![]() Phone footage shot from a teenage POV occasionally intrudes on Jimmy Gimferrer’s careful compositions in a heady mix which follows up on Eu’s award-winning short It’s Easier To Raise Cattle, which also examined the idea of a pubescent girl as a monster and the scratchiness of female friendship. The unfriendly grey tiles of the senior girls’ toilets. The dripping forest, which can turn from enchanted to threatening. ![]() The brightly-coloured school, where girls in white sit in the scorching sun. The Malaysian millieu is unfamiliar, and Eu treats it as a character equal to Zaffan. ![]() Interested arthouse crowds, however, will find much that is surprisingly universal and true in this well-observed, fiercely female-centred coming-of-age drama. To get to the lucrative genre audience, it may need a final helping hand. Special effects, slight as they are, are flimsy and may benefit from further finessing, as this low-budget film – put together by a United Nations of backers – finds its way out of Critics Week at Cannes, helped by winning the top awards there. Growls in its depiction of the brutal nature of girl friendship This film will be billed as an art-horror, perhaps marketed in the same way as Sundance title In My Mother’s Skin from fellow Southeast Asian developing film force The Philippines, but it truly growls in its depiction of the brutal nature of girl friendship and the shock of the menstrual metamorphosis. Covered from head to toe but ready to break out of her hijab at the hint of a Tik Tok, Zaffan (Zafreen Zairizal) is chief amongst the many pleasures in Amanda Nell Eu’s feature debut. Tiger Stripes takes the viewer to a world within a world: the jungles of Malaysia, where an 12-year-old girl is about to be hit with the full force of puberty. Malaysia, Taiwan, Singapore, France, Germany, The Netherlands, Indonesia, Qatar. Conversely, we wanted to convey a distance to the adults, so scenes like the classroom and assembly felt slightly more rigid,” Eu continues.Source: Cannes International Film Festivalĭir/scr: Amanda Nell Eu. “I wanted to match the camera movement with the energy of the girls, so many scenes were shot via handheld or tracking. The production integrated as many camera styles as possible: handheld, tracking, dollies, pans, and fixed shots. Varying camera movements were also helpful in capturing the look of the film. A close-up of a bucket and Zaffan’s hand-washing movements take us between two different lighting states-one more naturalistic and another totally unreal.” Although the doorway is lit with natural daylight from a diffused M18, the turquoise neon light tints Mouna’s face in a way that could never be possible in the real world. Zaffan’s mother, Mouna, is wearing a cyan blue factory uniform, while the turquoise green now comes from inside the bathroom. Here, the background walls of the Surau (Islamic assembly building) are painted a saturated green turquoise while Farah is wearing a cyan blue prefect’s uniform. We lit the scene with natural light and large diffusion frames.” The cinematographer continues: “In the following scene, we are met with the same colors. ![]() Gimferrer reveals: “The first is a tense scene involving Zaffan and her best friend, Farah. This dichotomy is subtly shown in two consecutive scenes that vividly express Zaffan's loneliness and rejection. For instance, they sought a more natural yet extraordinary aesthetic for the exteriors. When depicting the girls as they are sheltered from the adult world, the two filmmakers were unafraid to experiment and push creative boundaries. DP Jimmy Gimferrer shooting with the AMIRA on setĮu and Gimferrer aimed to convey this intricate concept from script to screen using diverse techniques. ![]()
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