MAILUKI FILMS

Thrilled to announce that two shorts by Mailuki Films have been selected to be part of the Santa Cruz Film Festival, California:

Anyone lived in a pretty how town, by Daniel Kreizberg/ Lithuania, Monaco, USA
My Plastic Mother, by Amar Haikal/ Indonesia

The festival will take place from 14 to 17 October in Santa Cruz, CA.
And the screenings will be held at the spectacular Landmark’s Del Mar Theatre.

Both short films are two of the most successful projects of the year on the film festival circuit and are on the longlist for the 99th Academy Awards®.

Amar Haikal about MY PLASTIC MOTHER:

I grew up without my mother. As a kid, I did not really consider it to be a problem until I saw the relationship my classmates had with their mothers. For example, family photo days in elementary school were always a terror; the other kids brought in photographs of their whole family, and all mine had was just a photo of me and my father. It made me feel incomplete. I would then end up crafting well-thought-out lies to my friends about my mother working overseas. I slowly became a very troublesome and hurtful kid, to the point of expulsion in the sixth grade. As I reflect, the frustration and confusion that I kept to myself were the one that led me to hurt others around me.

With this film, I want to encapsulate those years of my childhood. It is a story about longing and the desire we all have to feel complete, interpreted through the pure desire of a child. The protagonist is a naughty, harsh boy that secretly keeps a lot of pain inside – which is also a trait most male don’t get the chance to outgrow.

In 2021, as I was shooting a documentary project in the landfill of Bantar Gebang, a huge landslide happened. Burying hundreds of old public graveyards with plastic waste sent from the capital, Jakarta. The locals refer to the kids who play in the landfill as “Anak Macan” or “Tiger Boy” due to their reckless nature. But I see it as an ironic relation to the mascot of Jakarta, the Kemayoran Tiger. All the characters in this film are played by non-professional actors, they are the kids who live in Bantar Gebang. This story is theirs as much as it is mine.

Daniel Kreizberg about ANYONE LIVED IN A PRETTY HOW TOWN:

n the American poet E.E. Cummings’ widely beloved poem anyone lived in a pretty how town, the primary characters anyone and no one transcend their cynical community to develop a profound love relationship. Spanning many years and life cycles, this meditation on ordinary lives and overlooked connections has had great meaning to me since I first encountered it a decade ago. Initially published amidst global upheaval in 1940, its post-modern critiques of social conformity and industrialization feel even more relevant today, when both our public discourse and our private lives are facing remarkable challenges.

In recent years, I discovered that Cummings’ lyrical elegy has deep resonances with a piece of music that is very personal to me: my late father’s final recording. Yakov Kreizberg was a renowned maestro and died of a long illness at age 51 when I was only a teenager. His last recorded work, the much-performed Ralph Vaughan Williams tone poem The Lark Ascending, was called “perhaps the finest on record” (ClassicFM) after he performed it with the Monte Carlo Philharmonic Orchestra, roughly 100 days before passing away, in what is now the Yakov Kreizberg Hall. While the music’s romantic sensibilities are as apparent as its nature themes, the work originated during the First World War, and heard alongside the Cummings poem, expresses both the ecstasy of the spirit as well as life’s storms and challenges. Incredibly, and almost mystically, each musical line seems to support each line of the poem, in a symbiosis that is beyond words.

After discovering E.E. Cummings’ own paintings, which are dreamy, almost fragile oil and watercolors and which are an often overlooked part of his artistic legacy, I became convinced that the transporting world of his perhaps most widely anthologized poem had to be brought to life in the poignant style of his visual art. Together with the STUDIO and Meinart Animation Studio, we spent eighteen months meticulously crafting animation in which every frame contains the feel of an artist’s hand. Furthermore, my father’s music evokes vivid colors that lend themselves perfectly to the impressionistic paint colors Cummings favored. And, inspired by the nature themes inherent in both the poem and the music, Cummings’ words are given gripping resonance through a reading by legendary ethologist and conservationist Dr. Jane Goodall, DBE, whose tender voice lends gravity to Cummings’ work and suggests that new human and social values are needed for our own well-being and a sustainable planet.

Collaborating with my father on this film, across the seeming boundary of life and death, is the realization of an impossible dream, perhaps best articulated by Cummings’ own words in the poem: “wish by spirit and if by yes.” Ultimately, our film is about that which is everlasting: the lives we touch, the impact we have on the world, the legacies we leave behind. Our protagonist embodies the fundamental humanity found within any one of us, while The Lark Ascending celebrates the eternal spirit we all carry, one which yearns to soar and be free if only we will let it.

May anyone lead the way.