Ananth Subramaniam on Taking ‘Bleat!’ To Cannes Film Festival

Malaysia continues its hot streak at Cannes Film Festival with Ananth Subramaniam’s Bleat! securing a coveted spot in the festival’s sidebar programme Critics’ Week (La Semaine de la Critique). Sustaining the momentum gained over the past couple of years, the Tamil-language film marks another milestone achievement for the local film industry as it becomes the country’s first short film selected for competition across all sections.

Dissecting the complexity of the Malaysian-Tamil culture, Bleat! follows a couple who finds themselves caught between a rock and a hard place when the male goat they culled for ceremonial slaughter is pregnant. The film sees Ananth continuing his exploration of his ancestral identity as he attempts to balance the scales of the world, where duty and devotion collide, through a commentary on faith, expectations, and sacrifice.

The director-screenwriter, whose love for cinema was spurred on by his film-buff parents, is no stranger to the international film circuit. Having screened his past projects at major events such as the Locarno Film Festival, Ananth now enters the big league of filmmaking elites with his head held high. Ahead of the 78th Cannes Film Festival, which runs from 14 to 22 May 2025, we sat down with the man of the hour and discussed his latest work.

How did Bleat! come to you?

The whole process was organic. It started with a strange, sticky image: a pregnant goat. The idea of it is unsettling, right? But there’s something oddly beautiful about it too. And I thought, “Okay, what happens when you drop that kind of wild, primal energy into a world that’s very controlled, very traditional?” That tension is fascinating to me. I’ve always loved stories where the “different” forces people to confront what they’re afraid to see in themselves.

What difficulties did you encounter during the early stages of development?

The challenges were more internal. The hardest part was finding the right emotional tone. I didn’t want it to feel too strange or surreal, and I didn’t want it to lean too much into comedy either. It’s a delicate balance. The story lives in that in-between space, where something feels off but also familiar, where it can be funny and unsettling at the same time. Getting that mood just right was the real challenge.

How did you navigate the tonal shifts?

I think it’s all about feeling. Comedy is hard because it must feel real, not forced. I let the humour come naturally from the characters and their everyday lives, which was easier for me since I based it on my own grandparents, who were very funny people. When you mix humour with real emotion, the sad or serious moments hit even harder. The audience laughs because they see something real on screen, something they can understand. The humour is not just for fun; it makes the story feel honest and true.

What was the reasoning behind your decision to present the film in black and white?

For me, it brings the story closer to reality and not further away. It strips the world down. You’re left with nothing but the characters, their emotions, and the textures of their lives. Bleat! is a story about excess—absurd traditions, loud communities, and inherited beliefs—and to balance that, we wanted the visuals to be quiet, bare, and elemental. The black and white isn’t nostalgic; it’s sharp, modern, and immersive. That’s how magical realism works: it tiptoes in when everything feels solid and real.

Were there any cinematic influences that shaped your vision for this project?

Definitely! Art is all about inspiration. I’ve always been drawn to artists who let silence do the heavy lifting. People like Kelly Reichardt, G. Aravindan, and Sam Shepard. There’s something amazing in their restraint. They build entire emotional landscapes out of glances, shadows, and wind. You feel the weight of things that are never said. That’s the kind of storytelling I love. Strange, quiet, and full of ghosts.

Was there a specific scene or moment in the film that felt pivotal to you?

There was definitely emotional turbulence as a writer-director. With Bleat!, I wanted to be unapologetic and to invite people into that world, fully, without watering anything down. So there was a lot of responsibility on how to create that story and how to present it without being overt or covert.

When did you find out your film was selected for Critics’ Week?

It was in the middle of the night and I got a call from my producer. I woke up half asleep, thinking all this was just a dream. Once I realised this is the real deal, shell-shocked! It was unbelievable. The first person I told was my brother. He’s been there since the beginning, so it felt special to share that moment with him.

What are you most looking forward to in Cannes?

Meeting other filmmakers and just being part of that world… it’s a little surreal but really exciting. But honestly, I’m most looking forward to being with my team. Producer extraordinaire Belz of Sixtymac in Malaysia is my closest collaborator, with whom I have worked for almost a decade now. I have worked with most of the team—cinematographer Adrian Wong, assistant director Lena Srinivasan, editor Gogularaajan Rajendran, BK Lee, and art director Ray—for years too. They’ve been by my side through all the ups and downs, and this feels like something we get to celebrate together.

Bleat! has given more visibility to Tamil-language films in Malaysia. What takeaway do you hope the audience leaves with after seeing it?  

People will see the richness of Malaysian Tamil culture. The full spectrum. The music, the joy, the love that runs deep in these communities. Because we don’t often get to tell our stories with that depth, that honesty. Too often, our cultures are sidelined or reduced to simple stereotypes. So, I hope that when people leave Bleat! they’re not just thinking about the story, they’re thinking about themselves. About what it means to belong, and that belonging costs a lot!

When and how can we watch the film? 

The film will travel. It’s going on a festival journey across the world because it’s important for people everywhere to experience Tamil-Malaysian stories in full light. And yes, Malaysia is very much part of that journey. It’ll be out here soon. We’re working on it. This is home. We have to show it here.

Can you tell us about your debut feature film, The Passport?

It has been an incredible journey developing it over the years. We’re incredibly thankful that the project has received support from several film institutions across the region, including Talents Tokyo, Locarno Open Doors, the Southeast Asian Film Lab, BIFAN’s IT Project Market, and Full Circle Lab. I’m excited to be reuniting with the same core team behind Bleat! for this much larger undertaking. The film follows a Tamil punk rocker as she navigates the intersections of rebellion, identity, and tradition, and explores what it means to reconcile punk ideology with cultural roots. We’re planning to begin principal photography by mid-next year.

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