The Association of Southeast Asian Nations (ASEAN) is a regional intergovernmental organization comprising of ten countries in Southeast Asia, namely Brunei, Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Singapore, Thailand, Vietnam. Evidently, the movie industry of these countries does not yet reach the size of Japan, India and S. Korea for example, so we decided to include them in one list, although we still retain a hope that in the next years, we will see a cinematic boom from there also. Evidently, the Philippines are at least a step ahead of the rest of the ASEAN countries in that regard, which is the reason so many films from the country are included in the list, but particularly in 2020, both Malaysia and Indonesia have taken step forward, with a number of exciting productions. Also of note is that this list includes a number of shorts, from directors we feel will draw attention during the next years
Without further ado, here are the best ASEAN films of 2020, in reverse order. Some films may have premiered in 2019, but since they mostly circulated in 2020, we decided to include them.
*By clicking on the title, you can read the full review of the film
20. A Fallen Fruit (Amit Dubey, Cambodia)
” A Fallen Fruit” leaves a lasting impression by offering a picturesque tale focused around a profound loss. As a result, it is difficult to imagine the audience not coming away from the production with a sense of appreciation for the work. Whether it be the exploration of the Cambodian landscape, the calming aesthetic or the introspective look at dealing with loss, the film is bound to connect with the viewer on some level. Amit Dubey (“The Spell“, “Mind Cage“) has proven to be a strong voice within Cambodian cinema, “A Fallen Fruit” further cements this sentiment in offering up an unforgettable experience. (Adam Symchuk)
19. May the Devil Take You: Chapter 2 (Timo Tjahjanto, Indonesia)
A slight notch below the stellar original, “May the Devil Take You 2” is still every bit as brutal, frenetic and enjoyable as its counterpart which sets up the possibilities of part three very well. Obviously, fans of the original or Timo's past work will enjoy this one as well as those who enjoy Asian horror in general while only those who don't appreciate the style at all will want to heed caution. (Don Anelli)
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18. Sexy Sushi (Calleen Koh, Amanda Teo, Singapore)
What separates “Sexy Sushi” from many other shorts, and what it makes it an incredible film, is the fact that it manages to explore many contemporary problems in great depth and all in the span of only two minutes. Who knew that a short story about a bunch of sex between rice and his toppings could be so thought provoking? (Martin Lukanov)
17. Victim(s) (Layla Zhuqing Ji, Malaysia)
Layla Zhuqing Ji directs a movie that functions as a rather pointy remark towards a number of institutions. The lack of parenting and particularly of the role of the father in young boys' life is one of the most evident (if on a secondary role) with Chen's being nowhere to be found and Gangzi's being a problem that worsens his situation instead of helping in any way. Furthermore, that parents do not know what is happening in their children's lives becomes a central part of the narrative, particularly in this age, where the social media/digital world has created another level children can hide into… “Victim(s)” has some faults, particularly script-wise, but Layla Ji manages to highlight a number of issues youths face nowadays and their roots quite thoroughly and in a fashion that results in a rather entertaining movie.“Victim(s)” has some faults, particularly script-wise, but Layla Ji manages to highlight a number of issues youths face nowadays and their roots quite thoroughly and in a fashion that results in a rather entertaining movie. (Panos Kotzathanasis)
16. Sometime, Sometime (Jacky Yeap Swee Leong, Malaysia)
This gently told slice-of-life story, despite looking uneventful at a superficial glance, is an all too real collection of moods and feelings that accompanies a pivotal season in the life of the two protagonists and in the development of their rapport. Even more commendable if we think the director's own mother passed away when he was 5 and therefore, none of the mother-teenager relationship in “Sometime, sometime” comes from his personal experience. However, it seems that a sense of longing is buried deep in his work and that sentiment has been channeled into an instinctive understanding of the dynamics. (Adriana Rosati)
15. Angry Folks (Aung Htet Myet, Burma)
“Angry Folks” is a documentary about the power of music in tackling social and political issue. Aung Htet Myet and the musicians present choose the right side as a means to strengthen the community of people, to fight against those injustices in the world. It is an important message and one which shines through every moment of this documentary. (Rouven Linnarz)
14. Aswang (Alyx Ayn Arumpac, Philippines)
“Aswang” is a documentary about the drug war in the Philippines, the cycle of violence, misery and sorrow it has created. Alyx Ayn Arumpac shows a city defined by an endless night and a vague fear which has numbed people and the wider public, making it impossible to see the wider context of the events. (Rouven Linnarz)
13. Stranger by Fiction (Roufy Nasution, Indonesia)
The combination of a totally surrealistic story, the frequent and fast cuts that transition into totally unexpected scenes, the rather fast delivery of dialogue, and the constant change of very fitting music result in a film that is quite entertaining and funny, while also highlighting all of its technical aspects. In that regard, DP Insan Burhansyah's framing is excellent, as much as his composition, which result in a number of impressive images in the film, both in the exterior and the interior shots. The same applies to Idan Firdaus's editing, whose frequent and abrupt cuts communicate the overall sense of quirkiness that permeates the narrative in the best fashion… All of the above, seemingly unconnected, styles and “tropes” come together in the most delightful way under the direction of Roufy Nasution, who manages to give meaning to surrealism while highlighting a comment about the fact that inspiration can come from the most unlikely places. (Panos Kotzathanasis)
12. Queen of Black Magic (Kimo Stamboel, Indonesia)
Dark, brutal and immensely enjoyable, “The Queen of Black Magic” shows just about everything you could want from a modern supernatural genre effort with very few negative qualities. Fans of the creative crew's previous works, Asian horror fanatics in general or viewers looking for this kind of brutal genre effort will be quite enthused and entertained with this one. (Don Anelli)
11. Geran (Areel Abu Bakar, Malaysia)
Car races, illegal fighting, and few action scenes here and there, of which the one in the house allows Feiyna Tajudin to shine as Fatimah, particularly due to the slapping she “admonishes”, is the most impressive, take care of the action aspect in the movie, at least until the last part. It is in this last section of the movie that Azian Komeng's action choreography, Khoharullah Majid's abilities as Ali, Areel Abu Bakar's cinematography, and Nik Johan's frantic editing find their apogee… “Geran” is a great action movie, that thrives both on the martial arts aspect, but also on context, in a trait not so frequently associated with the action category, but something Malaysian cinema seems to have the knack for, as witnessed also in films like “Bunohan” and “One Two Jagga“. (Panos Kotzathanasis)
