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Spotlight on Edmund Yeo

MUBI Special

“The further I was from Malaysia, the more I became aware, or curious, of its politics and history. Perhaps having a little bit of distance allowed me to see things better, thus I had this strong yearning then, to tell stories about contemporary Malaysia and its people.”
––Edmund Yeo

We are proud to spotlight filmmaker Edmund Yeo—the youngest Malaysian director ever selected by the Venice Film Festival—with a series on his off-center, dreamlike cinema. Distinguished by an original balance between action and contemplation, as well as an immersive use of the long take, these are films which portray life on the margins through a cinematic approach that is humble yet deeply resonant.

Inhalation

Edmund Yeo Malaysia, 2010

Next up in our spotlight on Malaysian director Edmund Yeo is this short and teasing ode to young love. Partly set in Japan, this intimate and introspective look at a relationship also holds a mirror up to broader global issues: Inhalation effortlessly flits between the self and the world outside.

Last Fragments of Winter

Edmund Yeo Malaysia, 2011

With his oneiric and contemplative films, Edmund Yeo has earned his place as a startling new voice in Southeast Asian cinema. This short film, which the director himself calls a “cinematic poem,” is a drifting wander through characters and places, imbued with graceful melancholia.

River of Exploding Durians

Edmund Yeo Malaysia, 2014

Our focus on filmmaker Edmund Yeo concludes with River of Exploding Durians: the writer-director’s poetic first feature-length film and a return to his native Malaysia. A bifurcated story of young love that at the same time subtly and subversively explores a range of socio-political issues.

Exhalation

Edmund Yeo Malaysia, 2010

We continue our Edmund Yeo focus with this enigmatic short capturing the many textures of grief. Shifting between stark monochrome and dappled color, Yeo is finely attuned to the luminosity of the Japanese landscape. This melodious mood piece is rich in atmosphere, with the strange feel of a dream.

Kingyo

Edmund Yeo Japan, 2009

We continue our focus on Edmund Yeo with this short, bittersweet reflection on the relics of a complex love affair. Kingyo shows two lives colliding through the vivid use of a split-screen, imaginatively visualizing this encounter via free-floating memories and incidental moments of visual symmetry.

Love Suicides

Edmund Yeo Malaysia, 2009

The second film in our Edmund Yeo’s focus is a loose adaptation of a short story by Japanese Nobel Prize-winner Yasunari Kawabata. This dark tale of mental abuse between a mother, her daughter, and an absent father, is absorbing in its mounting tension—a portrayal as realistic as it is mysterious.

We, the Dead

Edmund Yeo Malaysia, 2017

We’re proud to kick off a new series on the off-center, dreamlike cinema of Malaysian filmmaker Edmund Yeo. First up in our spotlight is his latest feature: a sweeping tale of displacement and morality, Aqérat sheds light on human exchange and the interstices between art and history.

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