林建國（國立交通大學外國語文學系副教授）
馬來西亞電影自成體系，從P蘭利到雅思敏，可以看見一個豐富的系譜。加上這國家語種豐富、文化多元，此地除有馬來語電影，並有華語、淡米爾等語系電影。早年一些馬來電影即由印度裔執導，今天也有華裔導演拍攝馬來電影，說明各個語種導演是在同個影視環境裏工作。大馬電影在表達語彙上的翻新，發生在以雅思敏為首的一群新世代導演身上，頗有新浪潮的態勢。可惜受到商業環境的阻絕，我們苦無機會觀察。所幸交大有個標準配備的電影廳，可作DCP放映；大馬影展落腳交大，可能是台灣院校裏的第一次。蘇穎欣、雷智宇與謝鎮逸功不可沒，沒有他們與各個大馬導演及學者聯繫，影展不會發生。劉紀蕙教授的眼界與支持，終於讓影展在東南亞最北端的台灣開花結果。
Malaysian cinema presents a rich genealogy of its own that can be traced back to P. Ramlee from Yasmin Ahmad. With its multi-lingual and multi-cultural scene, Malaysia plays host to not only films made in Malay, but also those in Tamil, Chinese, and other languages. While not a few Malay films were directed by Indian descendants, some of the Malay films today are made by the Malaysian Chinese—all of which points to the fact that, Malaysian filmmakers, despite their different ethnicities, work in the same industrial setting. The first breakthrough in film expressions—much in the manner of New Wave—is achieved by auteurs of Yasmin’s generation. However, commercial theatre chain has failed to deliver their works before our eyes. With pure serendipity, NCTU is equipped with a theatre that can play films on DCP, and with equal fortune, we have Show Ying Xin, Zikri Rahman, and Seah Jenn Yi on our side to reach out to scholars and filmmakers in Malaysia for this festival to become possible. Prof. Joyce C. H. Liu, with her vision and support, gives the event a finishing touch, perhaps first of its kind on a campus in this northernmost island of Southeast Asia as Taiwan.
劉紀蕙（國立交通大學社會與文化研究所教授兼所長，文化研究國際中心主任）
「焦慮的年代：馬來西亞影展在台灣」是一個難得一見的影展，也是一個重要的影展。
從蘇穎欣、謝鎮逸與雷智宇策展人團隊所挑選的當代馬來西亞電影中，我們可以看到不同語言與不同族群的混雜呈現。我們要稱呼這些電影為馬來電影、淡米爾語電影、華語電影，還是都應該是馬來西亞電影？這些不同族群與不同語言並存的生存處境，存在於日常生活之中。但是，這些電影中所反映出的焦慮，是同樣的模式嗎？他們所面對的公民與國家、傳統與現代、信仰與非信仰、性別差異與常態，是同樣性質的衝突與難題嗎？換句話說，他們生活在同一個社會中嗎？
我們期待從電影的詮釋角度以及導演與觀眾的對話之中，可以更進一步理解這個社會如何透過電影藝術形式而了解自身與詮釋自身；或許，從他們對著台灣觀眾以及彼此之間的對話中，他們也會進一步了解自身的位置。
It is a rare opportunity and a significant event for Taiwanese audience to witness the happening of the Malaysian Film Festival in Taiwan –Age of Anxiety!
From the list of films carefully selected by the curators, Show Ying Xin, Seah Jenn Yi, and Zikri Rahman, we can discover a strange medley of ethnic groups and different linguistic apparels on the screens. Do we call these films Malay cinema, Tamil cinema or Sino-phone cinema? The central theme is “anxiety,” but do the people depicted in the films share the same mode of anxiety? Do they experience the same dilemma or conflicts in terms of citizenship, tradition, religion, gender issues and so on? In other words, do they live in the “same” society?
We look forward to furthering understanding of the Malaysian society through the cinematic interpretations by the film directors and the discussions among the participants. Perhaps, when they face the Taiwanese audience and undergo the dialogues among themselves, they will also obtain a different understanding of their positions.