Horror and horror-comedy films can be considered the building blocks of Malaysia’s cinema scene. But “Tan-Ti-Ana”, the latest offering by director Rosdi Md Dali, defies all expectations and boldly declares: “Who needs coherent storytelling and competent filmmaking anyway?”
Not much effort seems to have gone into this 100-minute effort that proves not all films can be gems like “Pontianak Harum Sundal Malam”, “Hantu Kak Limah” or “Roh”.
No, “Tan-Ti-Ana” is a unique specimen, showcasing how a local movie can go wrong in every conceivable way.
Not only is it poorly written, directed and edited, it’s the sort of product that could lead audiences to conclude our local cinema industry has a very long way to go, even if this is not actually the case.
The worst part of this is that the premise of “Tan-Ti-Ana” actually has the makings of a great horror-comedy. The story follows three friends – Razman (Jay Iswazir), Roy (Zalif Sidek), and Jojo (Joey Daud ) – who aspire to make a mark in the local film scene.
Their big chance arises when a producer named Datuk Kadir (Kamarool Hj Yusoff) resurrects an abandoned horror-film project titled “Hantu Filem Malaya” and enlists the trio, who organise audition sessions to find the perfect actor for the role of the ghost.
During their search, a beautiful woman (Atikah Suhaime) mysteriously emerges, aces the audition – and disappears. Despite being spooked, the three are convinced she is the perfect person to play the ghost. Fools.
They embark on a hunt to find this mystery woman, which leads them to a faraway village where they learn she is actually a supernatural being owned by a bomoh (Rahim Razali).
He agrees to let her be part of their project, but with two essential conditions – which, naturally, the guys breach. The grieving hantu is thus unleashed, and chaos ensues.
One of the most glaring issues with “Tan-Ti-Ana” is its inconsistent tone. The musical choices, for example, feel thematically disconnected, reminiscent of a low-grade television series and contributing to an overall amateurish vibe.
The lack of contextual information, too, is a notable flaw. There’s an opening sequence that introduces a mysterious demonic entity in 1959, but beyond that, the film neglects to provide essential details about Tantiana’s origins and motivations.
This leaves viewers grappling with unanswered questions throughout, hindering their ability to fully engage with the so-called storyline.
Pacing issues further impede the audience’s engagement, as the delivery of lines lacks urgency – characters often take their sweet time reacting – and feels disjointed.
To be fair (if we must), there are moments where the over-the-top comedy almost works. A chuckle may escape your lips, but that’s the only entertainment “Tan-Ti-Ana” offers.
The absurdity of a supernatural entity being introduced to the world of movies and auditions is laden with potential. Sadly, “Tan-Ti-Ana” fails to capitalise on this comedic goldmine that could have elevated the film into a prime example of satirical storytelling.
Ultimately, this is the sort of product that raises important questions about the quality of filmmaking in Malaysia, and highlights the need for a more discerning approach to selecting and producing movies that truly reflects the talent and potential within the local industry.
And dare we say, Malaysian directors should start taking notes from Amanda Nell Eu’s “Tiger Stripes” – now on Netflix – a local indie film that shows how clever storytelling, good casting, and a clear directorial vision can birth a cinematic horror masterpiece.
As of press time, ‘Tan-Ti-Ana’ is screening in cinemas nationwide.