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Short Film Review: KL Limbo (2024) by Adam Taufiq Suharto

KL Limbo still
"I don't know what I am. But for sure I am not human"

In AMP, we have been covering ‘s mostly experimental endeavors for quite some time, having already dealt with 7 of his previous works. “” is his newest effort, in yet another experimental approach, this time consisting of a collage of stills and intertitles that tell the story of a man who discovers he has been transported from 1998 to 2003 in Kuala Lumpur.

“KL Limbo” review is part of the Submit Your Film Initiative

The narrative revolves around 4 axes. The first and most obvious one is the collection of photos, most of which are purposefully blurred or including intense shadows, in an effort that gives the visuals here and outwardly appearance. The images, however, are quite impressive on occasion, with the quality of the photos being rather evident while essentially dictating the style of the film.

The second is the frequent intertitles, with Suharto giving details about the story, while making a parallel between the current struggle against the regime and the story of the protagonist with a girl her parents did not want her to be with a poor photographer like him. The fight against authority emerges as a central point here in that fashion, although the parallel seems somewhat forced. The context and the main comment of the short, however, is lying somewhere between the intertitles and the narration, which is essentially the third element.

Lastly, the soundscape, and particularly the combination of music and distorted sounds, which most of the time fit the images nicely, conclude the aspects of “KL Limbo”, in a rather impressive audiovisual approach, that benefits the most by the way Suharto’s editing connects the different elements here. That the last photos are in black and white add yet another element, moving somewhere between the drama and nostalgia, concluding the film in a rather fitting way.

Although evidently rather low-budgeted, “KL Limbo” highlights Suharto’s ‘one-man-show’ prowess once more, as much as his ability to create narratives minimalistically, just through a collage of photos and the use of sound.

About the author

Panos Kotzathanasis

Panagiotis (Panos) Kotzathanasis is a film critic and reviewer, specialized in Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can be found in a number of other publications including SIRP in Estonia, Film.sk in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India.

Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes to Asian cinema. He has participated, with video recordings and text, on a number of Asian movie releases, for Spectrum, Dekanalog and Error 4444. He has taken part as an expert on the Erasmus+ program, “Asian Cinema Education”, on the Asian Cinema Education International Journalism and Film Criticism Course.

Apart from a member of FIPRESCI and the Greek Cinema Critics Association, he is also a member of NETPAC, the Hellenic Film Academy and the Online Film Critics Association.

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