Resurrection (Seru)

A Tayangan Unggul presentation of Hanamia Services production. (Worldwide sales: Astro Shaw, Selangor.) Created by Gayatri Su Lin Pillai, Mohammed Helmi Yusof, Nazrul Asraff. Directed, compiled by Woo Ming Jin, Pierre Andre.With: Ahmad Shaarnaz, Khatijah, Nisha Dirr, Cut Mutia, Awal Ashaari, Pierre Andre, Nora Danish, Dewa Sapri. (Malay, British dialogue)Murky color and jerky movement are the wedding elements in postmodern Malaysian splatter film "Resurrection," by which fest auteur Woo Ming Jin ("The Tiger Factory") collaborates with thesp/co-director Pierre Andre about this exercise in first-person point-of-view cinema. The wobble-cam effect makes this nested narrative less notable because of its numerous bloody deaths than its nausea-inducing lensing. Even though film grows Malaysian horror's limited menu, local auds unsuccessful to arise if this was launched in your area in April. Worldwide interest is going to be limited to genre fests. The pic wears its multiple references on its sleeve, the experience starting with a scare lifted straight from Thai horror film "Shutter," having a ghost showing up before a speeding vehicle. The succession culminates with Zed (Awal Ashaari), Bob (co-helmer Pierre Andre) and Yana (Nora Danish) burying an appearance somewhere within the Malaysian jungle. Mid-funeral, an abrupt swish pan discloses a movie crew lensing the experience, their work all of a sudden interrupted whenever a member includes a fit and starts foaming in the mouth. Using the intro now uncovered being an homage-driven film inside a film, producer Lina (Khatijah) stages in and addresses a camera getting used through the "making of" crew to announce the screaming, writhing lady is actually possessed. The disrupted feature is shut lower for that evening, but other cameras keep moving. Fearing the crew might have disturbed a ghost, the filmmakers get in touch with an area shaman (Dewa Sapri) to reduce the effects of -- unsuccessfully because it works out -- any supernatural activity. The narrative shuffles between your two perspectives: those of the "making of" camera, as individuals crew people use search of the missing make-up girl which from the production's primary camera, which continues moving to document the shaman's handiwork. Both story threads are connected, however the combination is simply too insubstantial to produce real tension. Virtually meting out having a first act, the script offers inadequate time for you to identify, not to mention interact with the figures onscreen. Co-helmers Woo and Andre's apparent excitement for filmmaking technology is apparent within their restless utilization of different viewpoints and electrical feedback to accompany every mix-camera jump cut. But knowing film hardware does not make amends for a low quality yarn where all actions are described and motivations are told instead of proven. The HD lensing includes a brown-eco-friendly tone that waters down the gore impact from the violence, but tend to aggravate handheld-camera-caused nausea in certain auds. Other tech credits are professional.Camera (color, HD), Wan Chung Hung editor, Akashdeep Singh music, Azman Abu Hassan art director, Nazrul Asraff Mahzan. Examined at PiFan Film Festival (Puchon Choice), This summer 16, 2011. Running time: 84 MIN. Contact the range newsroom at news@variety.com