Eunice Tan on why Malaysian films struggle to break out globally—and how we can change that

“We have talent, that’s a no brainer,” she says firmly. “But it’s the infrastructure that needs more work. A lot of the films stumble when it comes to subtitling, formatting, or even understanding how to position them internationally,” Tan explains that while film schools often focus on craft, too few young filmmakers are taught the mechanics of distribution—things like sales strategy, rights management, festival prep, or even understanding what global buyers expect. And the truth is, good stories don’t automatically find their audience.

“It’s a comforting idea,” she admits, “but not always true. A good story without support often goes nowhere. You would also need distribution effort, including festival backing, great PR, and a team that knows how to navigate the market well. Otherwise, even the most powerful stories get buried under all the noise.”

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It’s not just about packaging and polish, though. Audiences—and algorithms—want authenticity. But global buyers also want clarity. “They are looking for authenticity, but also clarity. They want stories that are rooted in something that is honest, but that also speaks to a much wider audience,” she says.

Sometimes, that can create tension. “For example, how exactly do you stay true to your culture but at the same time getting outside people to care and listen to the story? I believe the key is knowing your audience early on and being intentional with how you shape your film, both creatively and strategically.”

As streaming platforms expand their appetite for non-Western content, Tan notes that opportunity has never been greater, but visibility is harder than ever. “The algorithm doesn’t care about the audience’s ‘heart’, but rather cares about watch time, data, and analytics. So now, it’s not just about making a great film, but also about having a smart release strategy and knowing who is going to watch it, where, and why.”

Her advice to young Malaysians who dream of working behind the scenes? Learn everything and start from the bottom. “Relationships are everything, and they take time to develop. Production skills are not a requirement, but they are a bonus in this specific industry.  They provide a deeper understanding of both the technical and artistic aspects of the making of the film, as well as developing the ‘eye’ for content acquisition.”

She’s equally clear-eyed about the broader ecosystem that needs fixing. Tan believes Malaysia would do better investing in sales training, distribution education, and festival literacy than in restricting foreign films—a suggestion recently floated by FINAS chairman Datuk Hans Isaac. “Closing doors limits growth,” she says. “What we can do instead of restricting access is invest in strengthening our competitiveness. Reciprocity sounds fair in theory, but it’s not always productive in practice, especially for a smaller industry like ours.”

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Instead, she proposes more strategic regulations: visible location credits, stronger co-production incentives, and robust international partnerships. For Tan, it is important to recognise that foreign films performing well in Malaysia and Malaysian films struggling abroad are two separate issues. “Malaysia already requires foreign productions to hire local crew and credit locations, but there’s room to go further. We could, for example, push for more visible recognition of Malaysian locations in promotional materials or deepen co-production opportunities that benefit both sides. These kinds of efforts not only support the local ecosystem, they also help nurture international partnerships and gradually introduce global audiences to Malaysian stories, talent, and landscapes,” she adds. While the efforts might not yield overnight results, Tan believes they build the foundations for long-term visibility and sustainability.

Tan’s vision is rooted in optimism but grounded in reality. She wants to see Malaysian and Southeast Asian stories seen not as “niche” or “exotic,” but simply as part of the global film conversation. “I would also like to see more education and mentorship around film distribution. It’s still such a misunderstood part of the process in the film industry, and yet it determines whether a film travels or doesn’t,” she adds. 

And the stories she’s still waiting for?

“There are so many stories that need to be told. But one that stands out for me is the story of Vietnamese refugees who landed in Malaysia after the Vietnam War,” she says. “We rarely talk about that chapter of our history. Or even stories about everyday resilience during the Japanese occupation. These aren’t just Malaysian stories, but they’re human stories.” 

At its core, Tan’s message is simple but powerful: our stories deserve to be seen. But they won’t be, unless we build the channels to get them there.

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