Visions of vulnerability: Hyrul Anuar's artistic journey

MALAYSIANSKINI | Growing up in a family with a deep love for music, Hyrul Anuar was exposed to the melodic strumming of guitars, rhythmic beats of traditional drums and many other instruments.

While his father and brothers excelled at musical instruments and often performed at community events, Hyrul gravitated towards drawing, fascinated by the power of visuals to convey emotion and tell stories.

The eleventh child out of 12 siblings often spent hours sketching mystical characters and scenes, letting his imagination run wild on paper.

“I started drawing when I was in school. At the time, I wasn’t sure if I had any real talent, as my schoolmates often mocked my work. They said my drawings looked like ‘Majusi’ (Zoroastrianism), and I was constantly ridiculed,” he told Malaysiakini.

Hyrul received his primary education at SK Ulu Bernam in Perak and continued his secondary education at SMK Ulu Bernam until Form 3 before transferring to SMK Ungku Aziz in Sabak Bernam, Selangor.

While many of his peers spent their time playing video games, Hyrul would sneak off to cybercafes to learn how to use computers. His father once punished him for it.

“It was because I used to steal his money to go to cybercafes. He thought I was wasting time playing games, but I went there to learn.

“Our relationship wasn’t smooth, but over time, things got better. I know he’s proud of what I’ve achieved,” he added.

After graduating, Hyrul pursued film studies at the National Academy of Arts, Culture, and Heritage (Aswara).

In 2014, he was invited to intern at Fabrica, United Colors of Benetton’s Communication Research Centre in Italy.

There, he was awarded Fabrica’s working scholarship after producing a project called #endstatelessness for UNHCR.

Challenges in adjusting to the new world

As he navigated his journey into the world of art, Hyrul carried with him the influences of his musical upbringing, blending these experiences to create a unique perspective on storytelling through both visual and auditory means.

During his internship, Hyrul experienced homesickness due to the language barrier and inability to blend with the locals fully. He channelled these emotions into digital art.

“Two months before the internship ended, I decided to express my feelings by interpreting Malay proverbs, like ‘Mendukung Biawak Hidup’ (carrying the lizard, meaning doing something pointless), through digital art.

“My boss, Erik Ravelo, saw my work and encouraged me to do more, leading to the creation of a series called ‘The Visual Series of Malay Proverbs’. That’s when I realised I might actually have some talent,” he said.

He then secured a position at the leading advertising agency Leo Burnett, where he created colourful campaigns like ‘The Sparkle Project’ and ‘Galaxy Wonderland’ for Samsung.

Representing the country

Hyrul represented Malaysia at the Adfest Asia Pacific Advertising Festival, where he won two prizes in the Young Lotus Competition.

One of his most notable commercials, ‘Dugaan Raya Aida’ (Aida’s Aidilfitri Challenge), aired in 2017 for Tenaga Nasional Berhad. The commercial featured a woman named Aida overcoming various obstacles to make it home for Aidilfitri.

In 2019, Hyrul released a deeply personal documentary about a son coping with his father’s death, a story close to his heart. The documentary, released on YouTube, featured footage of Hyrul and his father, who passed away in 2017.

“After he passed, his fussing mouth, which I’d hated so much, was the thing that I missed. That I would still sometimes look for.

“Because of all the things, those words. They were what made me who I am today,” he narrated in the documentary.

After a decade in advertising, the 36-year-old shifted his focus to film directing, particularly in commercials.

Throughout his 10 years in advertising, Hyrul honed his skills in creating compelling narratives and visually striking campaigns that captured audiences’ attention.

“I was up for a promotion to become an art director, but I wasn’t comfortable with it because I still had a passion for doing hands-on work.

“That’s when I directed the film ‘Tiga Janda Melawan Dunia’ (Three Widows Against the World) and an original TV series called ‘Gamers Mangkuk’ (Foolish Gamers),” he shared.

“Tiga Janda Melawan Dunia” is a comedy about three widows determined to buy concert tickets to see their favourite singer. They start a vape juice business, which earns them the ire of a local crime boss.

His first major film project has showcased his unique storytelling style and flair for blending humour with heartfelt moments.

Meanwhile, the TV series ‘Gamers Mangkuk’ follows five individuals who form a team to compete in a mobile gaming competition, aiming to establish themselves as champions.

Family influence and censorship

When asked about his biggest influence, Hyrul cited his family, acknowledging that not all of these influences were positive.

“My childhood was not smooth; most of my experiences were traumatic. However, I now view those experiences as a source of comedy in my work,” he reflected.

While he acknowledges the expansion of the country’s art scene, Hyrul wishes for greater support from the media and netizens for local talent.

He elaborated that the censorship surrounding art has ironically inspired local artists to produce standout work.

“However, local success is often measured by achievements abroad. Most media outlets only pay attention when there is success overseas, which leads to coverage,” he explained.

Regarding censorship, Hyrul believes that artists today enjoy broader freedom than in the past.

“In my opinion, artists must also engage in self-censorship before creating. There are issues we can raise, but there are also topics we should avoid if they could negatively impact society,” he added.

When discussing film censorship, Hyrul expressed that many artists hold misconceptions about the Film Censorship Board (LPF).

“Every film must undergo censorship, but when we receive reports on what should be censored from the LPF, we can appeal. If we disagree with the LPF’s decisions, we can challenge them.”

He continued, “However, if we appeal, the LPF may deny the film a General or PG13 rating, resulting in classifications like 18SG, 18SX, 18PA, or 18PL. If we still wish to achieve a General or PG13 rating, many scenes will be cut, and the audio may be muted.”

“As a filmmaker, I believe the freedom to create still exists; however, many creators are unaware of the appeal system, which contributes to the ongoing controversy surrounding the LPF,” he added.

With each new project, Hyrul’s passion for directing continued to flourish, allowing him to push the boundaries of his creativity and connect with audiences in fresh and exciting ways.

When asked what he would have pursued if not art, Hyrul said he would have been an archaeologist, as he had a passion for history in school.

Looking ahead, Hyrul is fully embracing his journey as a filmmaker, filled with enthusiasm and anticipation for the opportunities that await him.

Having successfully transitioned from advertising to directing, he constantly pushes the boundaries of his creativity, using film to tell meaningful stories.

His passion for visual storytelling continues to grow, and he’s eager to explore new projects that challenge him artistically. Whether it’s directing a film or a commercial, Hyrul remains deeply committed to crafting narratives that resonate with audiences on an emotional level.

What the future holds

As part of his continued exploration of the arts, Hyrul is also preparing for his first solo exhibition, titled “Terik Tidak Kau Pandang” (You Do Not Notice the Heat).

“I worked on this project during the Movement Control Order. I love it because it’s very personal. At the same time, I improved my skills from flat 2D to human figure drawing,” he said.

Hyrul shared that he is searching for suitable venues and dates for his first exhibition.

He also revealed that the title of his exhibition was inspired by his journey of self-discovery in the context of romantic relationships.

Hyrul admits the work isn’t perfect, but he views the process as a profound learning experience, one that allowed him to delve into emotions he hadn’t dared to explore before.

With this exhibition, he hopes to connect with viewers on a deeper level, inviting them to share in the vulnerability and honesty that his work represents.

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