Language: Malay, English
Subtitle: English, Mandarin
Duration: 85 minutes
Aspect Ratio: 1.66
Genre: Choreography, drama, romantic
Theme: Love, relationship, youth
Country: Malaysia
Year: 2020
NO LOVE FOR THE YOUNG ensembles a cast of theatre actors and non-actors to explore the meaning of love through movement-based performances for the camera. The film displays movements and conversations that were devised and improvised collectively and off the cuff during filming. There are no written characters but the performers are instinctively paired as couples to communicate stories in the film.
“…a rich tapestry of sound, movement and meaning within a specific cultural context.” – Jeremy Sing via SINdie.sg
“Poetry, movement and theatre are fused in this lyrical experiment to express the ineffable feeling of being young in today’s Malaysia.” – In Competition, 31st Singapore International Film Festival
“Menonton Tiada Cinta Selama Muda ialah seperti melihat sebuah puisi absurd dipadamkan alirnya dan ditulis semula dengan ritma yang senada walau tidak sekata.” – Mucky via Twitter
“For its bold experimental vision on the timeless theme of love, trust and belonging.” – Special Mention, Kuman Pictures Feature Challenge 2020
“This alluring theatre-film fusion does bring out the atmosphere and sentiments evoked by different settings, through dialogues and plays.” – Amanda Ariawan, ‘A (Not So) Complete Review’ of DI SITU: AN EXHIBITION’
“Poetic的念白和poetic的影像暗藏着对Love的终极解构—love is a poem。” – pikapopan via Douban
“Sebuah simbiosis real dan fiksyen, kawalan dan kebebasan, imej dan kata-kata.” – Ali Aiman via Twitter
“I love the play with language, and movement, and just the feeling of being young.” – shawnhyc via Letterboxd
“Jiwa mudaku menangis.” – Azrin Fauzi via Twitter
Editor & Director: Ridhwan Saidi
Producer: Nurul Aizam
Cast: Hannan Barakbah, Lew Shu Ni, Sadiq M. Jamil, Ani Aziz, Rashid Akhmal, Nyna Roslan, Md. Fariq Khir, Sandee Chew, Lim Paik Yin, Mohd Sazni, Hazel Khairuddin, Low Pey Sien, Roshafiq Roslee & Fara Kafli
Director of Photography: A. Rahman
Stills: Mark Lee
Camera Operator: A. Rahman, Ridhwan Saidi
Music: Joni Atari
Colorist: Ilham Sani
Costume Coodinator: Nurul Aizam
Makeup Artist: Sadiq M. Jamil
Set Design: Ismail Partogi
Wardrobe: Sadiq M. Jamil, Sandee Chew, Lim Paik Yin
Production: Moka Mocha Ink
In Collaboration with Binfilem and Ensembel Teater Kaos Nol
Acknowledgement: KOTAK@Five Arts Centre (TTDI) dan Pusat Kajian & Apresiasi Filem (Alam Budiman) untuk sesi latihan, previu, diskusi dan sesi perkongsian buah fikiran.
Festival & Prizes
Special Mention
Kuman Pictures Feature Challenge 2020
In Competition [Silver Screen Awards]
31th Singapore International Film Festival 2020
Click for / Klik untuk media press kit.
The filmmaking process of Tiada Cinta Selama Muda will be shared here, including camera and audio tests, location recces, lighting, colour grading, text samples, behind-the-scenes photos, film stills, and all related processes. Unlike conventional filmmaking, this film is made in the spirit of movement-based, non-dance, site-specific devised filmmaking—one that grows over time, like plants living in the cracks of concrete and tar. The film’s title is taken from one of Teater Normcore’s one-act plays, and its making carries the same spontaneous, guerrilla spirit of Drama Kilat, but translated into visual form. / Proses pembikinan filem Tiada Cinta Selama Muda akan dikongsi di sini antaranya sesi uji kamera, audio, recce, pencahayaan, pewarnaan, sampel teks, foto belakang tabir, film stills dan segala proses bersangkutan. Tidak seperti pembikinan filem tipikal, filem ini dibikin dengan semangat movement-based non-dance site-specific devised filmmaking yang bakal tumbuh dari semasa ke semasa, seperti tumbuhan yang hidup di celah-celah rekahan konkrit dan tar. Judul filem ini dari salah satu one-act play Teater Normcore dan semangat pembikinannya persis Drama Kilat yang spontan dan gerila, tetapi dengan visual.
Director’s note 3/ Nota sutradara 3:
From four days of shooting, we obtained over 40 minutes of usable footage, born out of spontaneous movement-making and dialogue created on site. Now is the time to work with the existing material to shape the related scenes, and to plan the subsequent ones, so that the film can regain focus and form. / Hasil dari 4 hari penggambaran dapat 40+ minit futej yang bermanfaat hasil daripada ciptaan spontan gerakan dan percakapan di lokasi. Sekarang ni tiba waktu untuk kita garap adegan yang bersangkutan dengan material sedia ada, untuk adegan-adegan selanjutnya agar filem ni kembali berfokus dan ada bentuk.
In theatre, as a director, I feel like a mediator between the performance and the audience. In film, however, it feels more like being a mediator between scenes and the editor. Whatever happens, all scenes ultimately meet in the editor’s hands. And since I am also the editor, it is important for me, in my role as director, to ensure that what is captured carries an invisible continuity before it is later assembled. / Dalam teater sebagai director rasa jadi orang tengah antara performance dan audiens, tapi untuk filem kita rasa macam jadi orang tengah antara scene/adegan dengan editor. Sebab apa-apa hal, semua scene ni akan bertemu di tangan editor. Dan oleh sebab sayalah editornya maka penting untuk saya di posisi director memastikan apa yang dirakam ada suatu kesinambungan halimunan sebelum ia digabungkan kemudian.
Outings:
Day 9 (10 August 2020) – Lim Paik Yin, Sadiq M. Jamil, Roshafiq Roslee, Hazel Khairuddin, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 8 (29 July 2020) – Hazel Khairuddin, Lim Paik Yin, Sandee Chew, Mohd Sazni, Md. Fariq Khir, Nurul Aizam & Ridhwan Saidi
Day 7½ (28 July 2020) – Mohd Sazni, Md. Fariq Khir, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 7 (26 July 2020) – Sandee Chew, Mohd Sazni, Lew Shu Ni, Hazel Khairuddin, Fara Kafli, Roshafiq Roslee, Md. Fariq Khir, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 6 (25 July 2020) – Hazel Khairuddin, Fara Kafli, Low Pey Sien, Roshafiq Roslee, Lim Paik Yin, Ani Aziz, Rashid Akhmal, Md. Fariq Khir, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 5 (19 July 2020) – Lew Shu Ni, Mohd Sazni, Hazel Khairuddin, Sandee Chew, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 4½ (13 July 2020) – Md. Fariq Khir, Low Pey Sien, Nurul Aizam & Ridhwan Saidi
Day 4 (12 July 2020) – Nyna Roslan, Hazel Khairuddin, Hannan Barakbah, Sandee Chew, Lim Paik Yin, Rashid Akhmal, Sadiq M. Jamil, Mohd Sazni, Amirul Rahman, Mark Lee, Nurul Aizam & Ridhwan Saidi
Day 3 (11 July 2020) – Ani Aziz, Sandee Chew, Lim Paik Yin, Rashid Akhmal, Md. Fariq Khir, Sadiq M. Jamil, Mohd Sazni, Amirul Rahman, Mark Lee, Nurul Aizam & Ridhwan Saidi
Day 2½ (3 July 2020) – Ani Aziz, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 2 (28 June 2020) – Hannan Barakbah, Sadiq M. Jamil, Lew Shu Ni, Md. Fariq Khir, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Day 1 (27 June 2020) – Hannan Barakbah, Ani Aziz, Sadiq M. Jamil, Md. Fariq Khir, Amirul Rahman, Nurul Aizam & Ridhwan Saidi
Recce & puisi Serigala:
Director’s note 2 / Nota sutradara 2:
This weekend we’re shooting in the city. The idea is to gather during the day to devise and workshop material in a rehearsal space, then move in the late afternoon and at night to shoot in nearby districts or areas close to the rehearsal space. / Hujung minggu ni kita shoot di bandar pula, ideanya siang kita berkumpul, devise dan workshop-kan sesuatu di rehearsal space, lepas tu petang dan malam baru kita shoot di daerah bersebelahan atau berdekatan kawasan rehearsal space tu.
Unlike theatre-making, which involves regular rehearsals and longer periods of exploration, this style of filmmaking requires urgency—because the same dusk cannot be duplicated. Time feels accelerated; we slip along with it. / Tak macam bikin teater yang ada proses rehearsal berkala dan pencarian dalam tempoh yang lebih lama, untuk shoot filem stail gini ia perlukan urgency, kerana senja yang sama tak boleh diduplikasi. Masa terasa laju, kita tergelincir sama dengan waktu.
Moments of contemplation and thinking are done separately. When we shoot, we lift the camera and record fleeting moments. Of course, it’s better when we know what we’re shooting, but not knowing and shooting anyway is better than not shooting at all. To make a film, we need material—something that is recorded. / Waktu termenung dan berfikir dibuat berasingan. Bila kita shoot, kita angkat kamera dan rekod fleeting moments. Dah tentu bila kita tahu apa yang kita shoot lebih baik, tapi untuk tak tahu dan shoot juga lebih baik daripada tak shoot langsung. Untuk buat filem kita kena ada materialnya, iaitu sesuatu yang terakam.
This weekend, we currently have five actors/performers. The more people involved, the more complicated it becomes; we don’t know what will happen, and I can’t wait. / Hujung minggu ni setakat ni ada 5 aktor/performer, lebih ramai, lebih komplikated, tak tahu apa akan jadi, tak sabar!
Film stills:
Director’s note 1 / Nota sutradara 1:
For this film, we want the characters to grow slowly and organically (their roles are not fixed). Instead, the focus is on generating relationships between characters in each scene. This means that when there are two or three actors in one outing, we don’t assign each a fixed character. Rather, we develop and devise scenes on location that bring out the relationships between those two or three people. / Untuk filem ni biar karakter watak tumbuh pelan-pelan secara organik (ia tak fixed), sebaliknya mahu fokus untuk timbulkan hubungan antara watak dalam setiap adegan. Maknanya bila ada 2-3 pelakon (dalam satu outing), kita tak beri setiap seorang ni watak apa secara tetap, tapi kita develop dan devise adegan yang akan timbulkan hubungan di antara 2-3 orang ni di lokasi.
The invisible space between characters is a priority. These relationships could be platonic, familial, sexual, lonely, toxic, longing, desirous, nostalgic, aggressive, mournful, etc. / Ruang halimunan antara watak jadi keutamaan. Boleh jadi hubungan tu platonik, kekeluargaan, berahi, sepi, toksik, rindu, mahu, nostalgik, agresif, pilu, etc.
In the first two days, we focus mainly on movement-based work. In addition, there will be conversation sessions. The movement-based work is visually expressive, while the conversation sessions are intended to be realistic and relaxed—or may carry subtle violence in the words spoken. / Dua hari pertama ni kita banyak fokus movement-based, selain tu akan ada sesi conversation. Sebab yang movement-based ni secara visual agak expressive, jadi yang conversation ni kita mahu ia realistik dan santai, atau boleh jadi akan ada subtle violence dalam kata-kata yang diucap.
Recce & audio test:
Sketches:
Performance texts:
Moka Mocha Ink 