The upcoming romantic comedy Finding Mojo has confirmed its regional theatrical schedule ahead of a wider global push. The film will open in Malaysian cinemas on 23 July 2026, followed by a release in Singapore on 31 July, with negotiations for an Indonesian rollout currently underway.
The project represents a milestone as the debut feature film from Sympatico, a joint venture label established between Malaysian media company Double Vision and veteran British film producer Richard Johns. Local distribution will be managed by Astro Shaw, while SC Films International oversees theatrical sales across Western and European territories.
A Rural Undercover Misadventure
The plot follows Adi, an ambitious corporate dairy executive whose promotional livestock, a cow named Mojo, becomes an accidental internet phenomenon. When a remote agricultural community refuses to sell their land to the corporation, a local farmer detains the viral animal to leverage negotiations.
Read more: ‘K-Pop Out of Time’: Musical Explores Intersection of Modern K-Pop and 1980s Cantopop
Adi travels to the village undercover to retrieve the asset, but he re-evaluates his corporate priorities after falling in love with the farmer’s daughter.
The production features a prominent regional ensemble. Indonesian actor Adipati Dolken stars alongside Malaysian actress Mimi Lana and veteran performer Wan Hanafi. Honey Ahmad wrote the screenplay, while filmmaker Zahir Omar served as creative consultant and executive producer.
Stepping Behind the Camera
The film serves as the feature directorial debut for Min Lim, the group chief executive officer of Vision Entertainment Group. Lim spent the last twenty years producing regional television adaptations of major European formats, including The Bridge and Liar. To ground the story, the production team filmed roughly ninety per cent of the scenes on location in Perlis, the smallest state in Malaysia.
“I’ve spent more than two decades helping other directors bring their visions to life, so stepping behind the camera myself felt like a very natural evolution rather than a leap into the unknown,” Lim said when discussing her transition. “Producing taught me that directing isn’t about having all the answers – it’s about creating an environment where everyone can do their best work.”
To give the regional story international appeal, Lim assembled a technical crew from six countries. The team included British film editor Chris Gill, American composer Sam Anderson, and visual effects supervisor Tigran Badalyan.
Lim noted that the underlying themes of the script draw from traditional regional principles of community and shared sacrifice. “In Asia, the cast will naturally be a big draw, while internationally we hope those universal themes, together with the film’s production values and creative team, will help the story find an audience,” she explained.
Building a Regional Studio Model
The theatrical launch occurs as Double Vision restructures its business model to focus on global co-productions. The studio recently finalised a three-series drama development agreement with Astro Shaw and Philippine broadcaster ABS-CBN. The company is also advancing pre-production on Emergency, a high-budget limited television series with Welsh actor Luke Evans attached to star.
The expansion signals a deliberate shift away from relying entirely on domestic television commissions, moving instead toward creating repeatable, cross-border intellectual properties. Lim believes the local industry must transition from functioning as a physical filming location for foreign film crews into a creative hub that exports its own media.
Read more: British-Thai Star Becky Armstrong Cast As New ‘Nanno’ in ‘Girl From Nowhere: The Reset’
“For too long, Southeast Asia has been viewed primarily as a place where international productions come to shoot,” Lim stated. “I think the next chapter is about creating stories here that travel everywhere. That’s the ambition we’re building at Double Vision – not simply to service international productions, but to become a studio whose stories originate in this region and resonate around the world.”
She emphasised that local creators possess the cultural resources necessary to compete on the global stage without altering their identity. “I genuinely believe this is Southeast Asia’s moment,” Lim added. “Audiences everywhere are looking for fresh voices and authentic stories, and our region has an incredible richness of culture, humor and humanity. We don’t need to imitate Hollywood or Europe. We need to tell our own stories with confidence, because that’s what audiences are increasingly responding to.”
