Saturday, August 9, 2025

SG60 Story

It's a wrap!

There comes a time when a story speaks to you. Not because it is loud, but because it sits quietly close to your heart. You feel it is worth telling, not for spectacle or clicks, but because it holds something we all recognise - the quiet perseverance, the dignity in struggle, the way ordinary lives shape who we are.

We have become so driven by algorithms, by what trends or tests well at the box office. I understand the need for profits, we all do, but we cannot keep ignoring the stories that make us human. And if we are honest, audiences are unpredictable anyway. The biggest hits often come from the least expected places.

AIDIL and ADA JALAN are two of those stories. They have been sitting on the backburner for years, perhaps because they do not fit into easy categories. Perhaps because they are not algorithm-friendly. But perseverance matters. And stories like these, however small or quiet, remind us where we come from. They help us remember what connects us before all the distractions of box office targets and commercial noise.

I am deeply grateful that AIDIL and ADA JALAN found their way forward through the SG STORY microseries project. They have gone through many versions over the years, but one thing has stayed constant - their heart, and the original characters who inspired them.

Sometimes, the stories worth telling are the ones that quietly stay with us, waiting for the right time to be heard.



(The SG60 Story microseries is scheduled to be released in late 2025)

Wednesday, July 2, 2025

The Proud Chauffeur

Haji Akhmari bin Ahmat, circa 1950s
(Image courtesy of Hazrul Azhar Jamari)*

This is Haji Akhmari bin Ahmat, a first-generation immigrant to Singapore from Bawean Island, Indonesia. Like so many from that little speck of land north of Surabaya, he braved the rough Java Sea in search of something better, a chance to build a life of dignity for himself and his family.

He arrived in Singapore with almost nothing. No formal education. Just calloused hands, an unbreakable spirit, and the quiet conviction that things could be better here. It was a hard life. But in his heart, this adopted homeland, with all its struggles, still felt kinder than the island he left behind.

Haji Akhmari eventually found work as a driver. It wasn’t just a job, it was his purpose. The best work he ever had. He drove until the day he retired. With that single income, he raised many children who grew up attending good schools, finding good jobs, and becoming good Singaporeans.

He was never merely a "driver". He was a chauffeur in the truest sense, the man trusted to ferry some of Singapore’s most prominent post-colonial tycoons. Name any famous business figure of the era, and chances are Haji Akhmari had once held the wheel for him.

What made him truly remarkable was that he belonged to a unique tradition. Among the first-generation Baweans here, many took up the work of chauffeurs and did it with an almost sacred pride. To them, a car wasn’t just a vehicle. It was a second home. And for the Bawean, the state of your home spoke volumes: a clean, welcoming space was proof of good family, good upbringing, good lineage.

A tired boss stepping into that spotless car was, in a small way, stepping into comfort, into respect, into trust.

Haji Akhmari may never have thought of himself as part of Singapore’s nation-building story. But he was. Like hundreds of other humble, proud Baweanese men of his generation, he showed up every day with quiet professionalism and did his work so well that it elevated everyone around him.

I am honoured to share a story inspired by this vignette of a little-known chapter in our history for SG60. I look forward to telling these stories of resilience, dignity, and the quiet, everyday greatness that built this place.

*(Image courtesy of Hazrul Azhar Jamari, whose generosity keeps stories like his grandfather’s, part of our pioneer generation, preserved as Singapore’s heritage for generations to come.)

A Socio-Economic History of the Early Baweanese Community through Kampung Boyan

Monday, May 19, 2025

Quiet mornings with Mother; the mornings she made.

I woke up very early this morning. The Art Club was only due to start at 9.30am, but still, I found myself stirring before the sun.

I was in Primary 2.

My regular classes were in the afternoon, but on days when I had morning ECAs, I had to wake up early—though still a little later than my older siblings, who were already off for their own morning sessions. I would also find Father sitting, a moment by himself having breakfast. Father glanced at me, smiled and continued eating.

Mother would send me to school on her way to work at the Japanese company. where she took care of the pantry and tidied the office at the end of the day.

Mother was worried I wouldn’t wake on time on my own, or worse, get lost taking public transport alone. I was usually on a chartered school bus in the afternoons, so these mornings felt different.

Special, even.

We’d arrive at school just after the morning flag-raising ceremony. Mother would walk me to the canteen and sit with me for a while. She’d smooth out the creases in my light blue uniform, remind me not to run around and get dirty before class in the afternoon—“The teachers won’t like it,” she’d say.

Then she’d check my packed lunch. Always something she threw together in the early morning rush: asam pedas today, fish curry on other days. She’d open the packet to make sure it was intact—layers of newspaper lined with wax paper, or sometimes thin food plastic she had cut. She’d lean in to smell the package.

I’d lean in and take a peek. It always smelled delicious.

The canteen would be quiet at that hour—recess still a while away. Before she left, she’d ask if I needed the toilet so she could keep watch over my belongings.

I think she felt safer knowing I was at school, where someone could keep an eye on me, rather than alone at home. Whether it was Art Club, Running Club, or even Choir (!), she’d make sure she was the one to send me off—just so I wouldn’t have to manage the mornings by myself.

That small ritual went on for nearly two years.

Sometimes, after she left, I wished she could’ve stayed until my school session actually began. I’d see one or two classmates with stay-at-home mothers lingering with them, and I’d feel a quiet envy.

I remember asking her all kinds of silly questions just to make her stay a bit longer. Looking back, I now realise how much I treasured those quiet, undistracted mornings—just Mother and me.

Eventually, I learned to eat my lunch during the morning recess. It was easier than sitting alone during the break while others ate. Occasionally, a random kid would try to make fun of me sitting by myself. Eating early gave me comfort.

It was my way of showing that I, too, had something to eat.

Besides, by afternoon, the rice and curry would be soggy—harder to eat, and harder to hide from curious eyes and well-meaning but judgy mothers nearby. Even at that age, I could sense the subtle glances and whispers. I knew.

These days, whenever Mother’s Day comes around, it’s these quiet, small moments from primary school that come back to me. They’re the ones I hold closest. I had her all to myself—no older siblings competing for her attention, no distractions.

Just quiet mornings and the comforting scent of packed lunch, and the gentle presence of Mother, who was simply being a mother.

It was the best part of those days.

Mother and I, Joon Tong Road, circa 1973

Saturday, April 5, 2025

Creating with Purpose

Over the years, I’ve had the privilege to use my craft in media to serve something bigger than myself. Through my agency reeljuice, I’ve worked on projects that touch on mental health, faith, healing, and social responsibility - often with little budget, but full of heart.

In 2012, we made 5 mental health videos for ClubHEAL - on depression, bipolar, schizophrenia, obsessive-compulsive disorder.
It was (and still is) something that Malay families - and many Asian families, to a large extent - tend to avoid talking about, especially when it comes to a family member living with these conditions. Stigma is the worse form of prejudice. It hinders rehabilitation.
Still relevant today. Still being watched. One of the best NGOs I’ve worked with. Total creative freedom. A rare gem.

In 2016, I made a video to save water for wudhu. Green ummah project was a collaboration with Masjid Mujahidin. Do you know that all we need for wudhu is only about half litre of water (1 mudd)? It was a quite a revelation for me. Today? That same video plays at the mosque. The posters are still up in other mosques. Every time I take wudhu and see them - I smile quietly.
Deeds don’t expire.

In 2017, video project for Madrasah Al-Maarif's 80th anniversary - with full creative control.
I’ve always been fascinated by the madrasah journey. I’ve featured these institutions in many of my films, especially in the short film Ameen.
Biggest takeaway? Madrasah admissions, even at the primary level… is no walk in the park. This project also became a turning point in affirming my journey of creating videos as a form of amal, especially after listening to the stories of the Azatizahs.
It’s a whole discipline.

In 2018, we created a heartfelt video for stroke survivors. A collaboration with Stroke Support Station S3.
Once again - total trust, total freedom. It was about dignity. Healing. Hope.
The kind of work that matters.

Budgets?
Nothing to shout about.
But value? Beyond measure.
When intention is right, the reward isn't always money.

But A Word of Caution...
Not every agency has good intentions. Some will try to exploit your time, talent, and trust.
Go with your gut.
If your heart’s not in it, walk away.

Why I Do This?
These projects aren’t just media work - they’re spiritual work.
A way to externalise what's inside.
To give back.
To align intention with action.

Final Reflection:
If it helps someone…
If it lives beyond me…
If it earns even a drop of barakah…
Then that is success.

Importantly,
I am deeply grateful to every member of the production team, studios, post-production, crew, and cast who have walked this journey with me.
Your time, heart, and craft made these stories come alive. You know who you are.

May we continue to create with purpose - and may each project bring us closer to our collective calling.

Friday, March 14, 2025

'Bingit' Ramadan blessings



Peak drama, filmed during Ramadan more than 10 years ago 🌙✨

I took up the challenge to direct a taboo subject (sex addiction) for prime time Mediacorp Suria audience.
It wouldn't have been possible without the incredibly talented leads delivering peak performances! Nick Mikhail Razak and Siti Hajar Gani

I’m still in awe of their incredible talent, flawlessly delivering even the most awkward lines and scenes with a straight face - a true testament to their professionalism and dedication to the craft!

with Izzad, Awad Salim Ramli, Rahman Rahim, Suraya Taib and Hashimah Hamidon in supporting roles.

Experimentally lensed by Sofyan Daud Mohamad and team. We went all in to create peak cinema for something that had never been done before on Malay television. Additionally my incredibly hardworking AP Mairah Shaik who made it all happened for this rather difficult ride (against all odds #iykyk) during fasting month! And who can forget the awesome editors and food for iftar at Flashforward Films.

Icing on the cake - the 2 episodes got me a Best Director (Drama - my fourth) nod. The series received Best Drama Series award and best script (for another episode by Wan Firza in the anthology) at Mediacorp Suria 13th Pesta Perdana Awards (2015). It takes an ensemble to create peak drama.


الحمد لله

Rewatching my episodes recently still gives me tingles. I always look forward to pushing the bar even higher rather than just replicating the production value achieved over a decade ago. The expectation, pressure, and challenge never fade!

Don’t take my word for it, go catch it for yourself on Mediacorp's Mewatch streamer.
Part 2

#ramadanblessings #ramadan

Wednesday, January 1, 2025

Twenty twenty-four

2024 Takeaways: A Year of Lessons, Betrayal and Growth

This year was a reminder that life’s challenges and opportunities serve a purpose, even if the lessons come with a heavy price. As my late father once advised, “When invited, show up as your best self.” His wisdom has guided me through tough moments, keeping his memory alive as I navigate the uncertainties of life.

2024 began with excitement - a fresh chapter filled with opportunities to meet new people, reconnect with past acquaintances, and take on a high-stakes responsibility beyond my role as a film director. 

My goal was clear: to create a learning space where emerging talents could flourish, access opportunities they might not have otherwise, and develop in a safe, nurturing environment. I was energized by the vision of empowering others while charting a new trajectory for myself.



But not all intentions are met with the same sincerity. As I sit here on the final day of the year, sipping Teh Tarik and finishing two egg pratas, reality weighs heavy.

Amid the optimism, I encountered individuals who turned the process inward, making it about themselves. Their actions didn’t just disappoint; they sabotaged the very foundation of what was being built - relationships, time, and resources. They selfishly exploited opportunities meant to elevate the collective effort, leaving emotional and professional damage in their wake.

This betrayal brought emotional trauma and a burden I wasn’t prepared for. Trust shattered, relationships strained, and hope momentarily dimmed. It forced me to confront the darker side of ambition - those who prioritize personal gain at the expense of others.

Yet, these challenges also brought clarity. While some exploited the space, others stepped up, offering support and shared experiences that helped me cope. The connections I forged with people who truly understood the struggle reminded me of the resilience within myself and the value of genuine collaboration.

The road to success is rarely smooth - it’s riddled with disappointment and obstacles. But it’s these very challenges that make the journey meaningful. As I reflect on the sabotage I faced, I am reminded of the words that encapsulate my year:

Berani kerana benar.
Takut kerana salah.
Cabut kerana penipu.

Fearless because you’re truthful.
Sacred because you’re about to be exposed.
Ghosting because you’re a fraud.

Despite the setbacks, 2024 was a year of growth and resilience, proving that even in betrayal, there’s room for learning and strength to be found. A year of trials, growth, and the enduring belief in doing what’s right.

Sunday, November 24, 2024

Sayang oh sayang

It came full circle.

It is hard to write about this. Very hard. But I’m finding the strength to write this not for the sake of exposing anyone, but to highlight an issue that affects all creative writers and writer-directors, especially. 

Siapa makan cili, dia rasa pedas “feel the pinch”!

I’ve shared this story with some friends. A couple brushed the situation aside with a casual "Ala, tidak apa lah...". But I am not that “tidak apa” Melayu.

Cut to the present; at the special sharing session by, let’s call this person, *Labu. Labu in previous life decides the “content” you watch on your goggle box. Labu shared his indispensable experience and insights earnestly, I have to add.

But throughout the session, I couldn’t shake the memory of my first meeting with Labu back in 2010 or 2011 at the majestic twin towers in muddy plains. It was a pivotal meeting for me. I was struggling to get the film completed. We met up at his invitation. I was eager. I needed to complete my first indie feature film, possibly the first Malay feature in Temasek since local politics made P Ramlee and gang abandoned the lion city in the 1960s. I brought my treatment along and hoped that Labu’s experience might help me bring my vision to life.

The papers were shared, Labu gave his input, and we caught up a little. It was remarkable, really - Labu, who had served national service in Temasek, had risen astronomically in the industry across the man-made landbridge. That same week, I was also meeting with my lead actor, trying to kill two birds with one stone.

It is an open industry secret that Labu allegedly got some *祖父 to be where he was - this industry, after all, is all about who you know, right?

Labu was straight up non-committal at that meeting.

Fast forward to end of 2013. I completed my debut feature film. The film went on to be gilded in the annals of Temasek Cinema.

Sometime in October 2016, a handful of concerned friends on FB reached out to confirm if it was indeed my indie film that was screening on television as a Chinese New Year holiday telemovie special on the Malay channel. I hadn’t sold any rights to my film for television, so I was taken aback.

I looked up the said telemovie. The premise - something about a daughter who tries to honour the memory of her mother by duplicating her mother’s recipe for the father. The actor who played the father was the same (!!) actor in my film. I learnt that Labu and another person, let’s call him Sardine who used to work extensively in Temasek island, were allegedly credited in the telemovie.

Back to the present; the sharing session. I was listening to Labu talk about the importance of collaboration in content creation, about reaching cross-border audiences and the complexities of international markets. Finally, I saw my moment and asked the question I had been waiting to ask for years. With the help of ChatGPT, I translated this into Malay:
“You mentioned the creation of content through collaboration and the importance of targeting content for cross-border audiences in different markets. So, how can intellectual property violations be enforced across borders?”
It’s not what was said, but how it was being said as our eyes locked.

I left the moment the session ended. That was all I could take. I got my payback in a face off after years of watching my original ideas stolen right under my nose. Everyday is a learning process.

A handful of friends suggested the obvious action I should have taken. The creative industry is one of a tight rope, cut throat industry. There are allegedly hundreds of Labus out there in the industry preying on the next naive creatives (musicians, writers, artists etc). This cycle never ends.

If you ask me, though, coming from the perspective of an independent creative, I’d much rather invest the little I have into writing better stories, or into funding the next project.

I hope the next Labu out there learns the hard way that they don’t get to play with the hearts and minds of others without consequences. May the next Labu not end up on someone else’s Halloween dinner table.

I hope Labu and Sardine sleep well.



*Labu = Pumpkinhead
*祖父 = Grandfather

Simplicity

The past couple of months have been intense. The work has been been challenging. Funny that I call it “work” at this point. They say when you do what you love, it doesn’t feel like work. or something like that, anyway. But hey, this is Facebook.

Lately, though, I’ve felt like I’ve lost some footing. When the work you love turns into managing egos 80% of the time, it can really shift your perspective. I needed some grounding.

This evening, I walked past my first cousin’s flat. It struck me how odd it was that we’ve lived in the same block ever since our parents were alive. It was the first time in ages that I actually glanced up at his unit to see if his lights were on.

Growing up, our families were constantly in and out of each other’s homes. We’d knock on each other’s doors without hesitation - no advance texts or calls asking, “Are you home? Is it okay if I stop by?” There was an effortless simplicity to it.

It being rather late so I just texted him - I wasn’t even sure if the number was current. 

(Back then, none of us would have cared about the hour - it was a Saturday night, after all.) It had been two years since we last spoke. No, none of those family drama - life just took over. When he replied, cautiously asking who I was, it hit me how much had changed. We chatted briefly.

The strain of my professional life has me longing for something real - connections that don’t require small talk or reintroductions. I miss the comfort of the people who’ve known me since before all the facades, before the curated social media versions of myself.

There’s something grounding about reconnecting with the people who know you by your childhood nickname, the ones who remind you who you really are. These are the connections that whisper it’s ok to lose a step sometimes because that’s what life is all about.

Thursday, September 12, 2024

10 years of SAYANG DI SAYANG


“Sensual debut powered by sights of spicy delicacies and sounds of lovelorn music.”
THE HOLLYWOOD REPORTER
“A new realization of our uniqueness and peculiarities. Sayang Disayang is truly a transcendental Southeast Asian film.” 
SALAMINDANAW ASIAN FILM FESTIVAL

“Lyrical, beautiful, enchanting.”
HAWAII INTERNATIONAL FILM FESTIVAL

“Sanif Olek’s Sayang Disayang (Singapore) …chooses woman as the core narrative. Interestingly... uses culinary metaphors to tell the story about families and its sorrows and wounds. The task of women ...goes beyond just serving food on the table, a common view of the obligation of women in Asia.”
Jogja-NETPAC ASIAN FILM FESTIVAL
10 years ago, Sayang Disayang opened nationally during National Day week at The Arts House after its World Premiere at the Salamindanaw Asian Film Festival, Philippines (Jury Prize - Best Asian Film). The film returns to the big screen in 2024 during National Day courtesy of The Asian Film Archive.

The idea for the film, originally titled Ramuan Rahasia, began in 2001. While a lot of films about food were made in China, South America, India, France, Spain… no one had done any film about food from the Nusantara - the collective lands of the Malay Archipelago. Thus began my adventure to explore the soul of Nusantara dishes. The sambal goreng struck me as the dish that embodies the Nusantara.

The indie route was not easy but I am glad I took this road. While many just talk about making a feature-length, only a handful walk the talk. It’s something they don’t teach in film schools. It’s not about the red carpets and awards. I learn about people - the doers, ones that stood by you and always have your back, including ones who questioned constantly yet stuck around until the film wrapped. There were also the fairweather ones and those who stayed just to see you fail. All in just one indie film set!

Singapore’s Official Selection to the 87th Oscars. Truly humbled and proud at the same time how this low-key, indie film has done over the years. 

Thank you for this journey, Sayang ❤️


Saturday, July 27, 2024

Lessons from thespians


Occasionally I had the privilege to direct a dream cast. And then there are dream casts who are living legends - you know, the bigger-than-life ones that you used to only watch in black and white television and the kitchy eighties while growing up.

It was September 2015. I had the privilege to direct not one but TWO of these legendary thespians in the SAME scene. It seemed surreal. And it felt too brief.

It was too fun watching them perform that it can be impulsive to do the typical 360 degree coverage for the television editors but I refrained because it was unnecessary. I'm not sure if it was the ease of directing them or they were too good they need few or no directions. It was sheer pleasure to watch them perform.

JA Halim left us in 2019. Pon Bachik left us this week. Their work on stage and television screen has left an indelible mark on Singapore audiences and the arts scene.

I had the opportunity to work with Abang JA Halim on the long form drama series, Segaris Sinar in 2008. What he brought on set, was not about the acting school methodologies, but the discipline of collaboration with another actor, the script and original story concept. It’s also about giving the emerging director room to express his ideas, because not all Malay directors express ideas in Malay. Of adhering that when ideas collide, it’s all about the story and not about the ego.

It was my first time working with Mak Pon Bachik. She had such a gentle demeanour, but forceful presence on screen. I was so in awe of her method. Her motherly grace seemed like her challenge for me to work harder! 😆

Directing is not just about the shots imho, it is also about nuance and getting the best performances from your actors. To be the best you work with the best actors. For me, even though the meeting on set with the credible thespians Pon Bachik and JA Halim seem fleeting, I grew a lot as a director. I learnt more about performance, giving and reacting from these two than any film school textbooks can offer.

انا لله وانا اليه راجعون