Cover Photo: Astro
Photo: Astro
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The Malaysian actress discusses the challenges of ageism for women in the film and television industry, and embracing the dark side as the manipulative Ibu Zara in Astro’s hit drama series 'One Cent Thief'
Reflecting on her prolific 30 years in the film industry, Datin Sofia Jane candidly confesses that she’s never played an antagonist before her role in Astro’s latest premium crime thriller series, One Cent Thief. The eight-part series which premiered in October 2022 is inspired by true Malaysian events, following the story of smart but down-on-his-luck bank officer Iman Shah (Shafiq Kyle) who hacks the Bintang Bank system to steal one cent from each bank account in a desperate attempt to pay for his father’s medical bills and other rising debts.
While audiences have praised the series for its superb writing, multicultural casting, and stellar performances, viewers have been especially captivated by Sofia’s calculative character, Ibu Zara, a godfather-type mastermind in the criminal underworld who operates under the guise of helming a foundation for abused women and abandoned children.
“What attracted me to this role was how vindictive Ibu Zara is because of the violence and abuse she’s suffered in her life,” Sofia says. “I love that she’s smart, calculative and power-hungry, and she uses that to manipulate the other characters who are also hungry for power for different reasons.”
Known for her lead roles in films like Cinta Kita (1995) and Perempuan, Isteri, dan Jalang (1993), the 50-year-old star has made a name for herself in the visual industry and speaks often about the challenges faced by female actors, particularly of the kind of roles older women are given in film and television.
She tells Tatler Malaysia more in the Q&A below:
Above Photo: Astro Originals
Photo: Astro Originals
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What drew you to the role of Ibu Zara in One Cent Thief?
Sofia: I’ve always been a huge fan of the director Ariff Zulkarnain and the writer Alfie Palermo. It so happened that we were watching a mutual friend’s film preview and he (Ariff) introduced himself. He talked about this upcoming project that he wanted to collaborate on. At that point I was still travelling in and out of Melbourne, where I’ve been for the past six years. He kept emailing me script drafts and after reading them, I got hooked.
What was it about the show that captured your interest?
I think the show represents a rare turning point where we’re given the artistic freedom to poke at relevant issues of contemporary Malaysia—our social and political landscape, and the human condition of the Malaysian people which drives this particular storytelling. With this series, the producers have streamlined performers from different backgrounds, races and religions to be in one story, the likes of which we haven’t seen for the longest time since Othman Hafsham’s 2+1. I love that it’s become not a Malay series, but a Malaysian one.
Above Photo: Astro
Photo: Astro
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As an actor, you’re always trying to improve the human condition with your work, and sometimes what matters most is knowing you’ve achieved the little things, not necessarily something explosive or huge.
Do you share anything in common with Ibu Zara’s character?
No. Whether you’re an actor or not, we all want to be someone else, someone better. You only see Ibu Zara coming in on the fourth episode, and you learn things about her through what others say. She grew up being a prostitute and then worked her way up to gain ultimate power in the underworld. I love how the show depicts her as this vindictive woman in a man’s world, where she’s learnt that you don’t have to do a lot to manipulate others.
What’s the harshest criticism you’ve ever heard about your acting?
That I can’t act at all! The criticism is on-going (laughs). Sometimes I tell myself: “I don’t think you should be here.” I think the chip on my shoulder is that I never had that formal acting training. I always had to learn on the job. In hindsight, I gained more from this.
What were the most empowering moments of your career?
I’ve always had the opportunity to make choices, not just to say yes or no to a role but to be invited to collaborate with a director or a scriptwriter in terms of how a character should evolve or what the ending should be. That’s huge for me. When a project is completed, it feels great and you think, I was part of that. As an actor, I believe you’re always trying to improve the human condition with your work, and sometimes what matters most is knowing you’ve achieved the little things, not necessarily something explosive or huge. I’m empowered by the fact that I have a choice, and with that choice comes power to do what I set out to do, which is to tell great stories, to be a part of great stories and to spark discussions within your audiences. Some may like it, some may not. But it needs to be consistent, ongoing and productive.
What are the biggest challenges faced by older women in the film and television industry?
Like it or not, ageism is rife in the visual industry, especially for women. There’s this wonderful film on Netflix, Tiga Janda Melawan Dunia (3 Widows Against the World). It had my favourite iconic actresses in it and it was a comedy that poked at relevant issues. But how long in between do we get to watch films like this? There will always be talk: 'Can the show make it with just women in it?' You need money to produce it and you need to find people who will believe in what you do. That's a hard call. But ultimately I believe if it’s good, it’s good, and people will watch it.
Tell us the top 3 iconic roles of your career.
I don’t know, lah! The role that most people would deem most iconic would be Zaleha in Perempuan Isteria dan Jalang. My role as Latifa in Cinta Kita came after that, a story of young love where I played a tomboyish girl. As for the third, maybe it’s One Cent Thief's Ibu Zara (laughs). I think she represents what audiences are hoping to see more of—a strong character, but one that shows you don’t have to be young to do great things or be more confident. That you don’t need to be dressed head to toe in Chanel to be confident. Across the board, people want to start seeing on-screen women like that, women who can validate their own feelings as well. In today’s world, everybody is chasing perfection, but nobody realises that it is imperfection that’s truly beautiful.
Previously contributing to Esquire Malaysia, Expat Lifestyle and Newsweek, Tania oversees digital stories across Tatler’s key content pillars, also leading the Front & Female platform exploring issues and topics affecting women today.
