In Pencuri , the antagonist is a cop named Razip (Fadlan Hazim). He’s not a mafia don. He’s a public servant who uses his badge to extort money. He takes bribes, seizes assets, and destroys Iman’s life—all while wearing a uniform.
Now, look at Sheriff . Directed again by Syafiq Yusof, this time starring Zul Ariffin as the titular Sheriff, an MACC officer with zero tolerance for corruption. He’s hunting a drug syndicate protected by a network of dirty cops and politicians. On the surface, Sheriff is the antithesis of Iman. He represents the law. He represents integrity.
The message is deafening. In both universes, the most dangerous criminal isn't the thief on the street or the drug dealer in the alley. It’s the man with the badge, the warrant card, and the political connection. Malaysians didn’t just watch these movies; they cheered for them. When Iman finally outsmarts the corrupt cops in Pencuri , the cinema erupted. When Sheriff beats a confession out of a protected witness, we nodded in approval.
Here’s why these two films demand to be watched as a double feature. Let’s start with Pencuri . Directed by Syafiq Yusof, the film follows Iman (Zul Ariffin), a former petty thief trying to go straight. When his daughter falls critically ill, the system fails him. Insurance lapses, social support is absent, and his employer refuses to help. So, he returns to the only skill he has: stealing.
Pencuri shows us the victim of the broken system (the poor thief). Sheriff shows us the symptom of the broken system (the rogue enforcer).
If there’s one thing Malaysian cinema has mastered in recent years, it’s the art of the gritty, high-stakes crime thriller. Two films, in particular, have dominated our conversations—and our box office—for very similar reasons. I’m talking about Pencuri (2022) and Sheriff: Narko Integriti (2024).
In Pencuri , we ignore that Iman traumatizes innocent people during his heists. In Sheriff , we ignore that Sheriff is technically a torturer.
Why? Because art imitates life.