Since its inception, Miu Miu has grown into the embodiment of feminine strength. If the brand’s autumn/winter 2024 show is anything to go by, its muse continues to be presented in many shapes, forms and facets. It is this celebration of range that has resonated with a diverse pool of women from different ages, races and lived experiences. A stellar example of this was the Miu Miu Icons campaign unveiled in 2020, which featured seven diverse and renowned female artists, including the likes of Oscar-winning actress Kim Basinger, indie darling Chloë Sevigny as well as Chinese actress and ballet dancer Du Juan.
Miu Miu’s emphasis on femininity revolves around narrating stories from various female perspectives. The primary platform for this is the Women’s Tales initiative, launched in 2011. Under this programme, different female film-makers are commissioned by the brand to create shorts, with the common theme being the Miu Miu clothes worn by the characters. Some of the programme’s most notable alumni are Chloë Sevigny, Hiam Abbass and Dakota Fanning—all of whom have made a huge impact within cinema at large. In an ever-expanding realm of the feminine gaze, curated by some of today’s brightest directors (now comprising 27 films by 27 different image makers), director Tan Chui Mui’s I Am The Beauty Of Your Beauty, I Am The Fear Of Your Fear stands as the latest addition of its kind—a coming-of-age narrative that is evocative and empowering.
The premiere was held at 52 Yongfu Road in Shanghai, which was the former location of the Shanghai Film Studio’s Literary Creation Department that has birthed notable films such as Hibiscus Town, Romance on Lushan Mountain, My Memories of Old Beijing and Narrow Street. The screening was followed by conversations and panels related to Tan’s film and the role of women in cinema. Tan’s piece follows Gita, who left her home in China for Malaysia to escape her inner demons. She meets a sisterhood of fighters who teach her how to use her angst for good and spends time with an Indian flower seller, who introduces her to Kali, the goddess of time, destruction, death and change. “Through wrestling with what we fear the most,” Tan explains in Miu Miu’s press release, “we find our inner strength and our beauty.”
Here, editor-in-chief Desmond Lim speaks to Tan about the women in her film, what it means to meld action and comedy as well as her favourite Miu Miu piece.
Your films possess a grounding quality, often revolving around the distinct way of life in Southeast Asia. When did this unique perspective first emerge?
I think it has to do with my childhood because I grew up in a small village next to the sea. This cultivated my affinity and connection with the land and, in extension, my roots. We were quite secular in that sense. We ran around, played with fire and caught fish. Even up till now, I yearn to be outside and at play as being outdoors nourishes me. It goes back to the whole idea of conscious living. I respond to things that are instinctual to myself.
Do you see a lot of yourself in the characters in I Am The Beauty Of Your Beauty, I Am The Fear Of Your Fear?
In this short film, the character I identify with is Devi the cleaning lady. She might seem grumpy and humble at the start, but she revels in life and finds joy even in the mundane. There is also Kumari the flower lady who adores telling stories and guiding people, which is also a quality that I have. And of course, Shaanti the boss lady who represents my maternal facet when I care for my child.
What are the three words that can be used to best describe the women in your film?
Beautiful, powerful and protective. I also thought about endurance because the characters had to go through mental and physical tribulations. There’s also fragility, in the sense that they displayed so much vulnerability with their emotions.
“The main reason I learnt acting was because I wanted to put myself in the actors’ and actresses’ shoes in order to direct better. In a way, film is a looking glass into reality.”
I think range is important when it comes to creativity and it’s amazing to see you try your hand at martial arts, clowning and more. Is this difficult for you?
Definitely, because a lot of them were professional theatre actors who were already trained in this craft. I tried to do all sorts of silly things to make them laugh but it ended up being embarrassing and silent. At the clown workshop, there was a clown master who taught us but it’s not what you think it is. It wasn’t anything physical like juggling but more of a comedy class. Do you know Ali G and Borat? His comedy is very much like that—situational and precise.
How do you tie action sequences and comedy into your film cohesively?
The main reason I learnt acting was because I wanted to put myself in the actors’ and actresses’ shoes in order to direct better. In a way, film is a looking glass into reality and to show that realism authentically in acting is always the hardest.
What do you think are the challenges in the Malaysian film industry?
We don’t have enough producers here, unlike in Indonesia and Singapore. And producers make a lot of what we do as directors into reality; they are so integral to our film ecosystem globally.
What’s a Miu Miu piece that best describes you?
The gold brocade jacket with the bow at the back, for sure.
The May ‘Escape’ issue of Vogue Singapore is available for sale online and in-store.
