Yasmin的大愛

Yasmin Ahmad (July 1, 1958 - July 25, 2009）

我和Yasmin Ahmad不熟。但每次相遇，她都顯得非常熱情。她說的每一句話都很誠懇，叫人無法不相信她說的都是真的。我認識她只是近幾年的事，印象中她是位不擇不扣樂天派的人，像個小孩般蹦蹦跳跳。談吐間，她是學者型的；待人處事，她是博愛型的。從她的電影，可以看到她的思想和為人。她的電影創作很誠懇，在電影里對愛的態度，和她生活里對愛的態度一樣。失去這樣一位讓人尊重而才華洋溢的人，我只能說，這是上天的安排。我愿意接受這樣的安排。我將以重溫她的電影來思念她。

《Rabun》, 2003

《Gubra》, 2006

《Mukhsin》，2007


Yasmin Ahmad在何宇恒的電影《太陽雨》演出

《Talentime》, 2009

玛力勿莱补选 万岁！

见玛力勿莱补选回教党惨败（只胜出区区65张票），我真的高兴得欢呼起来！民联的不团结、不争气、违背民意、开始腐败的现象，终于反映在选票上。308没被民联夺权，如今想来，还真算是国人的福分啊！

国阵快加把劲，把民联的虚伪刺穿，让狐狸尾巴现身！

敌不动，我不动！

你动了没？

狗开始了它无耻的反击

从霹雳州以利诱威迫成功变天的事件，到现在黄洁冰裸照风波，那只可耻的狗，那只被迫跳墙的落水狗，已无可救药。

虚伪的话已经毫无意义，国阵任何朋党或党员对此没有表达对巫统不满的，便代表他认同巫统如此下流的手段，便是共犯，便是可耻的一条狗。

我要说，如果你们还包持为了自保或自身利益而投票给国阵候选人的话，你们就是时代的罪人。你的身份也许很卑微，非常微不足道，但是，你也足以成为一个微不足道的时代罪人，又或者成为一个微不足道的时代功臣。民联并不完美，我绝对同意（如回教议题），但是国阵现在是可耻啊！可耻啊！

禪風一致化、人事本土化

我敬重的聖嚴法師於2009年2月3日下午四點圆寂。

聖嚴法師的简介，可参阅http://zh.wikipedia.org/wiki/%E8%81%96%E5%9A%B4%E6%B3%95%E5%B8%AB

以下截自上述网站：
因多年腎臟病纏身，台大醫院曾建議換腎，但聖嚴法師仍堅持不換。法鼓山一名法師說：「師父本身對生死有一定的看法，他的佛法觀念就是，腎身敗壞是一個自然的結果，不用再去做額外的事情。師父也講過說，他已經那麼老了，換一個新的腎，其實是一種浪費。」

聖嚴法師的十點遺言：
聖嚴法師指示身後不發訃聞、不傳供、不築墓建塔、不立碑豎像、不撿堅固子。儀式以簡約為莊嚴，懇辭花及輓聯。並要確保法鼓山的法脈宗風，凡由他創立及負責 的道場，舉凡道風的確保、人才的教育、互動的關懷及人事的安排，都應納入統一機制。國外的分支道場，則以禪風一致化、人事本土化為原則，以利純粹禪法之不 墮，並使禪修在異文化社會推廣。

华教尊严的坟墓

我不打算讲太多，关于新纪元学院风波的事。如果你愿意，不妨到“http://www.malaysiakini.com/cn/”查看，那里的报导最公正。大型华报的报导就不看也罢，它们有些被政治化了。

叶新田领导下的董教总，已然成为一个百分百政治性团体。它的处事态度与做法，跟政党一模一样。简言之，就是不顾仁义道德， 不诚实，“打死BA CHAO”（广东话），包着不是你死就是我亡的精神。任何继续供奉它为华教义士伟大团体的人，都是盲目而固执的人；请擦亮你们的眼睛，问问自己是不是将成为一个文化的罪人。看叶老如何处理新院风波，对他的为人已再清楚不过。

我写这篇文章，是看到叶老一方对孙春美老师的恐吓性警告后，决定以最不暴力的方式道出自己的想法。那就是，叶新田，你将是第一位把华教尊严带进坟墓的华教领袖。拥有你这种杀死我们优良文化传统美德的罪人，比拥有一个杀死数十无辜百姓的变态连环杀手更为可悲。以后如果我们的孩子、孙子以华教为耻时，很可能就是源于你今日所作所为。

政治游戏

最近读了一篇欧阳文风的社论，觉得蛮有同感。去年（是啊，已经是新一年了）308大选，反对党没成功执政，也许是件好事。看他们表现至今，的确还是处于权力之争，而非迈向某个政治理念。许多的争议，都沦为口角之争，而非理念之争。总以打倒对方为最终目的，而非以改革理念为目的。总而言之，处理得儿戏而不成熟。安华对敏感课题（如回教法）的发言，也不诚恳，和巫统惯常把国人当作白痴看待的态度没多大差别。对此，我蛮失望的。

也许，当初308时的热情太过戏剧性了，并不真实。真实的情况是，政治游戏始终是政治游戏。而且是一种不太成熟、有点看不起老百姓的政治游戏。

有空来看电影

我的短片《Yandsen Can Do》（衍生可以）将在下星期一播放，欢迎有空来看电影。


以下是放映会详情：

Don't miss Monday's Malaysian Shorts, featuring a dazzling line-up that includes films that wowed audiences at Cannes Venice and Clermont-Ferrand!

Free admission

Kelab Seni Filem Malaysia presents a bumper edition of...

Malaysian Shorts

Monday 12 January 2009, 8.00pm
HELP University College, Pusat Bandar Damansara, KL

Presented by Amir Muhammad
The directors will be in attendance for Q&A
Free Admission
Enquiries: 012-2255136

1. Bila Gambus Tak Berlagu (When the Oud Bears No Song) (Maszlida Hamzah; 2008, 13')
Director's statement: "An experiential journey into a 'lost world', one that is closely tied to the spiritual, musical, traditional and metaphysical anxiety of a man who strives to bring it back to where it belongs: the kingdom of the heart. The combination of rhythm, shot, colour and emotion is a human, painterly quality inherent in all of us, that is meant to break the illusion/reality of the poetic life we lead". Funded by FINAS.
Maszalida Hamzah teaches at the Faculty of Artistic and Creative Technology, UiTM. She wrote about the semiotics of Garin Nugroho's photo-poetry for her MA thesis.

2. Yandsen Can Do (Kok Kai Foong; 20' 18")
A stranger comes to Yandsen asking for rental fees. What should Yandsen do about it?
Director's statement: "Art space has some unique characteristics. Reality bites, so does the reality of an art space.
Kok Kai Foong studied computer science in Taiwan. His short films have screened at Rotterdam, the Busan Asian Shorts and Clermont-Ferrand. His short The Circle (2004) won the Silver Award at the 2nd Astro Chinese Short Film Competition.

3. Twilight Tears (Albert Hue; 2008, 10' 21"; Super 16mm)
How long will love last before the miles ahead run out? The city drowns out echoes from a past; Susan seeks for answers in distance and time, but is resigned to silence. Can motion begin in static?
Albert Hue has just returned from a stint in Singapore working on film production.

4. Love Suicides (Edmund Yeo; 15' 30")
A woman's relationship with her young daughter veers into a dangerous path of self-destruction and abuse when she starts receiving a series of mysterious letters from her long-departed husband.
Edmund Yeo did a graduate course in film production at Murdoch University, Australia. He joined Woo Ming Jin's Greenlight Pictures in 2007 and worked on productions such as Kurus (Days of the Turquoise Sky) and the short film Blue Roof. Currently he is doing his Masters in Tokyo, where he is struggling heroically to learn Japanese.

5. The Last Supper (Normen J Arule; 2008, 18')
Jenna Pathelani, a cop, is still traumatized after a near death psycho abduction 5 years ago. Now, she is losing her mind and senses when her superior Capt Miller throws her into an interrogation room with a bloodthirsty cannibal...an open invitation to his Last Supper.
Normen Arule is a graduate of the International Academy of Film and TV in the Philippines. He has made 5 shorts, and co-wrote and co-directed 3 others. Currently he is collaborating with writers from Hollywood on online scriptwriting.

6. Respire (Ho Widing; 2005, 15')
Respire is set in a fictional world transformed by a deadly, airborne virus in which people are required by law to wear masks at all times. A young girl who knows her time is short decides to enjoy one last day with the boy she likes. Winner of 2 awards at Cannes 2005: Kodak Discovery Award for Best Short Film and TV5 Young Critics' Award; winner of Best Short Film Award at SITGES Fantasy Film Festival, Catalonia, Spain 2005; Special Jury Award, Taipei International Film Festival 2006.

7. Summer Afternoon (Ho Widing; 2008, 15')
Three friends go on a road trip, but when a prank goes wrong, things take a twisted turn. Shot in real time, in four long takes. Screened at Cannes Directors' Fortnight; in competition at Taipei Film Festival 2008.
Ho Widing, an expatriate Malaysian, studied at the New York University Film School and now works in Taiwan as a TV commercial director. He is working on his first feature, Taipei Sunday, a joint Taiwan- Philippines production about Filipino migrant workers in Taiwan.

8. Adults Only (Yeo Joon Han; 2006, 10')
As several old men and women perform their daily, practical tasks and three children silently suffer their weekly piano lessons, a metaphor is spun, exposing the vicious cycle of pragmatic living that constantly plagues people. Best Short Film, Stockholm Festival 2006; Special Mention, Venice Film Festival 2006, and screened at over 20 international festivals.

9. Girl in a Soap Bubble (Yeo Joon Han; 2006, 30min)
A near-silent comedy set in a laundry shop. A romantic comedy on one level, it is also a Chinese box of a film, playing on its audience's expectations and cheekily cautioning us against judging a person by the clothes he wears. It premiered at Clermont-Ferrand, and was so well received that it was re-screened there the following year.
Yeo Joon Han's debut feature Sellout premiered in competition at the Venice Film Festival's Critics' Week, was rapturously received at every screening, and won the Young Cinema Award for Alternative Vision. It also won the NETPAC Award at the Taiwan Golden Horse Film Festival 2008.

10. Everyday Everyday (Tan Chui Mui; 2008, 17' 37")
Sook Chen has quit her job. She has decided to go to Peru. Ma can't understand why. In fact, he can never understand what Sook Chen wants.
Mui has recently made 7 new short films, of which this is one. They will screen at Rotterdam later this month, where Mui will serve as a jury member for the short film competition.

Total running time: 149 minutes

当我们同在一起

我的新年新希望，但愿世界和平，人类有良心。

良心是最不合理的奢侈品。但不妨放纵自己挥霍一下，挥洒人类独有的、目前最为昂贵的珍品，良心。

民主的前夕

自从RTM2的华语清谈节目《你怎么说》被腰斩，接着新闻部宣布国营电视台大重组以来，发现到华语新闻的内容明显保守了，特别是我最常看的RTM2八点华语新闻。其中最明显的就是反对党对抗政府的言论被大量削减。如此一来，只剩下8TV的还可以，其余像RTM2和NTV7都不行。

纳吉明年三月才上任，可现已进行新闻封锁了。上任后的情况，可想而知。好好珍惜《当今大马》（http://www.malaysiakini.com/cn/）吧。

如今阿都拉急急欲通过司法、反贪、证人保护令等法案，都是没有实质意义的，因为所有这些法案的掌权者都还是政府（首相）。总之，只是一场政治游戏。又再次证明，巫统根本就没有改变的心意。这些小动作，都只是收买“笨人”心而已。我们再笨，也不能如此笨啊！

今年变天失败，真是非常遗憾的事情。希望反对党在下次大选时，还有筹码可以争夺（我特别担心“蠢蠢欲动”的回教党坏了大局）。要是反对党势力被政府逐一击破，马来西亚便又回到民主无望的后马哈迪时代了。

向来课题报导尖锐的RTM2八点档华语新闻的成员们，对于如今被封口的局势难道不能集体罢工反抗吗？后来我想，两餐的问题，也是无可厚非的。我明白，不怪。

唉！