{
  "id": 12272394,
  "title": "Filem gagal, salahkan penonton",
  "url": "https://urgent.news/2026/10/06/filem-gagal-salahkan-penonton",
  "topic": "culture",
  "section": "Culture",
  "published": "2026-10-06T01:00:00.000Z",
  "source": {
    "name": "Free Malaysia Today",
    "slug": "free-malaysia-today-freemalays",
    "url": "https://www.freemalaysiatoday.com/category/opinion/2026/10/06/filem-gagal-salahkan-penonton"
  },
  "original_language": "en",
  "account": "Recent discussions on the medsos social media platform have revealed that Chiu Keng Guan's film \"Bang\" failed to reach the desired box office numbers. After just one week on screens, \"Bang\" reportedly generated only around RM1.2 million in ticket sales, a relatively small amount for a production with an estimated RM10 million budget. The film, inspired by the life of Malaysian rally legend Karamjit Singh and the PERT team, premiered on September 17, 2026. Its lineup of actors is not unknown, including Irfan Zaini, Jack Tan, Nam Ron, Zizan Razak, and Shweta Sekhon. This failure has sparked speculation about whether local biopic films are being well-received by audiences. The controversy surrounding this issue has been highlighted on the Threads platform. The author conducted a thorough investigation into various arguments in an attempt to understand why a well-received film may not receive the expected response. This phenomenon is not new; whenever a highly praised film fails to perform, the same statements are made by film enthusiasts and the general public – a viewer's fault! The audience is often questioned for their lack of discernment and preference for lightweight, empty films like those produced elsewhere. However, examples are readily available. We are all familiar with the existence of local films that generate tens of millions in ticket sales, and we know the genre they belong to. The question remains: why don't audiences want to watch films like \"Bang\" when there are other options? The blame should not solely be placed on the audience. These individuals have already made a significant mistake by not purchasing tickets to watch the film. Criticism has some merit, but if we blame the audience exclusively, we further complicate the situation. A well-made film and a film that audiences wish to watch are two different things. While a film can be well-made, that doesn't guarantee it will make people eager to go see it. The film's success is subjective and depends on various factors. These might include the genre, the cast, or even promotional strategies that fail to captivate the audience. Timing can also play a role, as the release may coincide with other popular choices. However, one mystery remains: I once asked renowned filmmaker S Amin Shahab why he hasn't seen a particular film. He responded that there was no excitement to go see it. This highlights the mystery of \"the excitement factor\" in filmmaking. Some works simply don't generate excitement, regardless of their quality. The question then arises: what happens to a well-crafted film if the audience is too smart? After all, intelligence alone does not determine one's enjoyment of a film. A well-educated scholar, for instance, may prefer watching a horror movie on Netflix after a long day of teaching. Similarly, someone who loves reading Fyodor Dostoevsky novels may only want to watch comedies like \"The Naked Gun.\" Ultimately, taste is subjective and not a measure of intelligence. It is essential to treat audience preferences with fairness. Sometimes, \"smart\" films have succeeded and garnered high box office numbers in their time, such as \"Phenomena,\" \"The Soup,\" or \"Woman, Wife, and….\" When a large number of viewers attend a film deemed worth watching, we celebrate a society that appreciates quality works. Yet, when the audience fails to respond to a film we consider excellent, we criticize their taste instead. It's unfair to blame the audience alone. Just as someone who enjoys keropok at a restaurant is not forced to buy it if they don't like it, viewers should not be forced to attend a film they don't want to see. Buying a ticket should be based on genuine interest in the story and the elements invested in the production. Alternatively, one may purchase a ticket with the intention of supporting the local film industry or out of sympathy, which is not wrong. However, it is crucial to remember that this is a choice, not a reflection of one's character.",
  "summary": "Kalau kita mahu buat filem yang tidak mengikut selera semasa, kita juga perlu sedia terima kemungkinan selera semasa memang jarang menyebelahi filem seperti itu.",
  "key_points": [],
  "editors_take": null,
  "illustration": null,
  "coverage": {
    "outlets": 2,
    "also_reported_by": [
      {
        "outlet": "Free Malaysia Today",
        "title": "Filem gagal, salahkan penonton",
        "url": "https://urgent.news/2026/10/06/filem-gagal-salahkan-penonton-12275733",
        "published": "2026-10-06T01:00:00.000Z"
      }
    ]
  },
  "ai_generated": true,
  "disclaimer": "Summaries, key points and the editor’s take are written by software from other outlets’ reporting and may contain errors — always check the linked original."
}