“Snow in Midsummer (Wu Yue Xue)”, interview with Director Chong Keat Aun

In the heart of Venice’s Giornate degli Autori, director Chong Keat Aun presents his remarkable film “Snow in Midsummer.” The movie delves into the harrowing events of May 13, 1969, when a violent uprising broke out in Kuala Lumpur after contentious post-election tensions. This dark chapter in Malaysia’s history, swiftly suppressed with bloodshed, is a story that has long been relegated to the shadows. Chong Keat Aun’s film, however, brings this forgotten tale to life, and he sits down with Fred Film Radio to discuss his journey in creating this impactful work.

Cinema as a Medium for Unveiling the Unspoken

Chong Keat Aun begins by emphasizing the power of cinema in sharing stories like these, which often cannot be openly discussed in his homeland. He sheds light on the difficulties faced during production, stating, “While I was shooting ‘Snow in Midsummer,’ many people asked me, ‘Are you sure you want to make this film? Because it might not be screened in Malaysia.‘” This highlights the inherent challenges of tackling a subject deemed sensitive by the authorities.

Two Perspectives Across Time

“Snow in Midsummer” unfolds its narrative from two distinct perspectives, one in 1969 and the other in 2008. The director’s choice to entrust these perspectives to women is rooted in a cultural context. Chong Keat Aun explains, “In Malaysia, and more broadly in Southeast Asia, women are the custodians of family memory. As I conducted my research on the tragedy of May 13 and visited the cemetery, I always saw many women. Men were absent. In Malaysia, it’s as if men are more rational, not allowing family members to speak about what happened, as it is a delicate matter. But in most cases, when it concerns their loved ones, women continue to seek answers.”

The Role of Women in Preserving Memory

The director elaborates on the contrasting reactions of men and women regarding the events of May 13, 1969. He notes that men tend to show disinterest, urging others to forget. In contrast, women persistently question this dark history, which remains an enigma even today. Chong Keat Aun underscores that the true scale of the tragedy is still unknown, with the official national report citing over 100 casualties, while the actual number is believed to be much higher—possibly thousands. This history has been shrouded in silence for 64 years, passed down exclusively through oral accounts.

The Complex Background

Delving into the complexities of the tragedy, Chong Keat Aun explains that Malaysia gained independence in 1957, becoming a multiracial nation with Chinese, Indian, and indigenous communities, albeit in the minority compared to Malays and Muslims. The events of May 13, 1969, unfolded during the nation’s third general national elections, which saw a significant loss of votes for the ruling party. The turmoil quickly escalated into a racial issue, a narrative that worked in favor of the ruling party. Chong Keat Aun points out that this narrative, driven by fear, was successfully exploited to maintain power.

Contemporary Parallels

Addressing the contemporary relevance of these events, the director suggests that a similar situation could arise today. He notes, “If you want another May 13, just vote for the opposition party. The elderly are terrified because they lived through the events of 1969. Even today, when discussions about that event arise, they remain silent and request others to do the same. This is also true for the film. I chose a very poetic way to tell the story; otherwise, it would have been impossible to make.”

The Power of Revisiting the Cemetery

Chong Keat Aun has revisited the ce