Write a short summary of what happens in the film.

We created a film that was essentially an ad within an ad. We featured the shoot of a “traditional” Hari Raya ad, with a twist. During the shoot of this fictional ad, the actresses questioned the director about the nature of their stereotypical roles and challenged him to allow them to break out of these stereotypes and give them the opportunity to showcase more of what women really bring to society.

Cultural / Context information for the jury

In Malaysia, Hari Raya ads are a big deal. It’s a time for ads about family, tradition and coming together. We went a totally different route. We needed to stand out, so we took the opportunity to talk about gender roles in advertising. Our film challenged these stereotypes directly by literally getting its actresses to ask for bigger and better roles that better represented the contributions women make to society. The film immediately captured people’s attention and went viral during the Ramadan period.

Provide the full film script in English.

“Ini Iklan Raya, Tau?” Full Script. We open on a peaceful Hari Raya morning. We see a beautiful kampung (village) house. We hear birds chirping and children laughing as they cycle past the house, holding green envelopes in their hands. Opening Title: Ini Iklan Raya, Tau? (This Is A Raya Ad, Ok?) The serene scene is interrupted by a clapper board entering the frame. Director: Action! The camera starts to track in. We hear Grandma wailing. We cut to a medium close-up of Grandma at a window. She’s about to take a bite out of a Julie’s Love Letter when she deliver’s her line. Grandma: Will I ever get to see my children and grandchildren? We cut to the director, off camera, taking a bite out of some Love Letters, before cutting back to Grandma. Grandma: I’m all alone on this gloomy Raya morning. We cut back to the director, still munching away, as he watches the performance. Director: Tastes so good… Suddenly, Grandma breaks character and calls out to the director. Grandma: Hey Director! If my kids can’t come home to see me, why can’t I go to see them? The director looks flustered. Director: How are you going to go? Grandma looks incredulously at him and points to a car in the driveway below. Grandma: What about that? The director shrugs off her request. Director: That’s just a prop. It can’t move. Besides, this is a Raya ad, okay? A Raya ad! Grandma looks glum. We cut to a different scene where a Mum and Daughter are peeling onions in preparation for a Hari Raya feast. The camera slowly tracks in as the clapper board enters frame to indicate that we’re rolling camera. Mum: So…when are you getting… Mum stutters to continue the sentence. Mum: When are you getting… She stutters again. Her daughter looks confused. Mum: God! Why is this so hard?! Ok, when are you… We get a close up of Mum’s mouth as she struggles to get the words out. Mum: Mmm…Mmm... Maaarr… We cut to the Director, who’s mouthing the words to her. Director: Married! Married! Mum continues, unable to bring herself to ask this clichéd question. She breaks character. Mum: Hey Director! Why can’t I ask about other things? Like crypto? Or mental health? Or global warming? Something! Why is it always marriage, marriage, marriage??!! Finally, the director gets fed up. Director: Cut! Look, we can’t change the script. This is a Raya ad, ok? A Raya ad! Mum: Look, why does my character always have to be in the kitchen? Do I have any other scenes? The director composes himself and answers confidently. Director: Yes! After this, you die. Mum looks shocked. We cut to another scene being filmed. This time, it features the daughter as she prepares another meal. The camera circles her dramatically. We get close ups of all her cooking techniques. The director watches closely, satisfied with how the scene is progressing. He directs her passionately. Director: Feel it! More feeling! Yes, yes, yes! You’re making rendang! Just like your late mother taught you! She’s dead remember! Dead! The camera shifts to the side, to reveal Mum giving the director a death stare. He looks at her nervously and tries to reassure her. Director: It’s in the script…the script. He goes back to directing the daughter. Director: Yes! More, more! I want more, more, more! With feeling! I want tears to fall from your left eye! Only the left eye! The daughter tries to wipe her eye but the director stops her. Director: Don’t wipe it. Let it flow! That’s good! Suddenly, the daughter breaks character. Daughter: Director, why am I the only one cooking? Don’t I have siblings who can help? We cut to her “siblings” munching away on Love Letters on the set. The director, now completely frustrated that none of his actresses want to stick to the script, walks by huffing and puffing. One of the siblings stops him. Sibling: Hey director, I can cook. Can I be in the scene? Finally, the director loses it and start laughing, before bursting into tears. Director: Why can’t these people understand? We can’t change the script! This is a Raya ad, you know! The clapper comes into frame again to signal the end of the ad. Super: It’s time we change the script. Super: Let’s give women the love and appreciation they deserve. We see a pack shot of Julie’s Love Letters. As a reprise, the director slumps into his chair and throws away the script.