
markets and local and international film festivals to promote and position Philippine
cinema to be globally competitive. It is also tasked to preserve and protect films as
part of the country’s national cultural heritage through film archiving.

For more information, please refer to https://www.fdcp.ph/

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d. Taiwan Creative Content Agency (TAICCA)

Established in 2019 by the Ministry of Culture, the Taiwan Creative Content Agency
(TAICCA) supports the development of Taiwan's creative content industry (CCI) such
as film and television, future content, publishing, pop music, animation, gaming,
performing arts, and visual arts by engaging in production, distribution, overseas
market expansion, branding, talent cultivation, industrial research and more.

We promote innovative growth in the creative content economy!

For more information, please refer to https://en.taicca.tw/

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e. Korean Film Council (KOFIC)

The Korean Film Council (KOFIC) is a public institution established to improve the
quality of Korean films and promote them and the film industry, a role entrusted by
the Ministry of Culture, Sports and Tourism, the ROK government.

Over the years, K-Movie became one of the representative public art genres of
Korea. And now, audiences from all over the world are enthusiastic about Asian and
Korean films. KOFIC takes the role of a ‘Pathfinder’ for K-Movie by performing
projects like various planning, development, and production support schemes which
can strengthen capabilities to create films and establish the foundation for growing
together with Asian films to lead the world market. In the future, KOFIC will continue
to make progress toward boastful K-Movies in the world that our people love.

For more information, please refer to http://www.koreanfilm.or.kr/eng/main/main.jsp

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Group Work Session

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One on One Session with Mentors

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Project Presentation (Rehearsal)

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Project Presentation

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One on One Meeting with Industry Guests

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