With a history spanning over 130 years, the Hungry Ghost Festival in Bukit Mertajam stands as one of Malaysia's most significant and enduring cultural events.
Rooted in Taoist and Buddhist traditions, this festival is dedicated to appeasing the spirits of the dead, believed to roam the earth during the seventh month of the lunar calendar. Bukit Mertajam, a town rich in community traditions and deep cultural roots, has become a vital hub for this festival. The event is renowned for its elaborate ceremonies, vibrant celebrations, and large-scale paper effigies, drawing both devotees and tourists. The centerpiece of the festival is the towering Da Shi Ye (King of Hades) paper effigy, symbolizing the guardian of the underworld and serving as the focal point for prayers and rituals. This deep-seated tradition has made Bukit Mertajam synonymous with the Hungry Ghost Festival, attracting attention both locally and internationall
Background on the Hungry Ghost Festival
The Hungry Ghost Festival holds profound significance in Chinese culture, marking a time when the gates of the afterlife open, allowing the spirits of the deceased to return to the mortal world. During this period, living descendants perform rituals and make offerings to appease these wandering spirits, ensuring their comfort and peace. The festival reflects core Chinese values of filial piety, respect for ancestors, and the belief in the interconnectedness of the living and the dead.
In Bukit Mertajam, the festival is characterized by elaborate ceremonies, including the burning of incense, joss paper, and food offerings to honor the spirits. Central to these rituals is the construction and eventual burning of the Da Shi Ye (King of Hades) effigy, symbolizing the community's collective effort to care for the spirits, thus preventing misfortune or unrest in the mortal world. This event underscores the cultural importance of maintaining harmony between the living and the spiritual realm, a cornerstone of Chinese tradition.
Choice of Filming Equipment
Though newer and better cameras are available, my choice of equipment was straightforward. I needed a camera capable of recording at a high frame rate of at least 50 frames per second, as I’m in the PAL region. While 4K resolution wasn't essential, it offered greater flexibility in post-production. From previous experience attending the event, I knew I’d need a camera that performs well in low light and can withstand rain, water, and heat. Given my current camera collection, the choice was clear. Despite being an 8-year-old camera, the Canon 1DX Mark II was the obvious choice due to its ability to record up to DCI 4K at 50 fps, which was the highest among my gear. It is also fully compatible with my L series EF lenses without needing an additional adapter. Additionally, I had peace of mind knowing that if the camera were to break during this personal project, replacing it wouldn't be overly costly.
For lenses, I primarily used the Canon 16-35mm f/4L IS and the Canon 100mm f/2.8L IS Macro. Lens stabilization was crucial, as I was filming handheld, and the Canon 1DX Mark II lacks in-body image stabilization. Utilizing the 1.3x crop factor to my advantage when filming DCI 4K on the Canon 1DX Mark II allowed me to streamline my lens choices by ditching the middle-range lenses while maintaining flexibility throughout the festival. As the Canon 1DX Mark II does not have any Log video profile, I have also pre-installed the Technicolor Cinestyle custom profile to maximize the dynamic range and allow for greater flexibility in grading the footage in post.
No drone was used in this film to comply with the local authority and also minimize the potential risk of injuries if the drone were to crash as there were a lot of people on the ground.
Creative Decisions and Challenges in Making the Film
Given the dense crowds at the festival, I prioritized flexibility, keeping my filming setup minimal to ease movement. The entire event was shot using natural light and a run-and-gun technique, capturing whatever I could on my own. I was also relying heavily on the autofocus of the camera to nail the focus of shots that were a little chaotic.
With no control over the festival's scenarios, I made a creative decision to let the film's story develop naturally, adapting to the spontaneous nature of the event and improvising along the way. In the film, suspense is built from the start, introducing the mythical figure of Da Shi Ye as devotees worship it. The full scale of Malaysia's largest Da Shi Ye (King of Hades) paper effigy, standing at 8.96 meters, is only revealed toward the climax, portraying it as a mythical figure, the Guardian God of Ghosts. The revelation of the Da Shi Ye effigy at the climax brings a sense of relief and closure, mirroring the festival’s conclusion.
As covered previously, the decision to omit the usage of drones was also a creative decision to keep the entire film engaged on a personal level up close. Although it would have been good to have an establishing scene of the entire festival.
Conclusion and Thoughts
Documenting and researching this traditional festival has been an eye-opening experience, deepening my appreciation for our cultural practices. As filmmakers, we have the unique ability to preserve these traditions through the medium of film, ensuring they continue to be celebrated and remembered.
