KUALA LUMPUR, May 18 — With a career spanning more than four decades, Pearlly Chua remains one of the most respected voices in Malaysia’s performing arts scene.
The actress and acting coach is known for her deep commitment to the craft, showcased in films such as Snow in Midsummer (2023) and Pavane for an Infant (2024).
In an interview with Malay Mail, Chua praised the growing pool of local talent while reflecting on how Malaysian actors can further refine their artistry.
She believes many performers could benefit from broadening their exposure beyond their immediate discipline.
“I think actors in Malaysia would be better if they broaden their outlook on art and life,” she said.
“A lot of the people I know, if they are actors, they just watch films.
“If they are stage actors, they just watch theatre.”
Chua added that some actors rarely engage with other art forms such as visual art, painting, contemporary dance, or ballet — experiences she feels are essential for deeper artistic understanding.
For her, acting is often misunderstood as imitation or performance.
“The word ‘acting’ is very misleading,” she said.
“For me, getting into a role is not about acting it — it’s about being it.”
She explained that meaningful interpretation of a character requires more than technique; it demands awareness of life, emotion, and the world beyond the stage or screen.
“You have to feel it, and you have to make the audience feel something.
“It has to be believable,” she said.
Now 69, Chua continues to actively contribute to the industry, regularly conducting talks and mentoring emerging performers.
Her approach to the craft was further reinforced through her recent role as Har in Mother Bhumi, directed by Chong Keat Aun.
She said the experience of filming the project deepened her appreciation for rice farming and rural life.
Set in rural Kedah in 1998, Mother Bhumi explores the rhythms of village life through themes of traditional spiritual practices, including shamans and rice cultivation.
“I’ve always eaten rice and heard how difficult rice planting is, but you don’t truly understand it until you go there,” she said.
“You see farmers working in water, rain or shine, dealing with thunder, lightning, mosquitoes, and heat.
“It’s physically demanding and very remote.”
Living alongside the farming community gave her a renewed respect for rice and those who cultivate it.
It made the actress think about what her grandmother used to say — that rice must be respected.
You do not waste it, and you pick it up if it falls on the floor.
“I only truly understood that after seeing the process myself.”
The film’s multicultural storytelling was a key reason she was drawn to the project.
“The multicultural environment stood out strongly — different languages, different communities, all coexisting.
“That is Malaysia,” she said.
Watching the completed film also left a strong emotional impression on her.
“It was told in a gentle, elegant, and honest way.
“It showed Alor Setar and Malaysia beautifully, and highlighted respect for the land and people,” she added.
“The emotional tone stood out a lot for me.”
Mother Bhumi has completed its nationwide cast tour and is currently screening in cinemas across Malaysia.
