In the vibrant landscape of Malaysian cinema, few filmmakers have made as significant an impact as Adrian Teh. At 39, Teh has established himself as a stalwart of the industry, with a career spanning over a decade and a portfolio that includes blockbuster hits like Paskal: The Movie (2018), Malbatt: Misi Bakara (2023) and more. He also founded the Chinese Film Association of Malaysia in 2012 and established the Golden Wau Awards a year later to recognise Malaysian Chinese language films.

Teh’s journey into filmmaking began with an unexpected source of inspiration. “I was never intrigued by the thought of making films until I watched Roland Emmerich’s Godzilla in 1998,” he says. This pivotal moment ignited a passion that would shape his future career, driving him to seek a greater understanding of the craft of filmmaking.

From a young age, Teh exhibited a rebellious creative spirit. “If something was trendy, I would definitely not find interest in it,” he says. This contrarian attitude fostered a unique perspective that has become a hallmark of his work. “That stubbornness has always encouraged me to think differently and be more critical. I strongly believe that critical thinking is important to a person, no matter your age group.”

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Behind the scenes of Teh's upcoming movie, ‘Reversi’ (2024)

Teh’s filmography is a testament to his versatility and unwillingness to be pigeonholed into a single genre. He began his career directing Chinese New Year films, a popular genre in Malaysian cinema with hits like King of Mahjong (2015). However, the seasonal nature of these productions soon began to wear on him. “I would wake up on day one of the new year to check box office performance. I did not have peace and I didn’t relax,” Teh admits.

Seeking new challenges, Teh ventured into the Chinese film market between 2014 and 2017. However, frustration with unrealised projects led him back to Malaysia, contemplating a career change after nine years in the industry. It was at this critical juncture that Teh was presented with the idea of Paskal, and the thought of making a Malay-language film was just the change of scene Teh was looking for.

“When I first wanted to do Paskal, nobody believed in it. Everybody thought it was going to be a flop and no one would invest in it. Anyway, the rest is history,” Teh says. The film, which tells the story of Malaysia’s elite naval special forces unit on a mission to rescue a tanker from Somalian pirates, became a massive hit, grossing over 30 million ringgit—far exceeding initial estimates from Teh’s investors.

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Teh believes in the importance of having patience on set

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Teh collaborated with Malaysian scriptwriter Bujoq to refine ‘Reversi’

The success of Paskal went beyond box office numbers. Teh found himself receiving tangible appreciation from audiences in unexpected ways. “When Paskal was being screened in cinemas, strangers would secretly pay for my meals and write me notes saying they liked the movie and to keep up the good work. Not just once or twice, but so many times. I felt appreciated in a very big way,” he shares.

Perhaps the most significant impact of Paskal was its influence on real-world recruitment. Teh proudly recounts, “The Chief of Navy at the time texted me a couple of months after the film had screened. He thanked me, saying that because of Paskal, annual intake of new recruits for the Navy spiked up 40 per cent.” For Teh, this was a powerful demonstration of cinema’s ability to shape society and instill a sense of patriotism.

After the success of his action films, Teh is once again challenging himself with a departure from the genre. His upcoming film Reversi (2024), marks a significant shift in his filmography. “Reversi is a time-travelling love story,” Teh says. The script, which he wrote nearly a decade ago, was revived after watching Nik Amir Mustapha’s Imaginur (2023), which Teh found refreshing and inspiring.

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‘Reversi’ marks a significant shift in Teh's filmography

Adapting Reversi from its original Mandarin script to suit Malaysian audiences presented its own set of challenges. Teh collaborated with renowned scriptwriter Bujoq (Nazifdin Nasrudin) to refine the story. “When a story involves time travelling, you must have a sense of logic to it. To create the world that time travel exists in that is foolproof was tough,” Teh says. He immersed himself in time travel narratives, studying films like The Time Traveler’s Wife (2022) and In Time (2011) to develop his own unique rules for time travel in Reversi.

Despite its sci-fi elements, Teh emphasises that at its core, Reversi’s focus is on love. “It’s a love story about love that exists not just between a husband and wife, but a transcendent familial love,” he explains, highlighting the emotional depth he aims to bring to the screen.

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Despite its sci-fi elements, Teh emphasises that at its core, ‘Reversi’ focuses on love

While Teh doesn’t adhere to recurring themes in his films, he does maintain certain principles in his work. “In almost every film that I’ve made, you can never find a weak female character because I respect women too much to see them objectified or portrayed as clingy, dependent stereotypes. I don’t believe in that,” he states firmly.

Another constant in Teh’s films is the use of multiracial casts. “It’s a way to stamp this work as a Malaysian film—regardless of the title, theme, story or language spoken,” he says. This approach reflects Teh’s commitment to representing the diverse reality of Malaysian society in his work.

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In recent years, Teh has found a new source of satisfaction in bringing true stories to the screen. His film Gold (2024) is an example of this direction, as it tells the story of Cheah Liek Hou’s journey to winning the gold medal in the 2020 Paralympic Games in badminton. “Recently, I’ve discovered an extra level of satisfaction and pride in telling true stories because when you do so, you’re sharing true Malaysian stories,” he says. For Teh, these projects represent more than just filmmaking; they’re an opportunity to inspire his fellow Malaysians and contribute to the national narrative.

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Teh wrote the script for ‘Reversi’ almost a decade ago

Teh’s journey hasn’t been without its challenges. Early in his career, he faced difficulties in securing entertainment tax rebates for non-Malay language films. “At the time, the rebate was not granted to non-Malay films, because for a film to be classified as local, it required at least 70 per cent of spoken dialogue to be in Malay,” Teh recalls. He advocated for a review of regulations, which led to the establishment of the Chinese Film Association of Malaysia. “Our first contribution was filing a petition. It took a year, but they changed the local film criteria. Today, spoken language doesn’t matter, as long as the film has Malay subtitles,” Teh says.

To aspiring filmmakers, Teh’s advice is to embrace humility. “When you’re just getting started in your career, leave your ego at the door. Listen to the guidance others offer, because no matter how good you think you are, no one will listen to you until you have proven yourself. At that stage, the people who are willing to talk to you and offer advice are usually right. Once you have proven yourself, be bold, but until then, be patient.”

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