Anonymous Spirits (2017) by Azharr Rudin

60 minutes / silent

An unspecified number of probable revolutionaries go on a self-imposed exile on an island of believers and cross-dissolve and camouflage into the otherwise typically inaudible world of spirits. These are moments and roles of in-betweens, the c-sides, – (re)birthing common people plants, off-screen mostly – before they return to the homeground. A bird-like apparition believed to be descendant of dinosaurs features rather prominently. A silent, mystic, minimalist, animist, non/minimal narrative, resistance film. Filmed with vintage lenses – mostly survivors of a break-in.


AZHARR RUDIN’s Majidee (2005), a film which explores trust and kindness between strangers as its central theme, won awards at film festivals in Hawaii, Tokyo and Singapore. His “sophisticated experimental sextet” The Amber Sexalogy a “​…sometimes whimsical, often lyrical vignettes of longing and love”​ debuted at the 2006 Singapore International Film Festival. His films have also been featured in film festivals across the globe and telecasted by local and international broadcasters.

His debut feature film Punggok Rindukan Bulan (This Longing), an “introspective film that captures the lives of those living in a run-down low-cost flat slated for demolition in Johor Bahru” premiered at Pusan in 2008, and has been described as “uplifting”, “poignant”, “mysterious”, “daring”, “astonishing”, “authentic” and “evocatively captures sense of liminality.” It was also listed as among the best films of World Cinema in 2008/09. His recent films Rumah/Tok (House/Grandparent) and Tukang Perahu Pulau Duyong (The Boatbuilders of Mermaid Island) were awarded the best documentaries in Malaysia in 2013/2014. While Lebuh Agrarian (Agraria Road) utilizes nostalgia and spirituality as tools for civil empowerment and resistance.

Recurring themes in Azharr’s films and partially edible installations span across (yet not limited to), places in transition to marginal our/her/histories and perspectives. His works have shown/exhibited/stored in various places and also available in multiple outputs including partially edible installations and digital prints.