Chong Keat Aun attributes his years in radio, where he focused on social issues, to his deep insight into the marginalised. Photos: SunStrong Entertainment
Eight years ago, Chong Keat Aun was working on an interesting story for his radio show.
He was a deejay for a local radio station and on his show, he often highlighted social issues that fell through the cracks.
This particular story he was working on focused on the baby hatch facilities in Malaysia – a concept not widely known, where women can anonymously leave newborns in a safe space, offering the babies a chance at care and adoption.
After extensive research as well as interviewing his former college friend who volunteered at the facility, Chong was ready to go on air when he was told that this story was a no-go.
While disappointed, Chong never gave up hope.
He knew he wanted to tell this story. If not on the radio, perhaps somewhere else, some other day.
He kept the idea buried within him.
Chong would quit his job as a deejay a year later to fulfil his dream to be a filmmaker.
Fast forward to 2021, Chong – fresh from winning the best new director trophy at Taiwan’s Golden Horse Awards for his debut movie The Story Of Southern Islet – was approached by local production company SunStrong Entertainment which was interested to make a film about women and abandoned babies.
Talk about kismet.
“When I pitched the idea to the producers, they were very receptive.
“I shared my vision with them, and they agreed that it was a story worth telling,” Chong told StarLifestyle at an interview in Tokyo in late October where he was invited to attend the Tokyo International Film Festival (TIFF).
Thus Pavane For An Infant, Chong’s third and perhaps most controversial feature, was born.
Fish Liew (right) and Natalie Hsu star in 'Pavane For An Infant'.
Based on true stories, the movie stars Hong Kong-based Malaysian actress Fish Liew as a social worker in a baby hatch who takes an interest in a troubled young girl who is contemplating abortion.
The film also features Hong Kong actress Natalie Hsu and Malaysian theatre thespian Pearlly Chua.
Shot in 2022, the movie was made with a budget of RM6.75mil, believed to be the highest production cost for a local Chinese film.
Pavane For An Infant made its world premiere at the recent TIFF – which ran from Oct 28 to Nov 6 – where the movie was the sole Malaysian production selected to compete in the Asian Future section alongside nine other films.
The Asian Future category is TIFF’s competition section for emerging Asian filmmakers.
For those unfamiliar, the baby hatch concept, Chong explained, was introduced in Malaysia in 2006.
“Baby hatches provide a safe place for women to leave babies anonymously. Here, we have both NGO-run hatches and government-operated ones in hospitals, but many are still unaware of their existence,” Chong said, adding that stigma and fear of repercussions make some women avoid official facilities.
Earlier in March, Women, Family, and Community Development Minister Datuk Seri Nancy Shukri said that a total of 509 cases of baby dumping were reported between 2018 and February this year.
Chong spent one-and-a-half years in preparation for the film – speaking to doctors, volunteers and women who have left their babies in hatches.
From his research, Chong said baby abandonment was on the rise during Covid-19’s movement control order.
He attributed it to “the increased social isolation and pressures” during the pandemic.
Those aware of Chong’s work should not be surprised that he is tackling yet another sensitive issue.
Earlier this year, his second feature Snow In Midsummer touches on the racial riot of May 13 in Malaysia.
Chong attributes his years in radio, where he focused on social issues and cultural topics, to his deep insight into the marginalised.
“During my time with RTM (radio), I saw a lot of Malaysian social problems up close, and I collected stories from (people at) the bottom of society.
“That’s why my stories tend to revolve around the struggles of women, the marginalised, and the darker aspects of society,” he reasoned.
Chong studied film and TV at a local university and embarked in a career in the creative industry after he graduated.
“My first job was a film editor, then I became a reporter for a Chinese newspaper, and then I became a director for documentary shows.
“My fourth job, I was a radio deejay for 12 years,” he said in a previous interview with StarLifestyle.
Chong Keat Aun flanked by the stars of 'Pavane For An Infant', Natalie Hsu (left) and Fish Liew, at a screening of the film at the recent Tokyo International Film Festival. Photo: ©2024 TIFF
He is also known to work tirelessly to preserve Malaysia’s cultural heritage.
Chong has advocated for the preservation of various Chinese dialects, dedicating his own resources to travel across the country to interview elders, recording their stories, poems and opera folk songs.
At the moment, Pavane For An Infant does not have a release date in Malaysia.
According to Chong, he spent five months in discussion with the National Censorship Board (LPF) for Snow In Midsummer. It was finally approved after he agreed to cut or blur out 27 scenes.
“Still, I try to stay positive,” he sighed.
“When I’m writing a movie, my main responsibility is to tell the truth, based on what I’ve gathered from society.
“I can’t censor myself just because the subject might be sensitive. If I make a film only to meet censorship guidelines, it’s limiting,” Chong said.
“So, I choose to focus on telling the truth, even if that means my films are shown internationally rather than in Malaysia,” he said.
Chong Keat Aun says he spent five months in discussion with the National Censorship Board (LPF) for 'Snow In Midsummer'. The film was finally approved after he agreed to cut or blur out 27 scenes. Photo: Handout
Despite the challenges, Chong remains committed to his motherland.
He shared that he has received many offers from Taiwan and Hong Kong wanting to collaborate with him but he chooses to stay in Malaysia.
“I know my country well. I want to tell stories that are often overlooked by mainstream media.
“While I appreciate the funding and opportunities that come from abroad, my focus will always be on the stories that resonate with my own cultural context,” he concluded.
