Lacking the funding to realise it through conventional means, Hisham turned to an unconventional collaborator: generative artificial intelligence.
By combining various AI tools with traditional post-production techniques such as editing, colour grading and sound design, the filmmaker brought “Parut” to life. And, against the odds, it has since earned international acclaim.
“My interest in how people live with scars long after the physical pain has passed inspired this story,” Hisham told FMT Lifestyle, “especially survivors of severe burn injuries, who often bear visible scars and face social judgement.”
He was particularly moved by accounts of young women in India who survived acid attacks. “Their resilience and courage stayed with me – as did the silence and stigma surrounding their lives.”
Written during the pandemic period in 2021 and refined over several years, “Parut” was independently realised through a tightly controlled, self-directed filmmaking process.
The film centres on Alila, an Indian burn survivor raised Hindu, who moves in with her estranged Malay-Muslim stepfather, Shaimin, a traffic police officer.
When long-buried truths from a Hindu temple riot 24 years earlier resurface, their fragile relationship becomes a quiet meditation on family, duty and the invisible wounds that define people.
Every element of the film – from visuals to music – was created using generative AI. In a personal touch, Hisham even lent his own voice and likeness to the character of Shaimin.
Running at approximately 90 minutes, “Parut” has impressed juries worldwide, often competing alongside live-action productions.
It won Best Feature Film at Season 3 of the Frames of New York festival and Best Narrative Feature at the 4th Dimension Independent Film Festival.
It was also a finalist for Best Feature Film at Austria’s Ardélion Gala Awards and the East Village New York Film Festival.
“I’m genuinely grateful – and somewhat surprised,” Hisham admitted. “’Parut’ began as a very personal, independent project without the backing of a production company or large team. The international response has been truly eye-opening.
“It’s comforting to see that a subtle, character-driven story from Malaysia can resonate beyond its local context.”
The rise of AI in creative industries, however, remains contentious. Artists, filmmakers and audiences continue to debate what it means for technology to enter spaces once seen as uniquely human.
The introduction of fully AI-generated performers – such as Particle6’s virtual “actress” Tilly Norwood – has drawn criticism for potentially threatening real actors’ livelihoods and diminishing human artistry.
Hisham, however, believes the industry cannot afford to ignore AI, but must engage with it critically. For him, storytelling and craft will always outweigh the tools used.
“From my perspective, AI is often misunderstood as a shortcut,” he said. “In reality, it operates within strict limits and relies heavily on human judgement, intention and effort.
“It’s not meant to replace live-action filmmaking or animation – and I don’t think it should be framed that way.”
He stressed that he didn’t produce “Parut” to make a statement about technology. “I see AI as a practical tool for independent filmmakers working within constraints, not a substitute for human creativity,” he said.
Far from reducing creative labour, Hisham noted that AI demands more of it. Writing, directing and editing decisions still require deep involvement and constant refinement.
For now, “Parut” remains an independent, non-commercial project, with the director focused on completing its festival run.
He hopes Malaysian audiences will eventually have the chance to see the film, possibly through curated or limited screenings rather than the conventional commercial release.
And looking ahead, Hisham remains committed to telling Malaysian stories.
“As Malaysians, we have countless stories still waiting to be fully told – stories rooted in our everyday lives, diversity and shared humanity,” he said.
“I want to continue uncovering these stories and, by whatever means possible, expand the reach of Malaysian cinema.”
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