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Reviews7
JonathanRameshRaj's rating
I am not going to write a detailed review but I must say that this movie is absolute garbage!!
From the script to the casts, it is pathetic. The plot is rubbish! Horrible production! It is sad to see mediocre brains in deciding to colour grade a tropical country into an autumn season. How dumb is that?
The fight scenes were pathetic and lame. Dialogues were very amateurish, more of what a film school leaver may do.
Very weak script and no creativity. Camera works are equally horrible. Art direction, a sad case. Make up and hair, intern level.
A film which is equivalent to a school leaver trying out a hand in filmmaking.
From the script to the casts, it is pathetic. The plot is rubbish! Horrible production! It is sad to see mediocre brains in deciding to colour grade a tropical country into an autumn season. How dumb is that?
The fight scenes were pathetic and lame. Dialogues were very amateurish, more of what a film school leaver may do.
Very weak script and no creativity. Camera works are equally horrible. Art direction, a sad case. Make up and hair, intern level.
A film which is equivalent to a school leaver trying out a hand in filmmaking.
Overview :
A visual product from India where it deviates away from all the glam and glitter, endless songs and stylised fight scenes, 12th Fail is a masterpiece where inspiration is the keyword here and personally it is one of the best movies I have seen this year (12th Fail was released in 2023).
Based on Anurag Pathak's bestselling novel of the same name, 12th Fail depicts the true story of an IPS officer Manoj Kumar Sharma hailing from a small town in Chambal, who fearlessly embraced the idea of restarting his academic journey and reclaiming his destiny at a place where millions of students attempt for the world's toughest competitive exam, UPSC.
In brief, this film is about perseverance and remaining honest without compromising one's integrity. Not over dramatic, yet dramatic enough to keep you engaged and involved at all points in time, it engages you, sometimes chokes your emotion and surely inspires.
1) Script, Screenplay & Dialogues :
12th Fail is a triumph of narrative ingenuity. The script, a finely woven tapestry of emotions and conflicts, engages the audience in a visceral journey that oscillates seamlessly between moments of heart-wrenching vulnerability and soaring triumph.
Writer-director Vidhu Vinod Chopra went through 179 draft changes to the script before finally rolling the camera. Chopra used this inspiring and exciting tale as his canvas and paints it with several emotions - of pain, anger, failure, victory, helplessness and confidence, all in a great balance. The film was co-written by Jaskunwar Kohli, with Aayush Saxena credited as associate writer.
Despite not being a larger-than-life action packed love story flick where the Indian commercial cinema is particularly fond of, 12th Fail celebrates rooted, public-minded men and women who swear by the Constitution and are brave enough to go the distance in protecting the principles that it enshrines.
9.5/10
2)Direction :
Chopra's filmography, including gems like Eklavya, Mission Kashmir, and Khamosh, has always delved into real-life stories, adapting them seamlessly for the cinematic experience. However, 12th Fail stands out not just for its storyline but for its intelligent direction. Under his direction, the film becomes a compelling cinematic journey celebrating the spirit of youth and triumph over adversity.
Chopra's direction crafts a realistic and relatable world, inviting the audience to immerse themselves in the story. Certain scenes are bound to evoke tears. These powerful emotional moments add depth and authenticity to the narrative, making it a truly immersive experience.
And based on his mastery, each character is meticulously crafted and impeccably portrayed by the talented ensemble cast, becomes a conduit for the film's thematic resonance, contributing to a narrative depth that transcends the traditional boundaries of the genre.
10/10
3) Cinematography :
The film's visual aesthetics are nothing short of breathtaking, with each frame meticulously crafted to evoke a wide range of emotions. Rangarajan Ramabadran's cinematography is spellbinding, capturing the essence of the characters' struggles and triumphs in a way that is both visually stunning and emotionally poignant.
The use of light and shadow is particularly noteworthy, adding layers of symbolism to the story and enhancing the overall viewing experience. The cinematography succeeds in bringing the characters' struggles and triumphs to life in a visually stunning manner.
The only flaw that I could see was the usage of a wide-angle lens capturing a wide of Manoj walking towards the interview room. The pillars naturally become distorted or symmetrically off.
9.5/10
4) Production Design :
Production Designer Prashant Bidkar was tasked with bringing the grounded, relatable narrative of 12th Fail to life. He elevates familiar everyday settings with the use of rugged realism. Costume design, helmed by Malvika Bajaj, work in tandem and seamlessly blend aesthetics and harmony with the film's milieu.
9/10
5) Casts :
Vikrant Massey's portrayal of Manoj is nothing short of brilliant, breathing life into the narrative with his impeccable acting. The on-screen portrayal of Manoj has become a symbol of the dreams and struggles faced by millions of underprivileged job seekers in India, evoking a profound emotional response from the audience.
Massey as Manoj is the beating heart of the film. He brings a rare vulnerability, honesty and earnest dignity to his character. His nuanced performance allows us to empathise with the character's journey, laying the foundation for the transformation from an ignorant teenager to the unwavering determination of a struggling young competitor. His performance goes beyond mere dialogue delivery and cements his status as a standout talent.
Medha Shankar makes a confident debut with 12th Fail and her Shraddha shares a rather genuine chemistry with Manoj. Her character is beautifully written with a whole lot of finesse.
In his supporting role, Anant V Joshi as Pritam Pandey delivers a nuanced portrayal that captures the dual intention of support and jealousy with finesse. Anshumaan Pushkar, as the mentor Gauri Bhaiya, brings an uplifting presence to 12th Fail.
9.5/10
6) Post Production, Sound Editing, Music :
The conventional editing style occasionally disrupts the viewing experience. However, when it breaks away from the pattern and lingers on a shot, it creates cinematic and emotional magic.
Shantanu Moitra's background score works in tandem to create an auditory symphony that not only captures the essence of each moment but also elevates the emotional resonance. The music is subtle yet effective, enhancing the film's tone and mood. With only three instruments used, including a sitar, flute, and another unidentified instrument, the music complements the storytelling and adds depth to emotional scenes, such as the protagonist's interview and moments of triumph.
The sound design by Manav Shrotriya adeptly captures moments of chaos, nuances, and silences with alacrity, transporting us seamlessly into the universe of the film and heightening our engagement with the characters.
9/10
What truly makes 12th Fail a cinematic gem is its ability to leave a lasting impact on its audience. The ideas in the film make you think about your own life and get inspired by the characters' stories. It also makes you question what people usually think about success and failure, pushing you to see personal achievements in a new way.
In conclusion, 12th Fail is an awesome choice for those people who think they have lost everything in life, especially for students. It's a kind of movie that makes you think deeply about life and overcome the challenges in life.
Restart! Restart! Restart!
Overall rating : 9.5/10.
A visual product from India where it deviates away from all the glam and glitter, endless songs and stylised fight scenes, 12th Fail is a masterpiece where inspiration is the keyword here and personally it is one of the best movies I have seen this year (12th Fail was released in 2023).
Based on Anurag Pathak's bestselling novel of the same name, 12th Fail depicts the true story of an IPS officer Manoj Kumar Sharma hailing from a small town in Chambal, who fearlessly embraced the idea of restarting his academic journey and reclaiming his destiny at a place where millions of students attempt for the world's toughest competitive exam, UPSC.
In brief, this film is about perseverance and remaining honest without compromising one's integrity. Not over dramatic, yet dramatic enough to keep you engaged and involved at all points in time, it engages you, sometimes chokes your emotion and surely inspires.
1) Script, Screenplay & Dialogues :
12th Fail is a triumph of narrative ingenuity. The script, a finely woven tapestry of emotions and conflicts, engages the audience in a visceral journey that oscillates seamlessly between moments of heart-wrenching vulnerability and soaring triumph.
Writer-director Vidhu Vinod Chopra went through 179 draft changes to the script before finally rolling the camera. Chopra used this inspiring and exciting tale as his canvas and paints it with several emotions - of pain, anger, failure, victory, helplessness and confidence, all in a great balance. The film was co-written by Jaskunwar Kohli, with Aayush Saxena credited as associate writer.
Despite not being a larger-than-life action packed love story flick where the Indian commercial cinema is particularly fond of, 12th Fail celebrates rooted, public-minded men and women who swear by the Constitution and are brave enough to go the distance in protecting the principles that it enshrines.
9.5/10
2)Direction :
Chopra's filmography, including gems like Eklavya, Mission Kashmir, and Khamosh, has always delved into real-life stories, adapting them seamlessly for the cinematic experience. However, 12th Fail stands out not just for its storyline but for its intelligent direction. Under his direction, the film becomes a compelling cinematic journey celebrating the spirit of youth and triumph over adversity.
Chopra's direction crafts a realistic and relatable world, inviting the audience to immerse themselves in the story. Certain scenes are bound to evoke tears. These powerful emotional moments add depth and authenticity to the narrative, making it a truly immersive experience.
And based on his mastery, each character is meticulously crafted and impeccably portrayed by the talented ensemble cast, becomes a conduit for the film's thematic resonance, contributing to a narrative depth that transcends the traditional boundaries of the genre.
10/10
3) Cinematography :
The film's visual aesthetics are nothing short of breathtaking, with each frame meticulously crafted to evoke a wide range of emotions. Rangarajan Ramabadran's cinematography is spellbinding, capturing the essence of the characters' struggles and triumphs in a way that is both visually stunning and emotionally poignant.
The use of light and shadow is particularly noteworthy, adding layers of symbolism to the story and enhancing the overall viewing experience. The cinematography succeeds in bringing the characters' struggles and triumphs to life in a visually stunning manner.
The only flaw that I could see was the usage of a wide-angle lens capturing a wide of Manoj walking towards the interview room. The pillars naturally become distorted or symmetrically off.
9.5/10
4) Production Design :
Production Designer Prashant Bidkar was tasked with bringing the grounded, relatable narrative of 12th Fail to life. He elevates familiar everyday settings with the use of rugged realism. Costume design, helmed by Malvika Bajaj, work in tandem and seamlessly blend aesthetics and harmony with the film's milieu.
9/10
5) Casts :
Vikrant Massey's portrayal of Manoj is nothing short of brilliant, breathing life into the narrative with his impeccable acting. The on-screen portrayal of Manoj has become a symbol of the dreams and struggles faced by millions of underprivileged job seekers in India, evoking a profound emotional response from the audience.
Massey as Manoj is the beating heart of the film. He brings a rare vulnerability, honesty and earnest dignity to his character. His nuanced performance allows us to empathise with the character's journey, laying the foundation for the transformation from an ignorant teenager to the unwavering determination of a struggling young competitor. His performance goes beyond mere dialogue delivery and cements his status as a standout talent.
Medha Shankar makes a confident debut with 12th Fail and her Shraddha shares a rather genuine chemistry with Manoj. Her character is beautifully written with a whole lot of finesse.
In his supporting role, Anant V Joshi as Pritam Pandey delivers a nuanced portrayal that captures the dual intention of support and jealousy with finesse. Anshumaan Pushkar, as the mentor Gauri Bhaiya, brings an uplifting presence to 12th Fail.
9.5/10
6) Post Production, Sound Editing, Music :
The conventional editing style occasionally disrupts the viewing experience. However, when it breaks away from the pattern and lingers on a shot, it creates cinematic and emotional magic.
Shantanu Moitra's background score works in tandem to create an auditory symphony that not only captures the essence of each moment but also elevates the emotional resonance. The music is subtle yet effective, enhancing the film's tone and mood. With only three instruments used, including a sitar, flute, and another unidentified instrument, the music complements the storytelling and adds depth to emotional scenes, such as the protagonist's interview and moments of triumph.
The sound design by Manav Shrotriya adeptly captures moments of chaos, nuances, and silences with alacrity, transporting us seamlessly into the universe of the film and heightening our engagement with the characters.
9/10
What truly makes 12th Fail a cinematic gem is its ability to leave a lasting impact on its audience. The ideas in the film make you think about your own life and get inspired by the characters' stories. It also makes you question what people usually think about success and failure, pushing you to see personal achievements in a new way.
In conclusion, 12th Fail is an awesome choice for those people who think they have lost everything in life, especially for students. It's a kind of movie that makes you think deeply about life and overcome the challenges in life.
Restart! Restart! Restart!
Overall rating : 9.5/10.
Be advised that this review is NOT for :
Overview :
La Luna is a simple tale which hits out at religious hypocrisy, male-dominion machoism and the suppression of the fairer sex. It is also a story where the sidelined female community goes into a transition where most of them now feel liberated and empowered while passionless marriages are suddenly reinvigorated in joyful hijinks.
Set in the present day, "La Luna" takes place in the fictional rural village of Bras Basah, a quintessential Malaysian kampung named after a district in Singapore where the undisputed leader is Tok Hassan, an elderly scholar whose intense strictness regarding Muslim laws has resulted in fashion magazines being manually censored, sermons being purged of humour and teenage art being deemed a matter of police concern.
His authority however is challenged when Hanie, a modern entrepreneur from Kuala Lumpur inherits an ancestral home and moves to the village to open an upscale lingerie store, which quietly also becomes a refuge for a number of women in the village.
The clash between them is inevitable, with Tok Hassan using every trick in his book to get the shop to close down. Police officer Salihin Arshad a progressive-minded soul finds himself in the middle, as his professional capacity comes into conflict with his love for his daughter, Azura, who is constantly pressuring him to change his way of thinking and overall practices, and his relationship with the newcomer, which soon blooms into something more than friendship. Although Hanie scores some 'victories' in the beginning, her adversary is not eager to let go. Challenges go blazing at her from all angles but somehow this city rebel managed to find solace in the conservative communal.
Well, I am not going to spoil it here by narrating the entire story hence I am jumping next into the comprehensive analysis of the movie.
1) Script, Screenplay & Dialogues :
La Luna is in fact a breath of fresh to the norms of Malay cinema, perhaps owing to the heavy influx of the progressive minds of Malay Singaporean filmmakers contributing to this flick. Despite it being relatively shot with only a budget of RM3.5 million, La Luna is exceptionally good, compelling and in relevance to the current situation of where interpretation or rather a misinterpretation of religion blankets the society today.
The script by the director M Raihan Halim is well written and the screenplay equally executed well. Dialogues are predominantly in Malay but with a tinge of English being added to the linguistic fabric of the film. The dialogues are packed with a mix of seriousness and humour. The movie has a good sense of comedic timing and can be quite, shall we say, "daring" with its humour. A good chunk of laughs are derived from the sexual repression of the villagers, thanks to Tok Hassan's oppressive rules.
Taking into account is how writer-director Halim's skill in making this a story about censorship rather than a dig about faith. He cleverly paints the secular village leader as the baddie instead of his aide, the religious teacher, who resists his fanatical self-preservation. I believe some of the audiences have misinterpreted this movie as an assault at the assumed religious leader, the village head but NO, the religious head here is Ustaz Fauzi!
8.5/10
2)Direction :
Kudos to M Raihan and his team for this bold effort. M. Raihan's writing and directing are particularly intelligent with him managing to combine comedy, romance and drama with intense sociopolitical commentary, without allowing the movie to become polemic despite its context, which could easily lead towards that path.
In that manner, it is quite interesting to see how he achieves that particularly the last aspect. Apart from the overall lightness that permeates the movie, Halim takes care of having a number of opposite characters, who essentially state that the problem is not religion or the system, but the way people perceive and implement it largely through interpretations to one's whims and fancies.
8.5/10
3) Cinematography
Sofyan Daud Mohamed's cinematography captures the rural area with realism, with the right intensity of colour, the adequate amount of lights and the softness in choices of lenses. No fancy stuff shown but rather complementing angles and movements were used swiftly.
8/10
4) Production Design
The conservative theme was well executed in terms of production design. The rural setting was nicely laid with good monotonous look and feel where else colours within the lingerie shop played a pivotal role, perhaps in a way adding colour to the mundane lifestyle of the female folks there. It was done well in line to the script and the realism of the film.
The wardrobe stylist did a good job in getting the right fitting for the casts. No over-the-top clothings were shown. Hard to see any flaw in the wardrobe section though. A big ups to the wardrobe stylist here.
8.5/10
5) Casts
One of the most impressive part of this movie are the casts, top notch I must say.
The chemistry and overall presence of Shaheizy Sam as Salihin Arshad and Sharifah Amani as Hanie Abdullah is as rewarding as possible, with both actors embodying their roles rather convincingly, and with a sense of measure that is not that common in comedies from the area.
The ones who were largely impressive throughout are definitely the 'secondary' characters.
Wan Hanafi Su plays the role of Tok Hassan the 'noble villain' type to perfection, a terrific yet calmly terrifying role as the unyielding change opponent lurking in venomous daylight, hellbent on eradicating the work of "Satan" at his village.
The comical parts comes from Nam Ron's Ayob and Farah Ahmad's Enah and is seen as one of the most entertaining aspects of the movie. Both carried their roles exceptionally well and I must say, really well!
One of the characters I was captivated was in fact the feisty, all gusto cheeky teen Azura played by Syumaila Salihin. Apart from doing well in her Malay dialogues, her command of the English language was impeccable. She spoke it so well that there was not a single tinge of any local or Asian accents being heard. She spoke confidently without a flaw! She added depth into the "Azura" character and made her scenes so much livelier. I must say that Syumaila is a great actress in the making as she is certainly the face of Malaysian cinema of the future!
Dzuhrie Alaudin as Ustaz Fauzi highlights both his initial inner struggle and his eventual transformation in the most convincing way. Right expressions while maintaining the "holy man" persona while subtly being seen a progressive religion man.
An impressive portrayal of the domestically-abused Yam was carried well by Nadiya Nissa. She cultivated her role from a timid person to someone who was given immerse moral support to Hanie. The shift of characteristics is something notable and it add to the subject of women empowerment.
The lesser roles of the "ever-enraged" husband of Yam, Pa'at was carried adequately by Hisyam Hamid and the timid role of Yazid by Wafiy Ilha was executed well.
Generally, I was impressed with the individual performances of casts and I must say that they executed their roles with much flair, grace and with lesser intensity.
9/10
6) Post Production
Pacy edits were used with the right colours to fit the look and feel of the film. In general it was consistent throughout. Music and background sound were subtle but enough not to overlap the attention which was more on the dialogues and characters.
8/10
And finally my closing note.
From women's autonomy to political misuse of religion, La Luna tackles quite a number of themes in a tactful manner. This is a likeable film, pivoting from a "God is watching" stance to a "God is loving" embrace, is truly something wonderful to behold. A bold and expertly executed mixture of both mainstream and indie sensibilities, La Luna is the Malaysian-Singaporean film you never knew you needed.
- hypocrites
- the "holier than thou" cluster
- those who cannot accept reality and choose to remain in their own ideal bubble world of lies and deceit
- those who are practically known as "penunggang agama"
- those who live in fear thinking that a simple movie could change the course of their respective religions
- those are against liberalism without knowing what "liberalism" is about
- those who include religion in any form of debates, arguments or an explanation in a civil society
Overview :
La Luna is a simple tale which hits out at religious hypocrisy, male-dominion machoism and the suppression of the fairer sex. It is also a story where the sidelined female community goes into a transition where most of them now feel liberated and empowered while passionless marriages are suddenly reinvigorated in joyful hijinks.
Set in the present day, "La Luna" takes place in the fictional rural village of Bras Basah, a quintessential Malaysian kampung named after a district in Singapore where the undisputed leader is Tok Hassan, an elderly scholar whose intense strictness regarding Muslim laws has resulted in fashion magazines being manually censored, sermons being purged of humour and teenage art being deemed a matter of police concern.
His authority however is challenged when Hanie, a modern entrepreneur from Kuala Lumpur inherits an ancestral home and moves to the village to open an upscale lingerie store, which quietly also becomes a refuge for a number of women in the village.
The clash between them is inevitable, with Tok Hassan using every trick in his book to get the shop to close down. Police officer Salihin Arshad a progressive-minded soul finds himself in the middle, as his professional capacity comes into conflict with his love for his daughter, Azura, who is constantly pressuring him to change his way of thinking and overall practices, and his relationship with the newcomer, which soon blooms into something more than friendship. Although Hanie scores some 'victories' in the beginning, her adversary is not eager to let go. Challenges go blazing at her from all angles but somehow this city rebel managed to find solace in the conservative communal.
Well, I am not going to spoil it here by narrating the entire story hence I am jumping next into the comprehensive analysis of the movie.
1) Script, Screenplay & Dialogues :
La Luna is in fact a breath of fresh to the norms of Malay cinema, perhaps owing to the heavy influx of the progressive minds of Malay Singaporean filmmakers contributing to this flick. Despite it being relatively shot with only a budget of RM3.5 million, La Luna is exceptionally good, compelling and in relevance to the current situation of where interpretation or rather a misinterpretation of religion blankets the society today.
The script by the director M Raihan Halim is well written and the screenplay equally executed well. Dialogues are predominantly in Malay but with a tinge of English being added to the linguistic fabric of the film. The dialogues are packed with a mix of seriousness and humour. The movie has a good sense of comedic timing and can be quite, shall we say, "daring" with its humour. A good chunk of laughs are derived from the sexual repression of the villagers, thanks to Tok Hassan's oppressive rules.
Taking into account is how writer-director Halim's skill in making this a story about censorship rather than a dig about faith. He cleverly paints the secular village leader as the baddie instead of his aide, the religious teacher, who resists his fanatical self-preservation. I believe some of the audiences have misinterpreted this movie as an assault at the assumed religious leader, the village head but NO, the religious head here is Ustaz Fauzi!
8.5/10
2)Direction :
Kudos to M Raihan and his team for this bold effort. M. Raihan's writing and directing are particularly intelligent with him managing to combine comedy, romance and drama with intense sociopolitical commentary, without allowing the movie to become polemic despite its context, which could easily lead towards that path.
In that manner, it is quite interesting to see how he achieves that particularly the last aspect. Apart from the overall lightness that permeates the movie, Halim takes care of having a number of opposite characters, who essentially state that the problem is not religion or the system, but the way people perceive and implement it largely through interpretations to one's whims and fancies.
8.5/10
3) Cinematography
Sofyan Daud Mohamed's cinematography captures the rural area with realism, with the right intensity of colour, the adequate amount of lights and the softness in choices of lenses. No fancy stuff shown but rather complementing angles and movements were used swiftly.
8/10
4) Production Design
The conservative theme was well executed in terms of production design. The rural setting was nicely laid with good monotonous look and feel where else colours within the lingerie shop played a pivotal role, perhaps in a way adding colour to the mundane lifestyle of the female folks there. It was done well in line to the script and the realism of the film.
The wardrobe stylist did a good job in getting the right fitting for the casts. No over-the-top clothings were shown. Hard to see any flaw in the wardrobe section though. A big ups to the wardrobe stylist here.
8.5/10
5) Casts
One of the most impressive part of this movie are the casts, top notch I must say.
The chemistry and overall presence of Shaheizy Sam as Salihin Arshad and Sharifah Amani as Hanie Abdullah is as rewarding as possible, with both actors embodying their roles rather convincingly, and with a sense of measure that is not that common in comedies from the area.
The ones who were largely impressive throughout are definitely the 'secondary' characters.
Wan Hanafi Su plays the role of Tok Hassan the 'noble villain' type to perfection, a terrific yet calmly terrifying role as the unyielding change opponent lurking in venomous daylight, hellbent on eradicating the work of "Satan" at his village.
The comical parts comes from Nam Ron's Ayob and Farah Ahmad's Enah and is seen as one of the most entertaining aspects of the movie. Both carried their roles exceptionally well and I must say, really well!
One of the characters I was captivated was in fact the feisty, all gusto cheeky teen Azura played by Syumaila Salihin. Apart from doing well in her Malay dialogues, her command of the English language was impeccable. She spoke it so well that there was not a single tinge of any local or Asian accents being heard. She spoke confidently without a flaw! She added depth into the "Azura" character and made her scenes so much livelier. I must say that Syumaila is a great actress in the making as she is certainly the face of Malaysian cinema of the future!
Dzuhrie Alaudin as Ustaz Fauzi highlights both his initial inner struggle and his eventual transformation in the most convincing way. Right expressions while maintaining the "holy man" persona while subtly being seen a progressive religion man.
An impressive portrayal of the domestically-abused Yam was carried well by Nadiya Nissa. She cultivated her role from a timid person to someone who was given immerse moral support to Hanie. The shift of characteristics is something notable and it add to the subject of women empowerment.
The lesser roles of the "ever-enraged" husband of Yam, Pa'at was carried adequately by Hisyam Hamid and the timid role of Yazid by Wafiy Ilha was executed well.
Generally, I was impressed with the individual performances of casts and I must say that they executed their roles with much flair, grace and with lesser intensity.
9/10
6) Post Production
Pacy edits were used with the right colours to fit the look and feel of the film. In general it was consistent throughout. Music and background sound were subtle but enough not to overlap the attention which was more on the dialogues and characters.
8/10
And finally my closing note.
From women's autonomy to political misuse of religion, La Luna tackles quite a number of themes in a tactful manner. This is a likeable film, pivoting from a "God is watching" stance to a "God is loving" embrace, is truly something wonderful to behold. A bold and expertly executed mixture of both mainstream and indie sensibilities, La Luna is the Malaysian-Singaporean film you never knew you needed.