The concept of being a trans man and a Muslim seems impossible on principle, but Shh…Diam! Malay for “shut up”, an openly queer punk band in Malaysia, is actually eager to shout the fact in their songs, as much as in the protests for LGBTQ+ rights its members frequently participate in. Yihwen Chen follows the three members of the band, lead singer Faris, Yon, and Yoyo, as they navigate their identities within this particular setting, both through music and their everyday lives.
Queer As Punk is screening at Queer East Film Festival
The political aspect is quite intense in the movie, particularly through the presentation of the band’s fight for LGBTQ+ rights in a country where human rights and freedom of expression are severely curtailed by a conservative Islamic society. The way being Muslim and queer is treated as forbidden, along with a law that does not allow one to change their religion in bureaucratic terms, showcases a setting that can only be described as suffocating. As we watch their hopes rise upon the change of the ruling party, which had been in place for 60 years, and their disappointment when they realize that nothing has actually changed, a rather intense dramatic hypostasis comes to the fore, which actually permeates all aspects of the documentary.
Faris is definitely a focal point, both through his life and through the treatment his will to transition has brought him, even from his family, with his portrait actually being the most thorough. Yon and Yoyo also get their share of screen time, however, as Chen has included the latter’s marriage with Kat, in a rather intense mixture of cultures, while there is also focus on Yon, particularly through her everyday life and relationship.
A large part of the documentary is taken up by their concerts, most of them underground, while the one where they wear full body green suits will definitely stay in mind. The preparation of the music is also presented, adding yet another layer to the documentary.
Angen Sodo and Chen’s own editing connects the various aspects of the documentary competently, imbuing the narrative with a sense of speed that mirrors the style of the music, while also including a number of moments where the pace slows down. The camera follows the protagonists quite closely, a number of times even within their car as they drive from concert to concert, highlighting the fact that Chen had definitely gained the trust of her “protagonists”.
In the end, the sense “Queer as Punk” leaves is a bittersweet one, as the members of the band still manage to move on against all odds, but their setting does not seem to change. All in all, this is a rather entertaining and quite realistic documentary.
