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Production Talk on 'My Love Sinema' with Tan Ai Leng

September 15, 2016, 6:39 pm
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One look at the trailer of My Love Sinema may conjure images of the timeless classic Cinema Paradiso. But this is the Singapore version of it. Perhaps that’s why it is Sinema with an ‘S’. About 5 years ago, filmmaker Tan Ai Leng came across a local novel which spawned the idea for this film. The novel was called "Rice Wine and Dancing Girls" by Wong Seng Chow, depicting the story of the author's father who was a roving cinema manager in Singapore and Malaysia during the fifties.

That inspiration has finally manifested itself in full form on the big screen this month. Set in the 1950s, My Love Sinema details one man’s never-ending pursuit of his passion for movies and films. It tells the story of Kheong (Tosh Zhang), a young, starry-eyed 20-year-old who moves to Singapore from a kampung in Malaysia, to train as a film projectionist. There, he meets Lee (Jeff Wang), who becomes his mentor and teaches him about life, girls and dancing. At the cinema, Kheong also encounters Wei (Cheryl Wee), a young Chinese teacher who finds herself torn between her obligation as a dutiful daughter and her feelings towards Kheong. As their affection towards each other grows, they face various obstacles that prevent them from being together. A riveting story of courage and hope, this nostalgic film chronicles life’s triumphs and disappointments, inspiring audiences to stay true to their passions. 
We first spoke to Ai Leng at the turn of the year in December 2012 when she first earned the New Talent Feature Film Grant from the Singapore Film Commission. Check out our previous interview here.
We catch up with Ai Leng again for her thoughts at the end of the finishing line now that the film had been completed and brought to audiences islandwide.
The film’s premise and ‘period’ requirements are certainly ambitious. Could you share what was the most challenging part of the production? Was there a particular day that was memorably challenging?

The most challenging part of the production would of course be recreating the entire cinema from scratch. After months of research and recce around Malaysia, I decided Ipoh should be the place. Fortunately, we managed to secure an abandoned furniture warehouse (which used to be a cinema long time ago) rather quickly, possibly because it was situated next to a funeral parlour street. What followed as a complete makeover of the place, from a debris-filled building to what you actually see in the film. I wanted things to be as authentic and real as possible, so I gave the art department lots of reference pictures depicting how the cinema looked like in the 1950s, and instructed them to use the same exact material to replicate it. The biggest challenge were the projectors, I had to make sure they were of the right era, and that they could actually work. Eventually we managed to find two ancient projectors off the suburbs, tore them down, brought them back piece by piece, and then set them up again. Of course they weren't working anymore, and I literally told the art department, "I am not going to shoot a projector that doesn't work." On the night before the projection room shoot, they got it running. Kudos to a fabulous art department!!
I guess the most challenging day of shoot was at the coconut plantation. We had only one overnight to do the entire rain scene sequence, not to mention the day scenes prior to this. It was hell for the entire cast & crew, because we were in the middle of nowhere, with lots of mozzies and leeches. I felt the production team did a really good job to make sure all of us were safe and well taken care of.
According to some reviews of the film, Tosh and Cheryl struck up a good chemistry on screen. How did you work with the leads to achieve what you wanted?
I have to thank veteran actress Yeo Yann Yann for the intensive acting workshop she did with Tosh and Cheryl. She drilled them really hard on their characters' mannerism and speech, making "Kheong" and "Wei" second-nature for Tosh and Cheryl. So when it came to the rehearsals, Tosh was already "Kheong" and Cheryl was already "Wei". For me, directing is not telling the actors what to do. It is more helping the actors (as their characters) find motivation in everything they do and say. For example, I made them write their own backstories, made them write their own scripts for certain scenarios that are not in the script, so that they can have a clear mind of what happened before and after, hence finding the motivation from there. Also I made them do all that in Chinese.

Like your short film ‘Across the Straits’ before MLS, MLS also deals with relationships across the causeway, what’s your special connection with Malaysia?
I've always felt a close connection with Malaysia because my grandparents were from there. The village names you hear in the film are real. Kheong comes from 桂花村(Teluk Intan) which is where my grandparents came from. Also, I've always felt that we are same same but different, and that has always been an interesting premise to explore, be it the language or the culture.
You mentioned in a ‘TimeOut’ interview that you feel traditional cinema is dying. Do you mean classic story-telling techniques and treatments like in Cinema Paradiso and the likes? And why do you feel this is so?

I believe classic stories don't die. What I meant was traditional cinema projection. Film projection. We were very lucky to be able to find a veteran projectionist from the 80s who helped us with the 1970s open air cinema scenes, however, we for the 1950s projectors, there was no one who could help us. The older generation projectionists were all gone, and this knowledge hasn't seem to be passed down to the younger generation. And then it dawned upon me that we are indeed losing this important part of traditional cinema

My Love Sinema, is produced by FLY Entertainment, MM2 and Bioperfect. Apart from Tosh Zhang and Cheryl Wee who play the leads, it also stars screen legend Nora Miao (New Fist of Fury) and Hong Kong actress Cherry Ngan (The Midnight After), together with veteran Malaysian actor, Ye Qingfang (四喜臨門), as well as MediaCorp Artistes Richard Low (Ah Boys To Men trilogy) and Dennis Chew Chongqing (Everybody's Business).

Catch it in cinemas islandwide now before it ends its run!
 
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Malaysia's mystical-noir 'Interchange' to open 27th Singapore International Film Festival

September 22, 2016, 2:31 am
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The 27th Singapore International Film Festival (SGIFF) will open on 23 November this year with Interchange, a noir fantasy thriller by Malaysian director, Dain Iskandar Said.  It will be the film’s premiere in Asia after having premiered in Locarno and Toronto recently.

“Choosing it as SGIFF's opening film shows our commitment to celebrating our own voices, highlighting the capability of our creative industry, and welcoming a wider audience to the promise of Southeast Asian cinema,” said Executive Director of SGIFF, Yuni Hadi.

Dain Iskandar Said’s eagerly awaited third feature, conjures visions of supernatural mysticism and subterranean noir, set in the contemporary yet shadowy Malaysian metropolis.

The film deals with a former forensic photographer Adam (Iedil Putra), pulled back in to the fore to aid Detective Adam (Shaheizy Sam) with a series of macabre murders involving photographs found in the crime scene. His neighbour, femme fatale Iva (Prisia Nasution), who he voyeuristically photographs, also becomes entangled in the mystery involving hanging corpses drained of blood expertly told in Dain Iskandar Said’s bold vision.

Our thoughts?

Dain Iskandar Said not only presents a confidently made genre film but one that confronts our anxiety with the idea of change, showcasing modernity intruding upon the past through the ethereal violence inflicted upon tribal heritage. He also challenges the secular with the mystical, the rational with the faithful.

Interchange however does slip into some of the expected traps of its’ own genre. Firstly it sometimes becomes convoluted with its ambitious plot that it becomes hard to follow the police procedural that makes up most of the second act. The puzzling events are puzzling from lack of clarity rather than the cleverness of the writers with some characters speaking in vague poetic sentences that confuse us more than being deeply philosophical.

Secondly the characters play too close to the genre’s tropes that they almost move and act without any clearly defined motivation of their own. Some characters simply move from scene to scene because of the demands of the plot and genre rather than with any intent of their own. In particular the female characters show up for no reason and leave with no reason. Mostly, they seem happy with just circling and pacing around men in a seductive manner.




That being said, the Malaysia/Indonesia collaboration is artistically richest and most intriguing when dealing with its shamanistic folklore. The story draws upon the rich fables of the Nusantara region and turns it up a notch. This is done through the mystery of Belian, (Nicholas Saputra, above) a bird-like hooded figure as well as the story of a Borneo tribe photographed 100 years ago.  The sequences that involve these two elements are truly beguiling and arresting that it deserves to take the front stage at this year’s SGIFF.

The 27th Edition of the Singapore Film Festival runs from 27th November to 8th December 2016, in conjunction with the Singapore Media Festival.


By Rifyal Giffari


Images: Danny Lim © Apparat 2016
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27th Singapore International Film Festival to Cast Spotlight on Three Local Filmmakers in Awards Shortlist and Festival Line-Up

October 5, 2016, 6:21 am
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'A Yellow Bird' - Photo courtesy of Joseph Nair and Akanga Film Asia
As a champion for film talents in the region, the 27th Singapore International Film Festival (SGIFF) will be casting a spotlight on three Singaporean filmmakers as part of its line-up this year.

A Yellow Bird, the debut feature of director K. Rajagopal, has been shortlisted as one of the Asian feature films screening in competition as part of the festival's Silver Screen Awards; while during the festival, a tribute will be made to late filmmaker Abdul Nizam to celebrate his works and contribution to the industry. SGIFF’s commissioned short film by Singapore filmmaker Gladys Ng will also make its world premiere during the festival opening on 23 November 2016.

A Yellow Bird to be in competition for SGIFF’s Silver Screen Awards

A co-production between Singapore and France, A Yellow Bird made its world premiere this year during the International Critics’ Week, a parallel section to the 69th Cannes Film Festival and a launch pad of auteurs such as Hong Kong’s Wong Kar Wai, Mexico’s Alejandro Gonzalez Inarritu and France’s Jacques Audiard.

The story of a Singaporean ex-convict who seeks to right the wrongs he committed against his family, and finding companionship in a foreigner who shares his isolation in the harsh realities as of her own struggles, A Yellow Bird wills the audience to confront the edges of morality and question the choices one must make to survive.

“I vividly remember watching Rajagopal’s first short film I Can’t Sleep Tonight more than 20 years ago at the Singapore International Film Festival where it won the Special Jury Prize. I was struck by Rajagopal’s complete understanding and empathy for the characters of his film and the emotional and psychological wounds that they have suffered. It takes tremendous courage, honesty and someone who has truly experienced life to bring that to their films. A Yellow Bird plunges the depth of human emotions and looks unflinchingly into the soul of a man pushed to the very edge of his humanity. It is one of the most visceral and powerful Singapore feature films I have seen, and we couldn’t be more proud to welcome Rajagopal back in competition for our festival this year.” said SGIFF Programme Director Zhang Wenjie.

Director K. Rajagopal shares his excitement in the opportunity to present his film on home ground at SGIFF, a platform which also premiered many of his shorter projects. Regarding SGIFF's role in incubating his talents, he said, “The Singapore International Film Festival was where my career as an independent short filmmaker began twenty years ago. The Festival gave me recognition and ignited a fire in me to continue my journey in filmmaking. Now my first feature film, A Yellow Bird, has premiered in Cannes and begins its tour to other film festivals around the world. But being selected to present the film in competition at my home festival is closer to my heart. I wish to thank the team of SGIFF from the last twenty-seven years for supporting and believing in local cinema! Without you, I would not be doing what I love most.”
                                 
A Yellow Bird will be competing with nine other Asian feature films for four categories – Best Film, Best Director, Best Performance and Special Mention – as part of the Silver Screen Awards.

SGIFF pays tribute to Abdul Nizam

The SGIFF will also pay tribute to the late Abdul Nizam for the instrumental role he played in the resurgence of Singapore cinema in the late 1990s. He directed Haura, which was part of Singapore’s first digital-video feature film Stories About Love (2000), and was also the winner of the Best Singapore Film, with his graduate work Datura (1999) at SGIFF in 1999.

During the festival, these signature works will be screened, together with other noteworthy masterpieces such as Keronchong for Pak Bakar (2008) and Breaking the Ice (2014). Both films were previously screened in the SGIFF’s Singapore Panorama section.

“One of the most original and distinctive voices in Singapore cinema, Abdul Nizam was a filmmaker who never stopped searching for the truth and essence of our humanity in all his work. He constantly challenged and pushed the boundaries of the way we see and understand ourselves and the world around us. ... We are honoured to pay tribute to Nizam, a singular artist and an extraordinary human being who has left an indelible mark on Singapore cinema and our lives, with an extensive retrospective featuring his most acclaimed films as well as several rare and never-before-seen work,” Zhang said.

SGIFF’s new commissioned film by Gladys Ng

2016 also sees the introduction of a new initiative that seeks to nurture and showcase up-and-coming Singapore filmmakers, where SGIFF will commission annually a new short film by a Singapore filmmaker that will make its world premiere at the festival. 

Gladys Ng, winner of SGIFF 2015’s Best Singapore Short Film, is the first filmmaker to be commissioned under this initiative. Her short, The Pursuit of A Happy Human Life, which tells the story of two best friends who spend their time together before leaving for their separate journeys, will be screened during the festival opening on 23 November.
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The 27th Edition of the Singapore International Film Festival will run from the 27 November to 8 December 2016, in conjunction with the Singapore Media Festival.

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ShoutOUT!: Singapore Short Cuts returns this weekend @National Museum - Weekend #1

October 13, 2016, 3:08 am
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The National Museum of Singapore’s Singapore Short Cuts is back this weekend and it celebrates its 13th season this year.  It will run this weekend, 15-16 October, as well as the following weekend from 22-23 October. Screenings are free of charge, and tickets can be collected at the National Museum of Singapore (Visitor Services Counter @ Level 1).

 The line-up this weekend includes latest works from Ho Tzu Nyen, Sanif Olek and Kan Lume, last year’s winner of the Best Singapore Short Film at the Silver Screen Awards of SGIFF, ‘My Father After Dinner’ by Gladys Ng, as well other selections from last year’s SGIFF.
Check out the line-up here:

15 October

October Cherries by Christie Amanda Rodrigues (pictured right)

Did you know that there was an independent local band called the October Cherries in the 1960s? they were hugely popularly in Belgium and the Netherlands, but never quite found their face base back home. The film captures the band members, now in their 60’s, looking back at their careers with equal fondness and partiality. The short is directed by Christie Rodrigues, who is actually the daughter of one of the band members.


In the Still of the Night by Sanif Olek

Sanif Olek’s film, In The Still of the Night, was commissioned by the National Gallery Singapore, and pays homage to the classic, post-war Nusantara-Malay films in Southeast Asia where films by legendary Malay auteurs such as P. Ramlee and Hussin Hanif made their mark in colonial Singapore and Malaysia. Shifting through time lapses, the film stretches a simple premise into a more complex tale of longing, discover and second changes. Sanif is no stranger to the local silver screen, and had in fact, had his film, Sayang Disayang selected to represent Singapore in the Best Foreign Picture category at the Academy awards. He has also premiered films at the SGIFF.

Void Deck Love Story by Matthew Foo (pictured below left)
Matthew Foo’s Void Deck Love Story strives to capture the shared moments that most Singaporeans have with the common shared space in the HDB flats, through a series of whimsical encounters. Matthew is a student from School of The Arts (SOTA), and will be premiering his short film at the Singapore Short Cuts.

 
 
 
My Father After Dinner by Gladys Ng (pictured right)
I’m sure you’re no stranger to this film. This film was presented at the Singapore International Film Festival in 2015, and bagged the Best Singaporean Short Film Award. Audiences who are excited to watch Gladys’ newly commissioned short, and who were unable to watch My Father After Dinner previously, can now do so at the Singapore Short Cuts. Gladys’ graduation short film, Ying & Summer, was also first presented at the 9th Singapore Short Cuts in 2012.

 
16 October
The Nameless by Ho Tzu Nyen (pictured below left)


This film selects approcate scenes from 16 different films featuring Hong Kong actor Tony Leung Chiu-wai, and are reordered and re-contextualized to create a meta-narrative of Lai Teck, a real life triple agent operating in post-war Malaya. This film unearths the life of Lai Teck, as a Secretary General of the Malayan Communist Party between 1939 and 1946. Even his real name is a matter for debate as he had 50 other alias. Yet he played a key role in post-war Malaya as a triple agent, working first for the French and British secret forces, and then with the Japanese Kempeitai during the years of the Malayan Occupation.

For We Are Strangers by Nicole Midori Woodford
Nicole is considered an up and coming female voice in the film industry. Her film, For We Are Strangers, dwells into the psyche of a prision counsellor, Xuan, who slowly succumbs to the trauma of her past after being assigned to the same man who assaulted her in the past. In prison for a minor felony, the inmate is due for parole. Xuan is left to grapple with issues of morality and retribution. Nicole offers a naturalistic, low-key but dramatically compelling account of the assailant-victim quandary though her short film. The short film competed at the Singapore Screen Awards at the SGIFF last year. It also made its world premiere at the 20th Busan Film Festival, and competed for the Wide Angle Short Film Competition for the Sonje Award in 2015.

Story of a Singaporean Face by Kan Lume and Megan Wonowidjoyo

The short film captures the moment to moment Singaporean zeitgeist in fluid stop-motion sequences rendered in impressionistic pencil drawings. Over 1,000 hand-drawn portraits of real-life MRT commuters were used to create a tapestry of faces that eventually metamorphoses into a singular presence as the short film progresses to reveal a multi-dimensional gaze into the Singaporean identity. This film was also commissioned by National Gallery Singapore.   
Three the Peehood by Kapie Eipak

Kapie Eipak’s Three The Peehood carries on the legacy of Georges Melies whimsical anarchism, and challenges representations of non-conformity. The film is a hypnotic blend of Bill Plympton style animation, with a Kafkaesque existential dilemma. The film subverts society’s repressive conformity in a parade of the ordinary that spirals into a vortex of the absurd. Kapie experiments in various styles ranging from illustration to animation, photography and graphic design.
Ways of Seeing by Jerrold Chong (pictured below left)


Ways of Seeing premiered at the 26th SGIFF but did you know, that director Jerrold Chong went on to intern as a CGI artist for the acclaimed stop-motion claymation film, Anomalisa? Fans of the movie can have a chance to catch Jerrold’s most recent independent work, Ways of Seeing at the Singapore Short Cuts. The film follows two visually impaired strangers and the connections made between them as they experience the world through other senses.
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ShoutOUT!: Singapore Short Cuts returns this weekend @National Museum - Weekend #2

October 18, 2016, 11:00 pm
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Being, as a Horse by Mark Chua
 
Check out the second group of films at the National Museum of Singapore’s Singapore Short Cuts this weekend from 22 to 23 October. Screenings are free of charge, and tickets can be collected at the National Museum of Singapore (Visitor Services Counter @ Level 1).

22 October
Being, as a Horse by Mark Chua


Being, as a Horse is a whimsical take on the nature of personal freedom performed by two men with horses as heads. Mark Chua’s film is an ambitious attempt to encapsulate complex philosophical ideas resulting in an intoxicating experience that confounds as much as it illuminates.

An Autumn Afternoon by Lei Yuan Bin

An Autumn Afternoon modestly documents, an autumn afternoon visiting master Japanese film director Ozu Yasujiro’s grave in Kita-Kamakura, Kanagawa Prefecture, Japan. Methodical in his documentation, with ravishing yet simple details, Lei Yuan Bin has created a pean to Ozu himself, utilising much of the same trademark rigorous style of static shots that capture moments of transcendence in places and everyday objects. A simple day out in the crisp autumn air is conveyed with equal parts economy and poetry.  

Silent Light by Liao Jiekai
 
Silent Light is part of Liao Jiekai’s series of short films that continues to defy traditional narrative structures and his profound contemplation of the material nature of celluloid-based cinema. An intoxicating cocktail of found footage and home movie aesthetics, Silent Light dwells deep into the psyche of a restless filmmaker in love with the material world of cinema.
 
The Sarkais by Joshua Lau
 
A joint meditation on dreams and personal identity by Joshua Lau and his fellow schoolmates at School of the Arts (SOTA), Shirin Keshvani and Alexis Sng, The
Sarkais unfolds with diary-like confessions spoken over images of seemingly random order, interspersed with found footage from home videos. The filmmakers gently invite viewers into a mystery where the answer serves no purpose other than a thematic lynchpin. Like its cryptic title, the heart of the short film remains a delicate enigma not to be unravelled but savoured.
 
5 Dollars of a Passport by Jason Ye
 
In 5 Dollars for a Passport, filmmaker Jason Ye sets out on a journey across the Causeway to find out about his father’s past in a tiny shophouse in Labis, Johor. As Ye forges deeper into his family history, questions of identity and nationhood surface. Despite its conventional structure, the short film succeeds through its sincerity. Moments of connection between family members are rendered without frills, giving the scenes weight and integrity. The most striking feature of 5 Dollars for a Passport is the cinematography. Shot on 16mm film stock, the film captures a lost past hidden in the present.
 
Untitled by Terry Ong
 
Filmmaker Terry Ong has been making series of experimental short films over the past few years. Untitled is the latest short film to explore intangible connections between people. Ong employs a variety of video effects to create impressionist renderings of spaces that alternate between obfuscating and illuminating human figures within any given frame. Sequences are devoid of audio, which serves to further accentuate the urgency of the image such that when the dominance of silence is lifted by an occurrence of natural sound towards the end, the film jolts into a different register, unsettling the viewers’ notions of reality.

 23 October
Coney Island by Rashad Bin Faizal
 
Of all the known islands dotting the shoreline of Singapore, Coney Island is perhaps the least known. Situated along the sliver of waterway separating mainland Singapore and Johor Bahru, Coney Island has experienced a recent surge of interest due in part to the rapid urbanisation of the Punggol area in the last ten years. It is thus no surprise that burgeoning filmmakers, such as Rashad bin Faizal and fellow students of SOTA (School of the Arts), would situate a film about the shifting nature of friendship and the abandonment of youth on the island’s characteristically remote woodlands.
 
Open Sky / 其实哪里都好 by Tan Jingliang
 
Tan Jingliang’s Open Sky alludes to a particular brand of observational cinema that rewards due viewers’ patience. The film realises the depth of friendship between two friends in their early twenties through their aimless wandering among housing estates, revealing the uneasy reconciliation between the ideals of adolescence and the realities of surviving young adulthood in Singapore.
 
Happily Ever After/ 祝你幸福 by Shan Neo, pple Hong, Pek Hong Kun
 
Happily Ever After attempts to add layers of meaning to the ubiquity of wedding photography services. In so doing, the filmmakers adopted an ingenious methodology. Three wedding photography sessions are framed in long shots to provide viewers with unfettered access to the dynamics of a family. The unfurled dramas are further enriched by the sense of real time elicited from fixed camera positions, giving way to a story told beyond the narrative constraints normally associated with family dramas.
 
Quinn by Rave Phua
 
Quinn begins as most other issues-driven documentaries would with talking heads that aim to establish the subject’s background. In this case, the trials and tribulations of a young middle-class couple’s decision to keep a baby in the face of uncertain financial circumstances. However, in its unflinching sense of honesty on display in front of and behind the camera, Quinn transcends the typical issues-driven subject matter to reveal a truth more startling in its humanity.
 
The Drawing Room & Episode from Art Studio by Liao Jiekai
 
Liao Jiekai’s restless exploration of the tangible amid the intangible continues with a loose abstraction of Yeng Pway Ngon’s Art Studio in the form of a short film. Yeng’s novel sought to reconcile the place of artists in Singapore society over the span of 30 years. Liao eschews all notions of narrative legibility to carve out his own interpretation of Yeng’s literary achievement through two parallel yet disparate narrative trajectories: The first trajectory follows an artist and a model in the act of creation. In the second strain, passages from Yeng’s Art Studio are narrated to scenes of the National Gallery Singapore’s set up of the Siapa Nama Kamu? exhibition. The sheer disparity between these two strains sets up a dichotomy of perception which adds depth to the short film.
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ShoutOUT!: Singapore Lift-Off Film Festival happening this weekend

October 20, 2016, 10:09 pm
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Still from 'The Missing Words' by Khalishan Liang and Nurliyana A.R

This weekend, you will be spoilt for choices in films. Apart from Singapore Short Cuts at the National Museum, the Singapore Lift-Off Film Festival is also on and it promises a exciting crop of features and short films.

Singapore Lift-Off is one of the ten Lift-Off Film Festivals spread throughout the year. The Lift-Off Film Festival Global Network has a unique model which is nothing like any other film festival, it connects filmmakers to industry people like regional and international sales agents, distributors and talent managers as well as potential distribution agreements across multiple platforms.
Here are the event details:
Singapore Lift-Off Film Festival
21 - 24 October at GV Plaza
Ticket Price: $5 (SFS Members) / $6 (Public) 

Check out the full programme here
Current active Lift-Off Cities

✈ Hong Kong ✈Manchester ✈ Tokyo ✈ New York ✈ Vancouver ✈ Los Angeles ✈ Amsterdam ✈ Paris ✈ Sydney ✈ London

We spoke to some of the Singapore filmmakers whose films are featured in this series, Dagomir Kaszlikowski for ‘Ketetapan’ and Khalishan Liang and Nurliyana A.Rfor ‘The Missing Words’.

‘The Missing Words’ by Khalishan Liang and Nurliyana A.R

 
What is ‘The Missing Words’about?
“The Missing Words” is about real life experience of the Directors, a husband and wife team. Khalishan Liang came to Singapore with his parents as migrants from China, but he remained in Singapore to continue his studies and was enlisted to the Singapore Army before he eventually sworn in to become a Singapore Citizen. He integrated well into the society enough to find love with a local Malay girl( Dir. Nurliyana A.R). This film highlights the difficulty the couple went through when Khalishan’s disapproving mom visited him in Singapore. “The Missing Words” also features a short sequence of classic stop-motion animation.

In documenting your personal lives, what were the greatest challenges?
The greatest challenge of this film was that, the main characters were acting as themselves. Having to hear or to repeat some negative things that were said about each other, infront of each other was awkward. Yana, whom my mother tried to ask me to stop having relations with in this film, was also directing. In one scene, she had to direct my mother who has a dialogue based on her strong disapproval of Yana herself. Yana told my mom to remember those feelings she had towards her, which was resentment. To see them both amicably settled and laughing about it despite the actual negative past was a moment of serendipity.

Was it difficult to remain completely honest in front of camera?

It was really difficult, especially for my mother. She had mentioned many times that it was difficult for her to say her lines because it reflects her feelings in relation to that episode in the past, which she no longer identifies with. She felt embarassed to a certain extent, but the love for me and my passion to make this film makes it easier to just go through the filming with only good intentions.
‘The Missing Words’ will be screened under Shorts Programme 1
Saturday 22nd October, 7 - 8.45pm
@ Golden Village Plaza Singapura Hall 4


The Missing Words 2016 Trailer from Niu Pictures on Vimeo.

‘Ketetapan’ by Dagomir Kaszlikowski
 What is ‘Ketetapan’ about?

‘Ketetapan’ tells a story about an interracial couple who struggles with their cultural differences that run deeper than they thought. It’s a very personal film based on factual events and touches upon issues not often discussed in Singapore.

What spawned the idea for the film?
‘Ketetapan’ which means decision in Malay, is a film based on a true story. I heard the story from a friend of mine. This is the kind of a story that openly speaks about cultural differences that influence our lives here in Singapore. Sometimes we can find solutions but not always and this is what makes life interesting. C’est la vie as the saying goes. 
In the film, the couple fights about an issue that makes them fundamentally different and we don’t know if they will ever find a common ground. This is not necessarily a bad thing as very often in life there is an ongoing dialogue stemming from different ideas and convictions. Such a dialogue can only be good as long as there is mutual respect and a will to compromise. 

What were the challenges in making this film?
Most of the film is shot in a moving car. This isn’t an easy task, especially in Singapore, where private car towing is not allowed. I had to ask Nessa Anwar and Kamil Haque, two characters in the film, to act and drive at the same time. They did an excellent job that shows how good they are at their craft. In big budget films, cars are towed and actors can fully concentrate on acting, which makes things much easier for them.

For me as a director and cinematographer, the main technical challenge was dealing with exposure (levels of light coming into the camera). Shots in the car were done without me being inside the car so I couldn’t adjust exposure and it was crucial to choose appropriate locations with more or less constant lighting. As usual, in indie filmmaking, good preparation is 80% of success. Part of the preparation was extensive rehearsals with my actors. We spent several days rehearsing in Kamil’s acting school, Haque Center for Acting and Creativity. This paid off handsomely when we went to shoot on the set.      
‘Ketetapan’ will be screened under Shorts Programme 2
Monday 24th October, 7 - 8.45pm
@ Golden Village Plaza Singapura Hall 4

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ShoutOUT!: Certified Dead in Hanoi

October 26, 2016, 3:03 am
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"CERTIFIED DEAD" to make World Premiere at the 4th Ha Noi International Film Festival (HANIFF) 

1−5 November 2016



CERTIFIED DEAD will make its World Premiere at the National Cinema Center on November 3rd, 2016. A second screening will also be held on the same day at August Cinema.

The 4th Ha Noi lnternational Film Festival (HANIFF) is under the patron of the Ministry of Culture, Sports and Tourism of the Socialist Republic of Vietnam and takes place in Hanoi city on November 1st - 5th, 2016. Vietnam is a participating country of the FILM ASEAN, an organization uniting the film industries and cultural exchange of nations across the Southeast Asian region.

Singapore Ambassador, Ms Catherine Wong Siow Ping, American Ambassador, Mr Ted Osius and French L’Ambassadeur Bertrand Lortholary have all been invited for the screening.

CERTIFIED DEAD marks the directorial debut feature of Marrie Lee. It is an official selection to Panorama: Presenting Renowned Films of The World section.


ABOUT THE MOVIE

Certified Dead is a drama about a May-December couple, mid life Ian Lee, man ordinaire and young bride Megan Lim. Together they have Erin, a cute 4 year old preschooler. Life is good but Ian is constantly worried that he won’t live long enough for his young family. As a result, he fell prey to a new drug experiment conducted by his best friend. It threw his whole life as a devoted husband into complete chaos and he ended up in a race against time to fulfil his bucket list before he became food for the maggots.

Written for a worldwide audience, the film engages the audience with laughter, tears, anger, drama, family values and self reflection. It is shot wholly in Singapore, with post-production done in Singapore and Canada. ABOUT THE 4TH HA NOI INTERNATIONAL FILM FESTIVAL (HANIFF) The 4th HANIFF attracts the participation of over 500 films (300 length feature films, over 200 short films) from over 40 countries and territories, such as: UK, India, Poland, Belgium, Brazil, Colombia, Chile, Taiwan-China, Germany, Ghana, South Korea, Hungary, Iran, Israel, Kazakhstan, Mexico, the US, Norway, Russia, Japan, France, the Czech Republic, Serbia, Slovakia, Sri Lanka, Spain, Turkey, Sweden, China, Yemen and ASEAN member countries.


For more information on Marrie Lee please do refer to our interview
http://www.sindie.sg/2016/06/who-is-cleopatra-wong-interview-with.html
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Singapore International Film Festival Reveals 2016 Lineup

October 28, 2016, 10:31 pm
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27th SGIFF Press Conference - Photo courtesy of SGIFF and Bonnie Yap Photography

The 27th edition of the Singapore International Film Festival (SGIFF) has revealed its full festival lineup and special programmes on October 27th, in an intimate sharing session with the press and filmmakers.

The lineup, spanning 161 titles from 52 countries in 13 sections, can also boast of being the site of 18 Asian premieres, 9 international premieres, and 16 world premieres. 

Festival Opener and Special Presentations


The festival will open with the Asian premiere Malaysian neo-noir thriller Interchangeby director Dain Iskandar Said, and the world premiere of the first ever Festival Commission, The Pursuit of a Happy Human Life, by director Gladys Ng, who also won Best Singapore Short Film in the 26thedition of SGIFF.

Three films will also be screened in special gala showcases across the 12-day Festival: Mrs K, a unique take on the Wu-Xiagenre by Malaysian director Ho Yuhang featuring Hong Kong veterans Kara Wai and Simon Yam; Three Sassy Sisters, a musical by director Nia Dinata inspired by the Indonesian classic Tiga Dara; and The Road to Mandalay, a dramatic thriller by Myanmar-born Taiwan-based rising star Midi Z.

The Special Presentation screenings will be presented with their directors and casts in attendance.

The Silver Screen Awards


Ten films will compete in the four categories of the Asian Feature Film Competition in the 27th edition of SGIFF, with the works of Bangladeshi director Abdulla Mohammed Saad, Live From Dhaka, and Indonesian director Wicaksono Wisnu Legowo, Turah,making their world premieres, and Nokasby Indonesian directorManuel Alberto Maia and Filipino director Jet Leyco’s Town In A Lake making their international premieres.

Other competing films include recent premieres from the festival circuit: Singaporean director K Rajagopal’s A Yellow Bird in Cannes, Thai filmmaker Anocha Suwichakornpong’s By The Time It Gets Dark in Locarno, FIPRESI recipient Chu Hsien-Che’s White Ant in Busan, and Nepalese Deepak Rauniyars’ White Sun in Venice.

The jury panel for the Asian Feature Film Competition is led by jury head Naomi Kawase, the Japanese film festival darling, and supported by Hong Kong director Herman Yau, Lebanese documentarian Jocelyn Saab, and Singaporean actor Sunny Pang.

The Awards will also be presenting the Cinema Legend Award to acclaimed Hong Kong actor Simon Yam, and feature a tribute to Hong Kong filmmaker Fruit Chan.

Singapore Panorama and Asian Vision


The Singapore Panorama section will be presenting four world premieres by local directors: omnibus film 4 Love, Kan Lume’s coming-of-age drama Ariel & Olivia; Min-Wei Ting’s experimental I’m Coming Up; and Sam Loh’s erotic thriller Siew Lup, itself a follow-up to his 2014 film Lang Tong.

The Asian Vision section will be presenting the world premieres of Chinese auteur Li Hongqi’s Hooly Bible II, the prolific Korean provocateur Lee Sang-woo’s Walking Street, as well as the international premieres of Thai director Kongkiat Khumesiri’s Khun Pan, and Malaysian New Wave pioneer Amir Muhammad’s first film after a seven-year hiatus, Voyage Of Terengganu.

Special Programmes


SGIFF will be hosting five masterclasses with acclaimed directors, Tran Anh Hung, Naomi Kawase, Herman Yau, Anurag Kashyap, and Fruit Chan, throughout the Festival period.

A dialogue session with leading auteur Darren Aronofsky will also be held, along with a screening of his stunning and critically acclaimed debut, Pi.

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The 27th Edition of the Singapore International Film Festival will run from the 27 November to 8 December 2016, in conjunction with the Singapore Media Festival.
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ShoutOUT! Press Release 27th Singapore International Film Festival - Telling Our Stories

October 29, 2016, 9:19 am
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Immerse in the Stories of Asia and the World with over 130 Film Screenings and Public Programmes at the 27th Singapore International Film Festival

· The 27th SGIFF will screen 161 feature and short films from 52 countries, with 16 world premieres, 9 international premieres and 18 Asian premieres
· Catch Special Presentation Films, Mrs K, by award-winning Malaysian filmmaker Ho Yuhang, and Indonesia’s renowned director Nia Dinata’s romantic comedy Three Sassy Sisters
· Discover hidden gems in independent cinema from Estonian animation shorts, Nepalese shorts to Latin American cinema, in addition to its regular film sections
· Meet Darren Aronofsky, American director of psychological horror film Black Swan, and Hong Kong veteran actor Simon Yam, recipient of the Cinema Legend Award at the Silver Screen Awards held at the Marina Bay Sands

Image courtesy of Singapore International Film Festival

Singapore, 27 October 2016 – The 27th edition of Singapore International Film Festival (SGIFF) is set to serve up an interesting feast for the senses with a carefully curated selection of films and public programmes to tell the region’s stories and share the art of filmmaking. This was announced by the Festival at a media conference held at the National Museum of Singapore today.

As the leading international film platform in Southeast Asia, SGIFF, which is part of the annual Singapore Media Festival (SMF), brings together a rich mix of independent filmmaking talent to showcase the region’s stories through film, throughout Asia and beyond. SGIFF also allows established and emerging filmmakers and industry players to interact and exchange ideas, ultimately contributing to the growth of the region’s cinema. This year’s SGIFF will present 161 feature and short films from 52 countries, across 13 sections – Opening, Special Presentation, Silver Screen Awards, Singapore Panorama, Asian Vision, Cinema Today, Imagine, Classics, Focus: Mutating Mythologies – Hybrid Cinema of Latin America, For Nizam: A Retrospective, Focus: Naomi Kawase, Tribute to Fruit Chan and An Evening with Darren Aronofsky. There will also be 16 world premieres, 9 international premieres and 18 Asian premieres across the various sections of the festival.

Belian (Nicholas Saputra) and Iva (Prisia Nasution) from Interchange 
(Photo courtesy of Danny Lim (c) Apparat 2016)

This include the Asian premiere of SGIFF’s opening film at Marina Bay Sands, Interchange (2016) – a noir fantasy thriller by one of Malaysia’s most celebrated filmmakers Dain Iskandar Said; the world premieres of four new features by Singapore directors such as Kan Lume, Min-Wei Ting and Sam Loh under Singapore Panorama; the world premiere of Hooly Bible II (2016) by Chinese auteur and Golden Leopard winner Li Hongqi who examines the violence and apathy in China; the world premiere of Walking Street (2016) by prolific Korean provocateur Lee Sang-woo and stars Korean heartthrob Baek Sung-hyun (Blades of Blood and Korean drama Doctors); and the Asian premiere of The Woman Who Left (2016), the latest opus by Filipino director Lav Diaz about social disparity which won the Golden Lion at the 73rd Venice Film Festival. Other noteworthy works from the line-up comprise the international premiere of Voyage of Terengganu (2016) by pioneering Malaysian New Wave director Amir Muhammad who is making a return to filmmaking after a 7-year hiatus, and Badrul Hisham Ismail; award-winning, Vietnamese-born French film director Tran Anh Hung’s first French film Eternity (2016) that stars French actresses Audrey Tautou, Melanie Laurent and Berenice Bejo; and I, Daniel Blake(2016) by British filmmaker Ken Loach which won the Palme d’Or as the best feature film at the 69th Cannes Film Festival.

Award-winning Malaysian director Ho Yuhang premieres his latest film Mrs K in Singapore


Image courtesy of Singapore International Film Festival

The 27th SGIFF will also welcome Malaysian director Ho Yuhang with his new film Mrs K(2016) as a Special Presentation Film after its recent world premiere at the Busan International Film Festival 2016 with a sold-out reception.

Starring iconic Hong Kong martial arts actress Kara Wai as the titular character, Hong Kong veteran actor Simon Yam, Malaysian actor Faizal Hussein and Taiwanese rocker Wu Bai, the Malaysia-Hong Kong co-production follows a housewife, whose ordinary life is shaken up when former enemies reappear from her past, and she has to give everything she has to protect her husband and daughter.

Mrs K sees both Ho and Wai collaborating for the second time, after the award-winning At the End of Daybreak (2009), which garnered seven awards for Wai, including Best Supporting Actress at the 46th Golden Horse Awards. Ho, Wai and Wu will be in attendance for the Singapore premiere on 27 November 2016 at the Capitol Theatre.

SGIFF’s third Special Presentation Film Three Sassy Sistersis an homage to Indonesian musical classic Tiga Dara

Image courtesy of Singapore International Film Festival

SGIFF will also showcase a third Special Presentation Film this year, which centres on female empowerment. Three Sassy Sisters(2016) by Indonesian director Nia Dinata reimagines the lead characters from housewives into career-oriented professionals, as it highlights their strengths and individuality as modern women within the confines of traditional family values.

Featuring catchy musical numbers, the film pairs some of Indonesia’s rising stars with cinema and television veterans. The ensemble cast includes actor/singer Rio Dewanto; actor and rockstar from the band Channel, Reuben Elishama; Indonesian acting heavyweight Ray Sahetapy; and most notably, singing and song writing legend Titiek Puspa, who is returning onscreen after a 30-year absence. Three Sassy Sisters is an homage to Tiga Dara, the musical classic by legendary Indonesian director Usmar Ismail, which will also be screened at SGIFF under the Classics section.

Unearthing Gems in Independent Cinema

In addition to screening films from Asia, USA and Europe, SGIFF will also cast a spotlight on independent films from countries that audiences may be less familiar with, such as Estonian animation shorts, Nepalese shorts and Latin American Cinema. Featuring notable works including the world premiere of i_Mutating (2016) by Tiger Award winner Juan Daniel F. Molero, and the Asian premiere of Hermia & Helena (2016) – an imaginative Shakespearean-inspired feature by acclaimed Argentinian filmmaker Matías Piñeiro, the SGIFF will trace the experimentation and innovation journey in other parts of the world as they tell their stories through films and often establishing new waves in independent cinema in the process.

Sharing on this year’s film line-up, SGIFF Programme Director, Mr Zhang Wenjie, said, “This year we are thrilled to present Southeast Asian filmmakers such as Dain Iskandar Said and Ho Yuhang who are forging bold new paths and ways of making films in our region. These films expand the possibilities of Southeast Asian cinema and are testament to the vitality of our regional cinema. Audiences can also look forward to new features by masters such as Garin Nugroho, Lav Diaz, Tran Anh Hung, Naomi Kawase, Fruit Chan, Anurag Kashyap, Reha Erdem, Trinh Minh-ha, Kirill Serebrennikov, Kelly Reichardt and Ken Loach, many of whose earlier works were screened at our festival.”

“One of the greatest pleasures of experiencing a film festival is the discovery of new talents, and our festival has always championed new voices, especially from Southeast Asia and Asia. This year we also have a number of new filmmakers from countries such as Indonesia, Cambodia, Laos, Vietnam, Philippines, Mongolia, Japan, Nepal, Turkey, Afghanistan, Bangladesh, France, USA, Latin America, Taiwan and Singapore featured across our various sections. We hope audiences will join us to discover the next generation of auteurs that will be shaping the landscape of cinema in the years to come,” Zhang added.

An Immersive Festival Experience with Renowned Industry Players

No film festival is complete without the community coming together to expand the conversation on filmmaking and exchange ideas to bring the industry forward. By connecting filmmakers to the industry and audiences, SGIFF hopes to expand the conversations on filmmaking, encourage greater collaborations and inspire the next generation of independent cinema.

This year, SGIFF will organise a series of dialogue sessions with ArtScience Museum for ArtScience on Screen: In Conversation With. They include that with Darren Aronofsky, the director of Pi (1998), Requiem for a Dream (2000), The Wrestler (2008) and Black Swan(2010). Known for his dark, edgy independent films that centre on characters with obsessive and self-destructive personalities, the award-winning American director, screenwriter and producer will be sharing his experiences and insights on filmmaking with festival goers at an In Conversation session. The festival will also screen his first feature film Pi, which won him the Best Director at the Sundance Film Festival in 1998, as part of An Evening with Darren Aronofsky.

The festival will also present the Cinema Legend Award to Hong Kong veteran actor Simon Yam. Introduced last year, the Cinema Legend Award recognises the body of work of Asian actors, celebrating the talent and outstanding achievements of the artists who bring Asia’s story to life on screen. A household name after starring in popular television series such as Return of the Condor Heroes (1983) and New Heavenly Sword and Dragon Sabre(1986), Yam entered the film industry in 1987 and has since appeared in over 200 movies, becoming one of the most-respected, charismatic and sought-after leading actors. A meticulous and hardworking actor devoted to his craft, Yam proved to be one of Asia’s most versatile actors who participates in both blockbusters as well as independent arthouse cinema. Yam will also be sharing on his journey in acting and advices with festival goers at an In Conversation session at ArtScience Museum on 4 December.

Aspiring, emerging and established filmmakers will also be able to participate in the ‘Future of Cinema’ forum on the navigation of the digital space in presenting their works, which will feature speakers such as film strategist Missy Laney, Jared Geller, Executive Producer for HITRECORD – the community-sourced production company founded by Joseph Gordon-Levitt, and Director of Programming at the Hawaii International Film Festival Anderson Le. The ‘SG Originals’ series of talks, a new initiative for SGIFF, will also feature topics such as working with actors, developing screenplays in Singapore, sound design and exploring virtual reality in short films.

A Connected Film Community with Growing Support

SGIFF Executive Director, Ms Yuni Hadi, said, “The SGIFF continues to be a discovery ground and platform to connect independent films in Asia and beyond. As the longest-running international film platform in Southeast Asia, there is a continuous effort in fostering the understanding of our regional cinema and giving a voice to individuals through stories and dialogue, as we bring creators, thinkers, critics and audiences alike from all over the world to Singapore for this 12-day festival. This is more important now than ever as we meet, celebrate our diversity and grow the industry as one community. Because if we are not telling our stories, who will?”

The success of SGIFF is largely due to the strong support from a community of sponsors who strongly believe in nurturing film talent and celebrate the discovery of independent cinema. SGIFF is an event of the SMF, hosted by the Info-communications Media Development Authority of Singapore (IMDA). SGIFF’s Official Sponsors also include returning Presenting Sponsor, Marina Bay Sands, Official Festival Time Partner, IWC Schaffhausen, and Official Airline, Singapore Airlines.

“Asia is a fast-rising region for fresh talent and unique content for the global audience, and this year’s SGIFF line-up is testament to that. SGIFF continues to be an important partner of the Singapore Media Festival (SMF), which is well-poised to open doors for the filmmaking community in a converged media environment – connecting them to new audiences and opportunities. We are excited to present Asia’s stories to the world stage through SMF.” said Ms Angeline Poh, IMDA’s Assistant Chief Executive, Content and Innovation Group. 

Mr George Tanasijevich, President and Chief Executive Officer of Marina Bay Sands, said, “Marina Bay Sands is honoured to return as Presenting Sponsor for the 27th edition of the Singapore International Film Festival. Over the years, the festival has supported Asian cinema within the international community, and inspired budding filmmakers in the pursuit of their dreams. We recognise the importance of building the profile of Singapore’s vibrant Arts scene and at the same time, provide a platform for the festival to showcase Asia’s top talent to a wider audience. Through the many festival activities that will take place across the integrated resort, we hope to assist in sparking constructive discussions, igniting passion and inspiring those in the industry to continue pushing the boundaries of filmmaking.”

“We are pleased to be the Official Festival Time Partner of the 27th edition of the Singapore International Film Festival for the second year running. This wonderful partnership exemplifies IWC’s long-standing commitment to filmmaking, and underscores our ever-increasing commitment to the South East Asia region. It fills us with much pride to support such a significant event that endorses the passion and hard work of filmmakers across the region. Based on the parallels between the worlds of watchmaking and film, IWC has been involved with the film industry for years now. Both worlds are deeply immersed in tradition and pioneering spirit, and the mastery of each craftsmanship involves much skill and expertise. Films are all about storytelling, and so are IWC watches. Every watch tells a story about its provenance, culture and tradition,” said Managing Director of IWC South East Asia, Mr Matthieu Dupont.

Image courtesy of Singapore International Film Festival


The 27th edition of SGIFF, which runs from 23 November to 4 December 2016, will take place across various venues, including Marina Bay Sands, Capitol Theatre, National Museum of Singapore Gallery Theatre, Shaw Theatres Lido, National Gallery Singapore Auditorium, The Arts House Screening Room, Filmgarde Bugis+ and Objectifs Chapel Gallery. 

Tickets for SGIFF go on sale from 28 October 2016 at all SISTIC outlets, its website www.sistic.com.sg and hotline +65 6348 5555. 
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Production Talk with K Rajagopal on 'A Yellow Bird'

November 8, 2016, 12:30 am
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The journey filmmaker K Rajagopal (Raja) has taken over the span of almost three decades reminds us that filmmaking does not always run on a steam engine and instead can be a more personal experience that takes time to mature and unfold. Raja first hit the local film scene by being winning the Special Jury Prize at the Singapore International Film Festival Silver Screen Awards three years in a row with his short films ‘I Can’t Sleep Tonight’ (1995), ‘The Glare’ (1996) and ‘Absence’ (1997).

Over the years, while he was also engaged in theatre and television work, he would wander back into the film scene with new short films that would extend the exploration of issues like memories, identity and displacement, often seen in his films. Collaborations like ‘The Lucky Seven Project’ and ‘7 Letters’, where he was one of several directors making an omnibus feature film, also brought Raja back into the thick of the filmmaking buzz that had hit Singapore over the past decade.

He finally completed his feature film ‘A Yellow Bird’ early this year. The film competed at this year’s Cannes Film Festival for the Camera d’Or award for feature film debuts and was also screened at the same festival’s La Semaine de la Critique segment (International Critics’ Week). At this year's Singapore International Film Festival, it will compete in the Silver Screen Awards for Best Asian Feature Film. The film’s story is simple – a man released from prison after eight years tries to reconnect back with life and his family, just like the way he likes his filmmaking process to be. Raja relives this journey with Jeremy Sing in an interview.

 
What does the ‘Yellow Bird’ in the film title symbolise?

The idea came from my mother. She once said, if you see a yellow bird, it means you will meet someone nice or hear some good news. This came to my mind again when I was writing the script. I felt it represented the story I was telling.

How did the idea for the film come about?

I was reading ‘The Stranger’ by Albert Kamus about a man who is drawn into a murder and later sentenced to death. I felt I related to the questions about morality raised in the book, such as what is right and wrong, who is to say whether you are right or wrong or how you live your life. ‘The Stranger’ itself is also influenced by other books like ‘Crime and Punishment’ and ‘Notes from Underground by Fyodor Dostoyevsky. So one book inspired the other and I felt there were a lot of interesting connections from one writer to the other, which I found compelling.

In the light of what I read, I was looking at the context of Singapore and exploring the idea of alienation. As you know, my films have always been about alienation, displacement, the minority, so all these ideas came together in that way and that’s how I started writing the script.

What’s your process in scriptwriting?

I started by writing the story, then I broke it down into different scenes and tried to connect them. I also worked with Jeremy Chua, who was my collaborator in developing the script. We would talk the scenes through and I would share with him what I see in each scene and what I think the different characters would say. Having decided on how the different scenes are set up, he would help write it out in words.

With my initial script, we were invited to a pitch at the L'Atelier programme at Cinéfondation with 15 other directors. I presented my script to many people and one of them who read it eventually became my co-producer from France. We also presented our script to Cinema Du Monde, the World Cinema Fund. So the script really went through many pairs of eyes.

Your cast is quite a mixed bag, with the leads being a local actor and two very accomplished actresses in their own circles, Huang Lu and Seema Biswas. How did you find Huang Lu and Seema Biswas?

For the role of Chen Chen, the prostitute Siva encounters in the film, I needed a professional actress who has acted in films of a more independent nature and I held many auditions. I came across Huang Lu having watched her in films like ‘Blind Massage’ and ‘Blind Mountain’. She is in fact a prominent film actress whom many independent directors like to work with and has been appearing in numerous independent films over the last 10 years. So I just sent her my script and I remember Huang Lu coming back to tell me ‘I am the Yellow Bird’. That was her reply.

As for Seema Biswas, she has always been very selective with her film projects. Her biggest claim to fame was ‘The Bandit Queen‘, directed by Shekhar Kapur in 1994. She has acted in a few Hollywood films and she is also a theatre actress as well. For Seema, she always decides with her heart, and she felt she identified with the story. So she came on board as well.

I heard you made Siva, the lead actor, sleep on the streets to condition him for his role. Could you share more about this little adventure?

Yes, I did ‘put’ him out on the streets for two nights in which he was not allowed to go home. He basically camped at the HDB block where we filmed, sleeping on cardboard. I wanted him to feel comfortable in the role. If he went into the role cold, it would have been difficult.

Also, Siva had a different work process with me from the other cast members.  I did not show him the script but only feed it to him in parts. I wanted him to slip into the role without having to plan or anticipate too much and this was also possible because dialogue was minimal in his role. I felt it was important for his characterization to unfold organically because that’s how life is – we never know what will happen to us in the next hour.



The film’s trailer reveals a considerable portion of the story unfolding in a forest, could you share, without providing spoilers, the significance of this in the film?

For me, the forest space is a metaphor in the film. The first half of the film is rather claustrophobic as it is set in the city area with a highly dense living space. So compared to the first half where everything is concrete and defined, the second half takes place in a more loosely-defined space with water and trees. In the story, Siva is being asked to leave his house by his own mother, so there is a force pushing him away from his natural habitat to somewhere unknown. There is in fact also a scene in which someone from the National Environment Agency comes to shoot the birds out of the trees in a sort of visual parallel to what Siva what experiencing.

I would like to add that the decision to shoot in the forest actually arose out of constraints. It was not supposed to be but in the end, I felt it turned out better for the film.

What kind of feedback have you received from audiences so far?

Actually, the film has just started to travel in the film festival circuit. After Cannes, it went to the Pusan International Film Festival in South Korea and the Pacific Meridian International Film Festival in Vladivostok, Russia. We have also received invitations to several other film festivals around the world.

I would say I have seen a whole spectrum of reactions to my film. Speaking to people in Cannes, some really liked it while others found it too intense and dark. Some have commented that the film is ‘relentless’ in a way that it grips you and does not let go.    

One of the most unforgettable responses I had was from a Japanese lady in Cannes. She came up to me after watching the film and started weeping. She said she identified with Siva’s character because she has also been on this journey trying to find connection with people and she feels very displaced, living in France. The film deals with the search for what is true to you and it spoke to her.  I actually sat down with her, not to console her, but to hear her speak her heart out, even though some meaning got lost in her patchy English (she was more Fluent in French) and I thought that was a really beautiful moment.

Huang Lu also shared that she cried watching the film because she identified with how her character was fleshed out in the final cut as well as the language of the film. Thankfully, she also commented that the Mandarin spoken in the film was rather authentic!  

What do you think are the greatest challenges in filmmaking in Singapore?

For me, my personal challenge has always been in developing a full script. Before this, I have made several short films and directed for television. For television work, there is usually a certain standard style, even though sometimes we try to deliver something a little more out of the box. For my earlier short films, I did not have scripts. It was often a very instinctive process and I could do them relatively quickly.

It is different when it is a feature film, and a debut feature at that. It is certainly a bigger responsibility. The fact that it’s your first, I ended up getting into a knot a bit for a while, perhaps out of a certain pressure I put on myself. Then I realized it didn’t work for me. I needed time to think about the story. So in the end, it took me three years to hone the script. I wanted to be very sure that this was the story I was going to tell. While the challenges of producing, working with actors and technicalities are always there, this for me was the main challenge - you must be sure about the story you want to tell.

Of course, there were also other challenges and the industry is not mature. But for me, I knew ‘A Yellow Bird’ was meant to be a simple film and I did not intend it to be anything more. It was something very close to my heart and I did not like to rush t and treat it like a project. For me filmmaking is always something very personal. I have to be in the right frame of mind and emotional space to do it.  

What kind of doors have opened for you since the completion of ‘A Yellow Bird’?

One of the best things that arose from this journey has been knowing my collaborators and having the opportunity to work with them. I would say my meeting with Claire Lajoumard, my producer in France, through the L'Atelier programme at Cinéfondationhas been the starting point of many other collaborations. For instance, she introduced me to the sound designer and colorist. When I first met them, I just knew they were the right people to work with. They were not just interested in the technicalities of making the film. They were really interested in the core of the story, the emotions and the characters. Even in post-production, I enjoyed the work process thoroughly as no one treated it like a job. I made so many good friends and I am still in touch with them.

In Singapore, I am also fortunate to have met some good collaborators. Upon completing the film, I have invited by many people do take on more film projects here. So undeniably, I have felt a certain sense of acknowledgement, and I view every opportunity that has come by positively. I mean, you never know when they will come again.
Interview by Jeremy Sing
The same interview was published in the 12th issue of arts magazine Art Republik.

Keep up with the latest happenings on the 'Yellow Bird's' journey in the international film festival circuit in its Facebook page here.


 
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ShoutOUT!: Last chance to see film doctors at the Armernian Clinic

November 22, 2016, 5:10 pm
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Like how we recommended a Singapore film for every occasion when the year started, the is a film for every problem too! Your job sucks? Early mid-life crisis? Heart stolen or broken? Come see a film doctor at the Armenian Clinic.
 
Armenian Clinic is a free weekend clinic for all ages that prescribes films as alternative medicine for the soul. Ten Singaporean filmmakers are serving as shrinks-in-residence to treat your various crises.
 
Each filmmaker will prescribe a healing film during an individual and personalised consultation. The clinic also features an in-house dispensary with state-of-the art therapy stations so you can watch your prescribed film right away. Even the set up of the venue reminds you of old-school clinics in Singapore, yet the organisers have also created a space cosy enough for the consultation to take place.
 
The Armenian Clinic was initiated by Selene Yap, The Substation programme manager, and Jeremy Chua, local screen writer and film producer.
 
The Armenian Clinic is open on Thursday and Friday from 6pm to 9pm, and Saturday and Sunday from 12pm to 8.30pm. This is its last week. You can book the one-to-one therapy sessions from its website www.ahomeforthearts.org/armenian-clinic-main
 
The upcoming therapy sessions are with filmmakers Sherman Ong and K Rajagopal this weekend.
 
 
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Production Talk - Yessi, 'Lulu the Movie' finally opens this week!

November 22, 2016, 11:05 pm
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There were not just one PRC lady in big curls and leopard prints, but two, at the press conference (picture below) of ‘Lulu The Movie’. Lulu brought her sister Roo Roo, played by popular local TV host Pornsak, along as the emcee. Sometime towards the end, after the reporters had their fill of the actors’ relentless role playing and hamming it up, Roo Roo broke out of character into Pornsak and made a point about how director Michelle Chong had outdone herself, putting this movie together and making it in a directors’ circle dominated by males. Then, visibly moved by what was said, she started sliding her fingers across her heavily-coloured eye-lids, in an attempt to save her make-up from her tears.
 
It was a strange moment that saw Michelle straddling between the titular persona of the film and her identity as a director; between hiding behind her character as a professional and yet revealing a more vulnerable side to this ‘Superwoman’ the public has come to associate her with.

Indeed, it is no secret Michelle is every bit the ‘Superwoman’. She wrote, produced, directed, acted and did many other things for her labour of love ‘Lulu The Movie’. Behind-the-scenes videos (such as this one) shared on Facebook reveal Michelle in schizophrenic energizer-bunny mode, switching between her role as actor and director, shuffling between the monitor and being in front of the camera. This mirrors her debut feature film project ‘Already Famous’ in which she also two-timed in front and behind the camera as care-lare-fare actress Zann and first-time director Michelle Chong. This might just be her inevitable destiny, because due to her inimitable talent for putting on so many roles, audiences are not content with just having her sit behind the camera.
The idea for ‘Lulu The Movie’ seemed an inevitable consequence of the popularity of ‘Lulu’ the character Michelle has created on TV comedy programme The Noose. Much of the popularity of The Noose has been headlined by Michelle due to memorable characters she has created like Barbarella the SPG, Leticia the Filipino maid and others. Early-stage plans saw Michelle having to decide between doing a film on everybody’s favourite Ang Moh chasing SPG and Lulu. Lulu was chosen subsequently because the interest in PRCs was evidently higher given their presence in Singapore. 
 
'Lulu The Movie’ is a comedy about a determined Chinese lady named Lulu who comes to Singapore to meet her online lover, but after being disappointed by what he turns out to be, she decides to make it on her own and succeeds in becoming an international fashion icon and mogul.
 
Lulu arrives in Singapore from her hometown in China looking for her one true love that she met on social media. However, her dream lover turns out to be the complete opposite of what she imagines him to be. Not wanting to 'lose face' to her friends back in China, she decides to stay in Singapore and make something of herself.
The film follows her adventures of job-hopping, learning English and being discovered by the TV station. She gets the opportunity to front an English fashion program despite having 'unique' fashion sense and even more unique command of the English language. She refuses to conform to normal standards of what a fashion host is supposed to dress or sound like but audiences love her unconventional way of hosting and her show becomes top-rated, even garnering international attention. Her real adventures begin as she embarks on her journey around the world (from London to Shanghai) as a bona fide fashionista. She even meets fashion designer Karl Lagerfeld (well not the real one, but one played by the Flying Dutchman, aka Mark van Cuylenburg - photo on the right). Throughout her journey, although she meets with mockery, discrimination and tough times, Lulu refuses to give up or compromise. A strong message that comes across in the movie is that one can achieve success by staying true to oneself and living life on one's own terms.

With the entire film costing about $1.5 million, production for Lulu was stretched over three and a half years. All that was being juggled with her ‘bread and butter’ activities of writing, producing, directing and acting for The Noose. Being cautious with certain sensitive issues in the plot also required more time and prolonged the process. In addition, Michelle starred in another movie last year - ‘Our Sister Mambo’, in which she played one of four unmarried daughters in a household.

Being somewhat a mockumentary in the likes of ‘Borat’ and ‘Bruno’, interacting with strangers in various locations brought both laughs and struggles to Michelle and the compact production team that followed her. The greatest challenge faced in the overseas portions of the production was finding people who are game enough to be interviewed on camera by someone who clearly does not look or sound like a fashion host but claims she is one. When ‘Lulu’ was in Shanghai, she asked a Caucasian tourist, "Do you speaka Engalishi?", she replied, "Yes I do. Do you speak English?" Thankfully, this and many other interesting encounters with strangers (and numerous security guards!) have been included the movie!

Distribution-wise, its Singapore and Malaysia run have been confirmed. Audiences in Singapore can satisfy their Lulu cravings tomorrow onwards (24 Nov) while Malaysian audiences can watch it 1 Dec onwards. Discussions are currently happening with distributors from Taiwan, London, Hongkong, China and Japan.

Rounding off our conversation with Michelle, we asked her, if they could speak to each other, what would Lulu say to Michelle Chong and what would Michelle say to Lulu?

Lulu would say to Michelle: 庄米雪算什么卡？老娘才是大明星！(Who is Michelle Chong! This queen is the real star!)
 
Michelle would say to Lulu: Your hair gives me a huge headache.

Interview by Jeremy Sing

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Here is the official trailer of the movie:
The official trailer was launched on 29 September 2016 on Facebook, and has gone viral with 1.5 million views, 19,000 shares and a reach of more than 3 million people.

Keep up with the movie on its Facebook page here: https://www.facebook.com/LuluTheMovie/

Catch ‘Lulu the Movie’ in cinemas islandwide now!
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ShoutOUT!: Viddsee partners Singapore Film Commission in new SG Film Channel

November 24, 2016, 2:22 am
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Home-grown online entertainment channel Viddsee launched a new Singapore Film Channel with the support of the Singapore Film Commission (SFC), part of the Info-Communications Media Development Authority (IMDA). This was announced at the opening of the Singapore Media Festival yesterday. The channel, which goes live today, is dedicated to showcasing diverse and unique stories from home-grown filmmakers. The partnership is part of SFC’s efforts to cultivate greater awareness and appreciation for Singapore films.

Up to 30 short films will be curated for the channel, which will feature works by up and coming student filmmakers such as Tariq Mansor, Lauren Teo and other notable independent filmmakers from Singapore such as Kirsten Tan and Leon Cheo. The works selected for the channel offers a wide variety of genres from documentary ("Longest Distance Relationship"by Lee Sin Yee), comedy-drama ("The Lying Theory"by Lauren Teo, and “Move Out Notice” by Leon Cheo), to animation ("The Violin" by Ervin Han, and “Ways of Seeing” by Jerrold Chong).

As part of the partnership with SFC, Viddsee will also be commissioning their first original short film by a Singapore filmmaker, to produce a heartfelt Singapore-inspired story for a local and regional audience. The film will be released in the first half of next year.

Co-founded by the engineering and filmmaking duo Derek Tan and Ho Jia Jian, Viddsee- which has attracted over 500 million users globally- utilises data and insights to grow its viewership and to optimise content discovery. With its access to audience and proprietary marketing insights, Viddsee will leverage data and audience engagement analytics, as well as online marketing tools and strategies to drive viewership to Singapore films on the channel and extend their reach to a new audience.

Viddsee will also spotlight selected feature filmmakers such as award-winning local filmmaker K. Rajagopal, to further the exposure and awareness of their works. This includes customised marketing campaigns on Viddsee’s platforms, which will showcase the filmmaker’s past works and trailers of upcoming feature films.

The Singapore Film Channel is now live on www.viddsee.com/singapore-film-channel.
 
Some works on the initial showcase:
 
“Ways of Seeing” by Jerrold Chong
Rumble of train rails; Crashing of ocean waves; Soft caress of distant wind. Two people. Two ways of perceiving the world.
Accolades: Official selection at Singapore International Film Festival (SGIFF), Anibar International Animation Festival, Short Shorts Film Festival (Tokyo)

“Move Out Notice” by Leon Cheo
Wei, 21, has not clashed with her real estate agent mother for over a year since they started a new system – “talking” to each other solely through cheerful-looking notes. However, when Wei clumsily announces that she is moving out to live independently, her obstinate mother declares war.

Accolades: 17th San Diego Asian Film Festival, 9th Île Courts-International Short Film Festival in Mauritius

“The Lying Theory” by Lauren Teo
Set in a modern day local culinary school, "The Lying Theory" is a comedy drama between the world's most mistrustful girl and the world's most honest boy.

“The Longest-Distance Relationship” by Lee Sin Yee
Four friends laugh, ponder, doubt, and struggle as they embark on a journey to understand one another's religions and beliefs. Questions and conflicts begin to surface in their attempt to make sense of the existing diversity in religions.
Accolades: 25th Singapore International Film Festival and Awarded Best Documentary, 6th Singapore Short Film Awards
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ShoutOUT!: 6 films to mark 16 Days of Activism against gender-based violence

November 25, 2016, 2:06 am
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16 Days of Activism against Gender-Based Violence – that’s the campaign by the UN Women to galvanize action to end violence against women and girls around the world. It starts today, 25 November, the International Day for the Elimination of Violence against Women and ends on 10 December, Human Rights Day.

As part of 16 days of activism, UN Women Singapore is screening a total of 6 films on the theme of ending violence against women.

The screening event takes place at 22 Camden Park, Singapore 299814 (Hollandse Club)
Details on individual films can be found here:

25th Nov (Fri) A Girl in the River: The Price of Forgiveness

A woman in Pakistan sentenced to death for falling in love becomes a rare survivor of the country's harsh judicial system.
Facebook link
Registration Page: agirlintheriver.peatix.com


26th Nov (Sat) Menstrual Man

Set in India, Amit Virmani’s documentary follows the journey of a trailblazing social entrepreneur with an unconventional story. Menstruation is still a taboo in many societies, including India. The idea of a man converting this issue into a business, however, is almost unheard of. Follow the inspiring story of Muruganantham, a school dropout who realized that the majority of women in India couldn’t afford sanitary pads and decided to do something about it. The screening will be followed by an interactive session with the director.
Facebook link
Registration Page: menstrualman.peatix.com


27th Nov (Sun) Spilled Water

After having spent many years in the United States, Tchao, the filmmaker, returns to China to explore transformations in gender relations in her home country. Following the paths of four very different women, the documentary shows us the transformational role of women in a traditionally male-dominated society. While many of us have heard of China’s economic expansion in the past decades, where do women fit into these changes? We will be holding an interactive discussion following the screening to share our ideas on these issues.
Facebook link
Registration Page: spilledwater.peatix.com


3rd Dec (Sat) Playing with Fire

The film, directed by Anneta Papathanassiou, follows the stories of six Afghan women whose dream it is to act, an aspiration that is not only badly seen in Afghanistan, but also dangerous. Indeed, women in acting risk being beaten and even killed for being on stage, or aspiring to be. We learn more about these women’s ensuing battle against culture and tradition. One of the key themes explored in this documentary is the transformative power of art. An interactive discussion about the issues highlighted in the film will follow the screening.
Facebook link
Registration Page: playingwithfire.peatix.com


4th Dec (Sun) The Girls of Phnom Penh

This documentary by Matthew Watson explores the universe of young girls who are part of Cambodia’s virginity trade. Many of these girls sell themselves from a young age in order to support their families. A strong theme emerging from the film are the solidarity bonds that develop between these victims. Following the screening, we will be discussing the plight of women in the sex trade. Facebook link
Registration Page: thegirlsofphnompenh.peatix.com


9th Dec (Fri) OASS (The Dew Drop)
Abhinav Shiv Tiwari’s documentary follows the story of Kiku, an eleven -year-old girl from rural Nepal who is sold to a brothel in Delhi by an aunt, under false pretences that she will be acquiring an education. Faced with the harsh reality of forced sexual encounters and violence, we follow her quest to try and escape from her situation. A discussion on human trafficking and the issues highlighted in the film will follow.
Facebook link
Registration Page: oass.peatix.com
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Reporting sick at The Armenian 'Film' Clinic @Substation

November 28, 2016, 7:14 am
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The people at The Substation were dead serious about the Armenian Clinic project if the facade of the clinic was anything to go by. They retrofitted the entrance in the likeness of an old-school clinic, with a glossy black signboard emblazoned with white lettering. Patients were required fill out a personal particulars form requesting for their ailment and allergies. A ‘nurse' in attendance donned a white medical jacket to complete the immersive experience. 


The Armenian Clinic was devised by film programme manager for visual arts at The Substation. Based on the belief that films have a certain therapeutic usefulness to our lives, the Armenian Clinic is a place where people who have troubles, especially of the more emotional and spiritual kind, can consult with a doctor and walk away with some film recommendations from the doctor. Check out our previous post for a primer on the Armenian Clinic.


It was too good to pass up an opportunity for free ‘medical consultation’ and such a novel new alternative to seeking chicken soup for the soul. Away from the SGIFF madness, I detoured to the more serene Armenian Street neighbourhood and paid the clinic a visit. 


My first moment of relief when I entered the consultation room was the strong air-conditioning, providing respite from the muggy weather outside. In a room thoughtfully furnished like a shrink’s workspace, with plants dotting every corner, the doctor in attendance was Elysa Wendi. In retrospective reading, Elysa is an artist whose works span disciplines like film, performative-act and mixed-media installation. She co-founded Cinemovement together with film producer Jeremy Chua in 2015. http://www.elysawendi.wordpress.com  But in that white physician jacket, she looked every bit the experienced, nurturing, motherly doctor.




But she is a hardliner with house rules. I tried recording down our consultation session and her sharp eyes recognised what I was trying to do and requested that I stopped recording before she starts the role play. Perhaps the mystery of the clinic experience is part of what would draw people to the Armenian Clinic, hence, the house rule.






















In defending what I was trying to do with recording the session, our encounter got off to an awkward start. I had positioned myself as a ‘fake’ patient and Elysa was trying hard to salvage the session and see if she could making my time useful. We chatted about our favourite directors in general and she stumped me with the familiar what’s your favourite director and film question - a question that usually invites more than one name. But unknowingly, our dialogue drifted into our personal identities and outlook in life. That’s when I realised the I had spontaneously drifted into the desired 'patient mode' of discussing my needs. We skirted around several issues like societal pressures, expectations, life's responsibilities and death. On the topic of death, Elysa recounted a scene from Alejandro Gonzalez Inarritu's 'Biutiful' in which he unintentionally caused the death of a group of illegal Chinese immigrants as he bought them a cheap heater. The bodies which were dumped eventually floated to the surface of the sea water and created a surrealistically beautiful moment. Indeed, films give us a chance to gaze at death from all perspectives. And surely, one can easily see how this leads to a kind of mental healing.





Unfortunately, I did not have enough time to 'heal' myself in the film viewing stations in the Theatre (there were three installed). But Elysa did write me a prescription to watch a few Roy Anderson and Inarritu's films. She also hinted at the possibility of reinstating the clinic for a second season. So do stay tuned to this space for more updates.

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Review - 'Lulu the Movie'

December 3, 2016, 9:00 am
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Michelle Chong’s third directorial film project, Lulu The Movie opened late November this year at Cathay. Centering around everyone’s beloved The Noose character Lulu, a parody of the stereotypical PRC woman, the audience follows her journey from China to Singapore in search of love. 

Disappointed by her online Brad Pitt (Chen Tian Wen) and hurt by his “twin” brother Leon (Leon Jay Williams), Lulu goes on a journey of self-discovery. From jobs to making friends and her newfound fame over a silly YouTube video, Lulu learns self-love and eventually finds the love that she wanted. 

From The Noose, Lulu came out as the popular character on the programme – beating Barberella as well as Xin Hua Hua. Known as hilarious and ridiculously embarrassing, there were plenty of expectations for the movie to be thoroughly fun to watch. 

And to a certain extent, the movie succeeded in the funny factor. The jokes and the puns ran throughout the film, and that kept the laughs going for most audience members. Even the comic timing within the film are pretty good. Some of the camera angles and fast switches on screen worked brilliantly too - enabling the jokes to come across clearly and effectively. 

It was also lovely that there were plenty of local faces in the film. From radio dj Glenn Ong to Night Owl Cinematics, they would appear as cameo roles within the film. That reinforced the familiarity of Singapore’s entertainment scene. Somehow, it was also nice to see these folks on the silver screen and working their brand of humour. 
However, the plot seemed to have lost its way after the beginning few scenes which was a pity. There was a build up on the blooming romance as well as love triangle between the brothers and Lulu. In fact, the tensions have only just begun with a quick introduction of Leon’s girlfriend, a snooty diva Sonia (also played by Michelle Chong). 

We were really hoping to see how the development of this plot would go as it seemed promising, however it was abandoned as suddenly as it took off. Perhaps this side plot should not have taken precedence in the beginning, if it was never going to last. 

Overall, Lulu The Movie was a good attempt at local comedy by Chong. Even though it could have done better without the repetition in jokes during the travel hosting segment as well as used the romantic side plot more, this is still a movie to watch if you would love to support the local movie industry. Also, there are jokes that only Singaporeans would appreciate. 


So, put on your leopard prints and bling, and get yourself to the cinema. 

Review by Dawn Teo
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A Night that gathered the Best in Asian Cinema - 27th SGIFF Silver Screen Awards

December 4, 2016, 8:51 am
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The 27th Singapore International Film Festival (SGIFF) announced its winners of the Silver Screen Awards at Marina Bay Sands this evening, wrapping up an exciting year for the region’s filmmakers. This year saw 14 awards being presented, with the crowd-favourites Asian Feature Film Competition and Southeast Asian Short Film Competition awarding nine of them.
 
White Sun (Seto Surya) by Nepali director Deepak Rauniyar emerged as the Best Film of the Asian Feature Film Competition. Through the story of a Maoist who returns home to bury his father, the film trots through the scars that remain from Nepal’s civil war between supporters of the monarchy and the Maoist faction. The jury found it to be “an exceptional and incisive film about civil war and memory that encapsulates the never- ending conflict that is the state of the world today, with a message of hope that a different future for all of us can be possible through our children”. 

Turah (actor Ubaidillah pictured left), the debut feature film of Indonesian director Wicaksono Wisnu Legowo, was given Special Mention by the jury for Legowo’s “exposure of the corruption and hypocrisy inherent in our society through the microcosm of a small village, showing how the strong oppresses the weak, while never losing sight of the inherent humanity in all his characters”. Inspired by the lives of the inhabitants from a village in Tegal, Central Java, the film paints an authentic picture of the struggles of the lower class amidst corruption and indifference from the privileged upper class.

Bangladeshi film Live from Dhaka (pictured below) also clinched the Best Director for Abdullah Mohammad Saad and Best Performance for cast Mostafa Monwar. This debut feature film by Saad tells the story of a partially handicapped man who lives his days in anguish as he tries to find a way to leave Dhaka. Shot in grainy black and white, it paints a riveting and complex portrait of a man pushed to his very extreme and his struggle between morality and the instinct for self-preservation.

The winners of the Asian Feature Film Competition were decided by a jury panel, headed by Naomi Kawase, one of the most respected and adroit filmmakers in contemporary Japanese cinema, and a Cannes Film Festival regular. At 28, she received the Camera d’Or at the 1997 Cannes Film Festival, making her the youngest director to win the award. Other jury members include veteran Hong Kong director of the well-received film Ip Man, Herman Yau, Lebanese director Jocelyne Saab, and versatile Singapore actor Sunny Pang.

In the Southeast Asian Short Film Competition, Indonesian film In the Year of Monkey (Prenjak) by Wregas Bhanuteja (pictured below) was awarded Best Southeast Asian Short Film. The jury found it to be “inventive in its story and imagery” and “presents a dynamic new voice in Indonesian cinema that challenges social mores that is both eclectic and humanist”. Deemed to be “bold yet sensitive – sharp yet delicate” by the jury, the film tells the story of protagonist Diah who needs money desperately and seeks help from her friend, Jarwo by selling a matchstick for 10,000 rupiahs. In return for each matchstick bought, Jarwo also gets to see Diah’s genitals. The film also won the Leica Cine Discovery Prize at the Cannes Film Festival this year.

Singapore’s Liao Jiekai (pictured below) won the Best Director for the film The Mist, which features two women who recollect the sounds and images from places in their collective memories in this evocative dance-inspired film. The jury shared that Liao “successfully translates collective memory in a poetic way” through sound and image, “without falling into experimental film pretension”. Liao was conferred the Young Artist Award by the National Arts Council of Singapore in 2012.

Singaporean filmmaker Chiang Wei Liang received the Best Singapore Short Film for Anchorage Prohibited that features two migrant workers with no money and a child, and their search for employment opportunities. According to the jury, the film “shows the challenges of a day in the life of migrant workers without going into tropes of melodrama, with an observational style that makes the characters’ plight resonate”. The film also won Best Short Film at the Taipei Film Awards and the Audi Short Film Award at the 66th Berlinale.

Indonesian director Bayu Prihantoro Filemon’s directorial debut On the Origin of Fear (pictured left) was given Special Mention by the jury for its “existential exploration on the evils of humanity, brought to light in a surprising environment that makes this exploration even more chilling, with a gut-wrenching performance by Pritt Timothy. The short film is set entirely in an audio recording studio as the director pushes a soldier to the limit by taking on the roles of both victim and aggressor in a scripted anti-communist propaganda campaign recording.

The jury head for this year’s Southeast Asian Short Film Competition is Indonesian producer Mira Lesmana, who revitalised Indonesia’s film industry in the early 2000s and appealed the youths to local films. Other jury members include Programming Director of the Hawaii International Film Festival Anderson Le, and Singapore filmmaker Bertrand Lee.

Participants of the Youth Jury & Critics Programme, an SGIFF initiative to nurture critical cinema writers for the region, also selected this year’s Youth Jury Prize for the best Southeast Asian short film. It was presented to Filipino director PR Patindol’s first short film Still (Hilom), which was said to be “a delicate portrait that illuminates the strength of the kindred spirit” and “stands as a contemporary testament to the innocence of children and their resilience against the acerbity of adulthood.” The short film follows the journey of a pair of twin brothers as they find healing against the harsh landscapes of an island which is also trying to recover.

Two established Asian industry veterans were also celebrated at the Awards. Hong Kong film director Fruit Chan was presented with the Honorary Award this year, which recognises individuals who have made exceptional and enduring contributions to Asian cinema, especially within their own country. He received the award from SGIFF Executive Director Yuni Hadi, and Chinese actress Qin Hailu (pictured right), who starred in Chan’s feature film Durian Durian and won both Best New Performer and Best Actress in the 38th Golden Horse Awards.

With a career spanning nearly forty years, Simon Yam (pictured left) was also conferred the Cinema Legend Award, which recognises Asian actors and their outstanding achievements in bringing Asia’s story to life on screen. The award was presented to Yam by SGIFF Chairman Mike Wiluan, and Hong Kong director Herman Yau.

One of the region’s emerging filmmakers, Dong Phuong Thao from Vietnam was also awarded the Most Promising Project of the Southeast Asian Film Lab, an SGIFF initiative to nurture the future of Southeast Asian filmmaking. The project, Taste, features a Nigerian immigrant in the Vietnamese football league who has to find an alternative means of survival after having his contract terminated after breaking his leg. This was awarded after a six-day story development lab attended by 10 young talents and a pitch in front of an industry jury including Film Lab head and the face of the new wave of Indian Cinema Anurag Kashyap, and mentors – Thai director Anocha Suwichakornpong and Malaysian filmmaker Bernard Chauly.

This year, the panel also awarded Special Mention to Thai project Rahula by Puangsoi Aksornsawang. It explores the parallel worlds of the filmmaker’s father and mother – one surrounded by a dream life in the countryside, another living a metropolitan searching dream. SGIFF also presented its inaugural Young Critic Award to Eliza Ho, a student from Nanyang Technological University. The award was a commitment by the festival in acknowledging the contributions young writers make to the film landscape. Film writing is just as important as the films themselves to develop the industry. 


Yuni Hadi, Executive Director of SGIFF said, “The Silver Screen Awards is integral to the Singapore International Film Festival as we seek to inspire the discovery of independent cinema. Each year, we chart the depth of Asian cinema, and recognise our regional talents, including up-and-coming filmmakers, many of whom become prominent filmmakers of our time. Through the competition, we also pave the way for our region’s film industry and provide opportunities for its growth and sustenance. Congratulations to all award winners this year, and we are already looking forward to uncover more hidden gems of the Asian cinema next year.”

The Silver Screen Awards saw a total of 10 feature films and 16 short films, including a Singapore feature film and three Singapore short films vying for the awards. The glittering red carpet affair was also graced by Chinese actress and international film festival darling Huang Lu, Indian veteran actress known for her role in Bandit Queen, Seema Biswas (pictured left), and Taiwanese singer-actress Yu Tai-Yan. The SGIFF is an event of the Singapore Media Festival, hosted by the Info- communications Media Development Authority of Singapore (IMDA). SGIFF's Official Sponsors include Presenting Sponsor, Marina Bay Sands and Official Festival Time Partner, IWC Schaffhausen and Official Airline, Singapore Airlines.

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Review - 'By the Time it Gets Dark'

December 5, 2016, 1:00 am
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Anocha Suwichakornpong's second feature,‘By the Time it Gets Dark’ is a mystical mystery that is haunted by the 1977 massacre in Bangkok. To unjustifiably simplify a complex film, ‘By the Time it Gets Dark’deals with a traumatic part of Thai history which unfortunately has been disregarded with apathy in its modern society.

This introspective and political film begins seemingly conventionally, about a young woman Ann, (Visra Vichit-Vadakan) attempting to make a film about the massacre, interviewing a surviving student protester Taew (Rassami Paoluengton) at a rural cottage, presumably in the outskirts of Bangkok. They go through the motions of an interview, digging deep into the past with flashbacks of the time when the students begin to question the authorities as well as having reenactments in the future. Thus far, the beginning is easy to follow.

Later on however, the narrative or plot, if that is the right term for this film, morphs regularly, turning and twisting. Ann’s relative failure in getting Taew to open up begins the second part of the narrative. Her mind begins to take over with dreams of a forest, a magical and strange encounter with herself and mushrooms. This leads us right out into George Melies’ A Trip to the Moon and a visceral macrophotography timelapse of fungi and it simply gets more and more surreal.  



The sudden use of different mediums is not the most jarring issue, however. It is the sudden abandonment of the main narrative, which may lose some. We take a sharp turn with Ann focusing more on her own supernatural abilities than on the work regarding the massacre.

We are left to wonder to our own imagination certain parts as we are carried away by Anocha’s ethereal and cosmic imagery. If you are able to carry on, the journey becomes wilder but if you are not, then the film will begin to fall apart for you, especially once the film recycles itself.

We are reintroduced to the opening scenes at the rural cottage though now the main characters have changed but yet repeat more or less the same lines. An echo of Apichatpong’s ‘Syndromes and a Century’ is present in this instance but quickly dissipates when it is clear the repetition is not meant in the same way.

In the midst of this, a few laughs seem to be readily available once we are repositioned into a tobacco factory and introduced to Peter, (Arak Amornsupasiri) an actor that partakes in an amusing music video sequence. Peter’s segment have little to do with the main narrative and is expectedly disconnected.



The only connecting through line offered by the film is through a magnetic young female character (Atchara Suwan) who changes jobs constantly and appears as a side character to many of the main narratives.  As a waitress, a cleaner and a monk, she is constantly apparent to the bigger stories and at the same time distant. This is a loose connection to the theme; a display of the apathy of young people towards historical and political events.

Regardless, the film remains engaging and beguilingly beautiful without any need for real answers. The surrealism comes to a climax at the end when Anocha transposes a montage of prayer halls to nightclubs to stunning digital effect and finally melting away into reality. The impossible idea of creating a historical film in the face of apathy ultimately consuming itself with a grand finality.

Ultimately, 'By the Time it Gets Dark' is a careful examination on time, memory, trauma and cinema. Constantly shape-shifting between fact and fiction, from rural to cities, dreams, reality and films. However, all these things have somehow been able to unite and coalesce  into a masterfully done reflection of a particular moment in history and its many rippling effects. 

Rifyal Giffari. Stills courtesy of LUXBOX

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Review - 'Singing in Graveyards'

December 5, 2016, 1:50 am
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Bradley Liew’s ‘Singing in Graveyards’ is an existential drama with a twist. A washed up rock ‘n’ roll impersonator seeking former glory sounds like a cliché story in the same vein as Darren Aronofsky’s ‘The Wrestler’. However, this film is more creative and playful, blurring reality and imagination in every take, especially when you realize Filipino rock legend Pepe Smith plays the impersonator to… Pepe Smith.

Smith is instantly magnetic from the start till the end. Shambling around his house, as the penniless character Pepe Madrigal talks to himself as though he is actually Pepe Smith and eats nothing but chocolate porridge whilst driving a hearse. Everything about him is engaging and sympathetic as we follow his journey as he tries to write a love song for Pepe Smith’s comeback and play in the profitable opening act.

The real Pepe Smith meanwhile is derided in the film as an egocentric and selfish character, which is a crowd pleaser every time, particularly for Filipino audiences. Every insult Pepe throws at himself is a cue for boisterous laughter. Smith’s casting is also not the only hilarious meta-highlight. Renowned director Lav Diaz ironically plays a self-interested, money grabbing producer and actress Mercedes Cabral plays a supporting character as an aspiring actress who can’t shed her sexualized image.



Taken at face value, this film, complete with the estranged ex-wife and son characters, sounds relatively typical of the genre. However the film also avoids cliché deftly and adds a dreamlike fantastical element to its presentation. Time and space are compressed with creative transitions, where characters move in and out of doors to blur the lines between real and imagined. Much like Pepe’s own dreams which begin to slowly take a darker turn when confronted with present-day reality.

Oh and there is also a goat and a dog. Their roles in the story are best left unexplained.

Whilst much concerns Pepe Smith, one cannot avoid the intriguing characters around him, particularly that of Mercedes played by Mercedes Cabral. Whilst Pepe Smith dreams of being another person, Mercedes can’t get away from her past identity. She not only steals scenes at times, she almost steals the entire film when things gets explosive during a casting session with some sneering male filmmakers. Pepe and Mercedes story arcs twist and turn around one another but it is clearly Pepe’s story and we never fully find the satisfying ending scene you would expect for Mercedes after seeing all of her struggles.


But with a run time of 142 mins, some of the middle sequences do begin to sag and repeat. The man-child character Pepe plays almost starts to lose his charm. Yet with every scene more or less done in a single unbroken take with fantastic production design and cinematography, you can shed some forgiveness on Liew for finding it difficult to edit his own film. Overall, the film picks up again in the final act and gathers pace to a wonderful end.

The visually resplendent film provides us a character portrait that is full of ennui, sadness and humor of a man lost in past delusions, which unravels in the face of an unforgiving present. Bradley Liew accomplishes a magnificent feat in showing the slow awareness of mortality through playful inventiveness worthy of the legendary Pepe Smith.


Rifyal Giffari
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@SGIFF 2016: Review - 'I, Daniel Blake'

December 6, 2016, 5:44 pm
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2016 has been a year in which protests are filling up much of our news airtime, and the us-versus-establishment struggles have been played out in so many different countries. This makes ‘I, Daniel Blake’, Ken Loach’s latest film about a unlikely friendship between a single mother and a middle-aged unemployed man, a fitting Palm D’Or winner for 2016.

Resting on a premise not unfamiliar to Singaporeans - going through an onerous application process, the film is a comfortably-paced expose on how difficult it is to claim assistance from welfare system, being a proxy for the establishment. Daniel Blake, played by newcomer to the big screen, comedian Dave Johns, is a carpenter who has left his job because of this medical condition and is trying to claim a sickness benefit from the government.

The first 5 minutes of the film sets the tone for what’s to come in the film - we hear, over a black blank screen, Daniel being interviewed by a consultant, for a sickness benefit. The consultant insists he answers all questions from a questionnaire that seems to skirt round the real health issue. Point made. More to come.

The job centre where people can make claims for various benefits and get matched with jobs is a focal point of the film. It turns out to a sinister place, as the film portrays, where one seems to get a sense that the system wants to do quite the opposite of what it was meant to do. Staff attending to applicants hide behind legal terms and jargon to make the benefits out of reach. Tracking the entire benefit application process in great detail with a matter-of-fact gaze at the flaws of this process serves to drive home the point about how ridiculous the experience is. The epitomy of this is a classroom room scene in which an instructor tells the class why everyone needs to a write a good CV like it was a matter of life-and death.

Another sardonic swipe at the system is illustrated in the digitisation of the entire application process to the T. Daniel, who bore the inconvenience of travelling to the job centre and getting stuck in the queue, was told, when he finally got to the end of the queue, that he had to fill up the application form online and no other physical forms of application, would be entertained. When his computer illiteracy was revealed, the film registered another new mark in its signature straddle between a wry sense of humour and utter frustration with the system.

Indeed, ‘I, Daniel Blake’, is a point-blank look at the hypocrisy of the welfare system that avoids sensationalism or heightened theatrics especially during moments of confrontation. Interestingly, it is not clear if the film’s manner of restraint is a characteristically British take on matters or a directorial stroke. But what is clear is the way the director has negotiated the key characters with the spaces, strangers and system. Ken has chosen to depict them in ordinarily mundane situations that are not necessarily cinematic, such as going through a job application. Yet, that ordinariness is pregnant with so much irony and humour.

The job centre is also the starting point of another pivotal character in the film - Katie Morgan, played by Hayley Squires. Katie is a single mother with two kids, who comes to our attention because she was late for her appointment at the job centre and had to face the consequence of sanctions on her benefits. Financially squeezed out of London, she had to settle down with her children in Daniel’s neighbourhood in New Castle. Hayley slips into her role effortlessly as a frustrated and weary mother and delivered pitch-perfect method acting. On method-acting, she revealed in an interview that she literally starved herself in order to mentally prepare herself for what has become a rather iconic scene in the film - the Food Bank.

The Food Bank stood out in the film, especially for a foreign viewer like myself, for it being an elaborate expansion of the concept of a hand-out. It also stood out for being uncannily realistic. Interviews with the filmmakers online have actually revealed that it was a real food collection exercise in progress and people in the queue were real food seekers. Of course, one cannot forget Katie’s ‘show-stopping’ moment of ripping open and consuming a can of food on the spot, a very raw moment that gripped our conscience.

Needless to say, Katie and Daniel got on comfortably, filling out the voids in each others’ lives. Delightfully, director Ken keeps their relationship ambiguous with Daniel being an empathetic, fellow-sufferer of a neighbour to Katie, though sometimes he goes up one tier, attaining a certain guardian angel status.

In fact, he really does become an ‘angel’ in the end, when almost at the finishing line of his battle with the benefits application, he suffers from a sudden heart attack in the toilet. Delivering an eulogy at what she called a ‘pauper’s funeral’, because they could only afford the cheapest 9am slot, she spoke about Daniel and his courage in fighting for what's right. The scene is stripped of any excessive sentimentality and Katie delivers the eulogy with a respectful sobriety, drawing attention to his life and deeds more than her own relationship with him.

Indeed, the film achieves its aim of being a quiet protest against the welfare system and succeeds because of its clear, microcosmic look at the experience of one person, without any attempt to magnify his experience in anyway. It's not David versus Goliath, just a small story about an ordinary man whose only weapon against the establishment was his spray-painted writing on the job centre's wall. Yet, like Daniel, who has earned supporters from the pub on the opposite of the road, this film has grown to be a ripple in a pond, drawing far greater attention to it than its unassuming form would suggest.

Review by Jeremy Sing
 
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