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ShoutOUT! Cannes Announces L'Atelier 2020 Lineup, Includes 2 Southeast Asian Titles

March 9, 2020, 10:46 am
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L'Atelier 2020

The Festival de Cannes has unveiled the lineup for this year's Cinefoundation Atelier, the co-production forum where in-development projects will try and secure funding at this year's Cannes festival.

Founded in 2005, L'Atelier has had an impressive track record with 171 projects out of the total 233 selected having been released theatrically, alongside 14 currently in pre-production. 

For L’Atelier’s 16th edition, 15 projects from 15 countries have been selected, with two projects from Southeast Asia:

The first is Malaysia's Tiger Stripes, the debut feature of director Amanda Nell Eu, which will follow the journey of a carefree 11-year-old girl as she starts to experience horrifying physical changes to her body, while her emotions and urges manifest in extremes. The film will be produced by Foo Fei Ling of Malaysia-based Ghost Grrrl Pictures; Fran Borgia of Singapore-based Akanga Film Asia, which produced the 2019 Golden Leopard winner A Land Imagined amongst others; and Yulia Evina Bhara of Indonesia's KawanKawan Media.

The second is Philippines'Some Nights I Feel Like Walking, the sophomore feature of director Petersen Vargas, which will be produced by Alemberg Ang and Jade Castro of VY/AC Productions.

Southeast Asia have traditionally been well-represented at L'Atelier, with past projects that were selected including titles such as Burmese filmmaker The Maw Naing's The Women in 2019; Filipino filmmaker Carlo Francisco Manatad's Whether The Weather Is Fine, Thai filmmaker Nontawat Numbenchapol's Doi Boy, and Vietnamese filmmaker Bùi Thạc Chuyên's Glorious Ashes in 2018; Vietnamese filmmakers Phan Ngoc Lan's Cu Li Never Cries and Le Bao's Taste, and Singapore's City of Small Blessings by Chen-His Wong in 2017; and Indonesian filmmaker Mouly Surya’s Marlina the Murderer in Four Acts, in 2016, which subsequently premiered in 2017's Quinzaine des Réalisateurs.
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Short Film Review: BEE, My Friend (2020)

March 13, 2020, 10:22 am
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BEE, My Friend, the latest short film by Malaysian filmmaker Cheng Thim Kian, is a story that revolves around two main characters. Zhi Xuan (Kendra Sow) is a new teacher at her former school where she is faced with a problematic student, Zhe Yu (Eden Yong). With some patience, Zhi Xuan helps Zhe Yu with his family problems which in turn helps save herself from a mistake that was haunting her from the past.


The 20-minute film currently playing at the Osaka Asian Film Festival is testimony to how less is sometimes more and that simplicity can be key to success. The story, though running along the  lines of a familiar student-teacher relationship theme, is given a subtle twist: this time, the student is not necessarily ‘saved’ by mentorship or tutelage, but by a bit of kindness shown by a teacher who is also trying to redeem herself. 


The film is also neither sappy nor overbearingly dramatic. The simplicity of Zhe Yu’s backstory is simple yet effective—he is problematic because he craves his father’s attention following the death of his mother. Despite not ever finding out the cause of Zhe Yu’s mother’s death, the audience feels sympathy for him all the same, proving that the film is effective in its storytelling. 

The inclusion of Zhi Xuan’s backstory and her mistake during her school’s marathon also adds another layer to the idea of showing kindness and making good choices. The audience sees that Zhi Xuan, though revered as a good student, also once made a ‘bad’ choice. Hence, for her, redemption arrives in the form of helping Zhe Yu patch up his relationship with his father. It is yet another example of Cheng’s ability to subtly interweave heartwarming and feel-good moments into his storytelling. 


Overall, BEE, My Friend is a simple yet captivating watch, every frame attesting to Cheng’s watertight control of the story and the shots. The story flows so seamlessly and effortlessly that one might be forgiven for thinking the entire film an incidental occurrence. Heartiest congratulations to the director and his team for their work on this film!

[BEE, My Friend is currently playing at the Osaka Asian Film Festival running from 6-15 March 2020. More details on the film’s screenings here.]

Reviewed by Sheril A. Bustaman
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Film Review: The Taste of Secrets (2019)

March 13, 2020, 10:24 am
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Le goût du secret (2019)

Stop filming and stop asking questions, French-Cambodian director Guillaume Suon’s mother tells him at one point in the documentary. “What is it that you’re looking for?” There is nothing but grief, and everything is behind her.

Suon’s mother is a survivor of the Khmer Rouge genocide. She is the center of the film, but unlike most subjects, is not always willing to tell her stories. In an interview, Suon spoke about “an urge to find out whatever she was concealing from us”. The Taste of Secrets is Suon’s fifth project on the Cambodian genocide, and he has described it as a coming-of-age journey. 

Faced with his mother’s reticence, Suon regards photographer and personal friend Antoine Agoudjian, the other pivot of the film. Antoine is a descendant of survivors of the Armenian genocide. In pursuit of a shared, inherited legacy of horror, Suon and his brother follow Antoine to a photo exhibition in Turkey, to mass graves in Iraq, and to his mother’s house.

With Antoine, we are roving, discovering things. But Suon’s mother is pictured most often in the constancy of their home. The two characters do not meet, and their only link is Suon. Antoine is Suon’s companion, and his presence drives Suon’s pursuit.



Two genocides lurk behind the scene: the Armenian genocide from 1914 to 1923, and the Cambodian one from 1975 to 1979. What happened? How? Are the genocides comparable? These questions are of little relevance to The Taste of Secrets. The documentary does not linger on numbers or facts. It is neither didactic nor polemic. Instead, the voices of Suon’s mother and Antoine take centre-stage. What they do not remember, or refuse to talk about are just as important as what they remember.   

Suon is a constant listener rather than a voyeur or presenter. As the film progresses, Suon’s camera grows increasingly more gentle. His mother looks back at him, rather than at the camera, and warm familial moments are captured. In a market in Battambang, Suon’s mother identifies a noodle stall. “We eat here?” She says. And to Suon, “what are you having?” The moment is simple and memorable.

Suon framed the film as a journey – his own. His mother is different in Cambodia, at the end of the film, from how she was in France. In Cambodia, she remembers more. Yet, for her, the past is unchanged, and the present is as it is. For Suon, he comes to know where to look, and the presence of the ghosts from his mother’s past grow more familiar at the end of his exploration.

Reviewed by Teenli Tan
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Film Review: ROH (2020)

March 19, 2020, 11:27 pm
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In 2019, the Malaysian horror genre saw a new player with the entry of Kuman Pictures. Inspired by Roger Corman with aspirations to be Malaysia's own Blumhouse, the film outfit of Malaysia New Waver Amir Muhammad (The Big Durian, The Last Communist) has dedicated itself into making small scaled horrors and thrillers, and only work with filmmakers who are comfortable with flexing their creativity with restraints, rather than fanciful (and sometimes wasteful) filmmaking.


It is in embracing this minimalist approach and sentiment that gives Roh its soul. Building on the axiom that less is more, Roh is built on a simple premise. A secluded family living in in the jungle finds a child wandering alone. After taking the child in and providing her with food and a roof over her head from the hidden dangers of the jungle, the child repays their generosity by prophesying that they would all die in the next full moon, before slitting her own throat. Confused and shaken, the family is soon beset by a chain of events that is further complicated by two more visitors, as the family is unable to ascertain if they are their boon or doom.

Roh is light on its plot and heavy on mood and atmosphere. The camera moves on lush backgrounds of rustling trees (shot almost as an homage to the blowing reeds to Onibaba), golden swamps and cloudy moons, but with an air of dread that traps those within its frame. Emir Ezwan's feature debut wants to impress with meticulous planning of making the parts work together, each knowing how the sum makes for a greater whole, even if that must rely on doing so little. There may be few words being shared between our enigmatic character, but the score speaks just as much, if not more, in maintaining the sense of dread. 


Although the only perceived downside to that is having a rather glacial pace, but that allows for Roh stokes on fears of not knowing what is it that we should be afraid, and the deceitful editing becomes its most potent tool to sow doubt and confusion. The motivations and the plot owe little explanation as to the reason for the events, but it pays off with the consequences of them. Like the mysteries of the jungle, it's best not to know why we must observe their taboos, but only to fear the consequences if we don't. Other than its hinted theme from the opening title card quoting the Quran on the perceived superiority of the devil over humans, it thrives on creating more questions than answers with every watch. This inadvertently sends a stronger religious message than other grades of Malaysian horror do with a blunt hammer. Sometimes, it is more imperative to be vigilant against the evil that slowly works its ways into us, rather than having the strong faith to fight against it.

Roh is an effective mood piece foremost an attempt of artistic vision and should be noted for taking a subtle approach to horror that many other local directors would easily be tempted away from. It comes from a spirit of doing low-budget horror right, and Malaysian cinema has much to look forward what Kuman Pictures is capable of bringing to the table. 

Review by KC Lee

ROH was originally scheduled to open in 56 cinemas across Malaysia on 19 March but this has been postponed due to lockdown measures imposed in the wake of the COVID-19 virus. You can get updates on the new screenings dates by following the Kuman Pictures on their Facebook page.


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Film Review: Help Is On The Way (2020)

March 20, 2020, 12:26 am
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Muji and Ana

Every year, I usually spend some time visiting Malaysia. Most of the time, I prefer to check into a hotel in the Chow Kit area of Kuala Lumpur, a place I later learnt is populated with migrants from Aceh Province, Indonesia. Another interesting encounter I had arose from my trip Brunei Darussalam in 2018, where, at the hostel, I met a woman from Central Java who had been working as a cook at the hostel for several years.

These two experiences made me interested in exploring the idea of migration in Asia. Population migration is not only a problem in Europe, it has also begun to cause issues in Asia. Since 2014, I have started watching documentaries which revolve around human migration in Asia.

Of those I have watched, Help Is On The Way (2020) appears to be more dramatic in describing the ideas and motivations behind human migration. Specifically, it explores the case of an Indonesian worker who migrated to Taiwan. This documentary, directed by Ismail Fahmi Lubis and produced by Nick Calpakdjian & Mark Olsen, was awarded Best Documentary at the 2019 Indonesian Film Festival (FFI). Previously, another film directed by Ismail, Tarling is Darling (2017), was also nominated at FFI.

Sukma and Meri

The film opens with the activities of prospective nannies who conducted their training at the Foreign Workers Training Agency’s (Badan Latihan Tenaga Kerja-Luar Negeri, BLK-LN) training centre in Indramayu, West Java. The director successfully manages to surface the complicated inner turmoil of the nannies. The film does not intentionally invite the audience to be sad or compassionate to the subjects in the film. Rather, by using an observer approach, this documentary takes on the perspective of its audience. Ismail manages to erase the gap between the audience and the diegetic and highly constructed reality. Alongside Denok & Gareng (2012) and Nyanyian Akar Rumput (2018), this documentary marks significant improvement in the production of documentaries in Indonesia.

The director of Help Is On The Way, Ismail, choose two settings for his storytelling: West Java, Indonesia and Taipei, Taiwan. The director’s way of conveying work life in Taiwan, told through the characters Muji and Tari, implies the future of the characters Meri and Sukma, who are presently in the Foreign Workers Training Agency (BLK-LN) in Indramayu, West Java. By strategically arranging parts of the story, this film avoids giving itself away from the beginning, which is a common mistake amongst documentary filmmakers. Help Is On The Way is also able to touch on other crucial issues, such as migration, social class, gender and labour rights. Ismail clearly delivers his stance about Indonesia’s women labour (commonly called TKW or Female Workers) through Meri, Sukma, Muji, and Tari.

Indramayu, West Java

Another critical aspect of Help Is On The Way is the discussion about the rich-poor gap in Indonesia through middle-class women. It discusses how, in Indonesia, the rich tend to get richer. Meanwhile, the rural poor have to find ways to double their income to pay off their debts or to increase their standard of living. By working abroad, these women hope for a better life as they will be able to earn a higher income. Thus, they are willing to take on unimaginable jobs. This prompted me to question the role of men in their family: Why does it have to be women who work abroad? However, Help Is On The Way does not give an answer to such a question or any other questions that arise after watching the film, making this film very interactive as it triggers an opportunity for its audiences to have a conversation.

Help Is On The Way will be screening at the Taiwan International Documentary Film Festival (TIDF) this coming May in the Asian Vision Competition section. But due to the latest development of COVID-19 pandemic, they regret and announce that the 12th TIDF due to take place on May 1-10, 2020, will be postponed to Spring 2021. It will be broadcast on PTS Taiwan in May 2020 as well as Go Play Indonesia. Hopefully, Meri, Sukma, Muji, Tari and other Indonesian workers in Taiwan will be able to watch this excellent piece of work.

Reviewed by Akbar Rafsanjani 
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Film Review: 100 Times Reproduction of Democracy (2020)

March 20, 2020, 5:34 am
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Initial observation: 100 Times Reproduction of Democracy is a mouthful of a title. 

As the film begins, a classic chapter title screen of a white text on a black background greets me. A monotonous female voice opens the film with a description of how Chulayarnnon Siriphol, also known as Ke (the director of this film), had embarked on this winding journey after being hired by an organisation to produce a short film with the intention of educating the public about osteoarthritis, a common condition among the elderly. The short film in question: A Cock Kills a Child by Pecking on the Mouth of an Earthen Jar (another mouthful). After it was produced, Ke asked for permission from the organisation to submit it to festivals. The film was then submitted to the 17th Thai Short Film and Video Festival under Ke’s name, where it subsequently won an award. 



Here comes the dilemma. After the film won an award, the organisation that hired Ke claims that he was not given permission to submit the film to festivals under his name as the work is considered to be the organisation’s property. Along with demanding Ke pass the award certificate to the organisation, they also stated that in the future, if Ke wished to distribute the film, he would need to write to the organisation and request for approval. The agreements between Ke and the organisation had verbal and thus he did not have any substantial documentation to back them up. From this arises Ke’s journey to find out: Who does art belong to? The client, the artist or the audience?



In the name of art, Ke prints 100 copies of the award certificate and passes them out to random passers-by on the street. Regardless of their nationality, gender, or age, he gives it to whoever even if they can't read the Thai text on the certificate itself, just as long as they are willing to take it from him. 



Ke eventually takes this to the next level and goes on to reproduce his own short film a hundred times to the point where the image and audio quality has been shredded to the point of incoherence. He then sells each individual reproduction of his short film as video art for cheap. Needless to say, watching the whole thing unfold has been a peculiar pleasure.  



There is a reflexive, mocking quality to the film. The film is broken down into 6 arbitrary chapters and the monotonous female voice narrates the film with the very same lack of passion at the start of the film. We watch Ke perform these rather amusing acts of selling certificates and video art pieces that clearly have little value without the context presented in the film. We are even allowed to witness the reaction of an audience as they watch footage of Ke passing out copied certificates. When Ke reproduces his short film 100 times to point of incoherence, he decides to screen the result publicly for a small audience. 



The outcome is predictable: shots of viewers huddled up in a dark room, staring blankly at the fractured image on screen; some yawning, and some seemingly asleep. One sequence in the film is literally a man sitting in front of his computer watching one of the reproduced copies of the short film with his arms fold and head nodding off. On the side of the screen are graphics depicting a text conversation between the man and Ke, with the man commenting that despite the video’s poor quality, it is one of his favourite short films simply because he understands nothing about the film. I could not help but giggle in amusement. And Ke literally takes a photograph with almost every individual who takes a certificate or buys a copy of the reproduced short film. It is rather indulgent, amusing and if I’m being completely honest, a little boring. 


Still, the film is not merely comprised of humour. Ke slowly builds the film toward the political climate of Thailand, comparing the replication of his own work and the questioning of its identity as art with Thailand’s Khana Ratsadon plaque—a Thai symbol of democracy. The plaque was allegedly stolen and replaced by a new plaque in 2017. The question posed is very explicit: ‘If the plaque is reproduced, can it still hold its authentic democratic ideology?’ Ke shows us footage during the Thailand political crisis. The parliament disbanded, riots and protests take hold of the street, and a new Thai prime minister is elected from what is perceived to be a rigged election. He presents to us a ‘reproduced’ democracy of Thailand. 



100 Times Reproduction of Democracy is by no means a polished work of cinema. Photographs on-screen are grainy and blurry, the cinematography is amateurish with a couple of unclear, shaky, out-of-focus shots. Still, the film's technical quality did not detract from the film's quality, in fact giving it a sort of ‘home-made’ feel and a breath of authenticity and personality.



I suspect 100 Times Reproduction of Democracy will probably be relegated to the smaller screens. It is a piece that is rough around the edges, and a little difficult to sit through for audiences who have grown used to documentaries with absurdly high presentation values. Thinking back, I wonder if the earlier parts of the film are bridged adequately with the subsequent political commentary. Perhaps the shift to politics might be a little drastic for a viewer like me, uneducated about the state of Thai politics. 


By the end, the film returns to its amusing manner, similar to how it was in the early chapters. Somewhat returning full circle. Nothing has really changed. Despite all of Ke's efforts, his short film A Cock Kills a Child by Pecking on the Mouth of an Earthern Jar remains the property of the organisation, and Ke seems to have moved on to another project. This reminds me of the words spoken by an audience member who had watched footage of Ke distributing his copied certificates like flyers: ‘You spent months [on] (sic) this. Do you think it's worth it after all? Or it's better to screw it and make a new one?’


Written by Timothy Ong
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Statement of Solidarity for Art, Design, and Media Workers Affected by COVID-19

March 26, 2020, 3:55 am
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One day, when the madness of this virus finally tides over, we would imagine an outburst of stories from filmmakers around the world. Many would be emotional about losing their loved ones; some would be inspirational about the brave people they have met during the crisis; some, luckier still, would be bittersweet—about new friendships and serendipitous encounters made during this ordeal. A few might imagine the involvement of monsters or aliens, while others might involve a superhero or two. A handful might dream romantically about new-found love, and this new definition of intimacy in the age of social distancing—love in the time of corona, anyone? Everyone. And an even smaller crowd might find the lighter moments in this and turn it into wry, ironic comedy.

Over the past few weeks, governments around the world have piled regulations after regulations to fight against the spread of COVID-19. When the word ‘cinemas’ were added to the list of venues being shutdown around the world, few would have been caught by surprise. It was a matter of time. Then on further thought, one would realise the ramifications of this are pretty far-reaching. Not only can people no longer go to the cinemas, film shoots would have to be postponed, all the film premieres lined-up would have to be postponed, film festivals would need to take a breather, who can forget South by Southwest, or the grand dame Cannes herself, and right at the start of the film production journey, investors are going into a temporary coma.

What all these remind us of is that films and filmmaking are activities as driven by stories as they are by the communities who make them. Films pull so many people together—it, quite literally, takes a village to make one. When the world can finally the grab the virus by its horns, it will take a while for things to gain back their momentum, not just within the film industry. In fact, according to The Guardian, around 120,000 people are out of job in Hollywood and an estimated 50,000 freelancers will lose their jobs as a result of this pandemic. For the rest of the world, the situation would be just as precarious.

At SINdie, a couple of us are freelancers in various segments of the film industry. Or to be more accurate, the indie filmmaking community, in which we live from pay cheque to pay cheque, without a fixed income or CPF. Therefore, we feel the pain everyone is facing and are in solidarity with you. As a media platform, we have the means not to slow things down, and we will not. 

We will continue to put the spotlight on films and filmmakers from the region. Even as productions and premieres are being pushed back, we will continue documenting some of your journeys and ideas. The raison d’etre of SINdie has always been about giving a voice to the those who have smaller platforms and in the same spirit, we want to continue doing this and hope in this process, we can give inspiration to those who are teetering on the edge of an existential crisis cliff. With this, we might be speaking to some of you to collect stories and thoughts about dealing with this episode, so don’t be shy, your stories are important!

Perhaps the silver lining in this situation is the luxury of time to think a little more, do the everyday things a little more. Sometimes, filmmakers can forget what it is like to live in the real world because we could be trapped in the reel worlds we create. We believe in the school of thought that some of the best ideas in films come from taking oneself out of films. Who knows? You may rekindle the passion in an all too predictable married life. Or you may imagine a babel-like web of human connections and stories from all the contact tracing you have been reading in the news. Just know that someday all that thinking you can afford now will pay off in the future and time is not all lost. 

SINdie was born out of an incident when the hard disk containing founder Jeremy Sing’s film shoot rushes were damaged by a computer virus. He was devastated and it drove him to take a break from the rather addictive and sometimes blind attempts at making films years ago—a break that gave time to think about having a different outlet for his thoughts because to be brutally honest, some films do not need to be made. So when you are done being dazed at home, be reminded that something hidden somewhere within your own immediate stratosphere could be the beginning of something pleasantly surprising and when you are finally burning with excitement around it, tell us about it. We want your stories.

#CinemaWillNeverDie #LongLiveCinema

Lotsa Love,
The SINdie Team
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Short Film Review: To Calm the Pig Inside (2019)

March 26, 2020, 7:33 am
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To Calm the Pig Inside by Joanna Vasquez Arong is a documentary short film about Hurricane Yolanda, which was an incredibly powerful storm that devastated the Philippines in November 2013. In my eyes, To Calm the Pig Inside manages to effectively express the sorrow, frustration, and the subsequent physical and emotional trauma felt by the victims of such a tragedy. Arong achieves this by taking a subdued and minimalistic approach to the presentation of the event, as well as the issues and its aftermath. In terms of the visuals, Arong utilises a blend of still images, videos of the hurricane and its aftermath as well as truly haunting drawings by children who had witnessed the hurricane. These drawings instil a feeling of complete hopelessness and powerlessness in the audience as all we can do take in what horrors must have been witnessed by the young. 

The imagery is utilised very cleverly as the film opens on a simple yet positive image of children just playing and having fun in some water. However, after a few seconds so seeing this you quickly notice the surroundings. What was once an image of happiness becomes something fairly heartbreaking. On top of this, almost all the imagery is colour graded in black and white to make the audience feel a greater sense of physical distance from the situation, thus turning us into passive participants who can do nothing but stare at what is appearing in front of us on screen. This leads the audience to become heavily affected by what we are witnessing but at the same time, the way the information is presented to us makes us feel powerless in every sense of the word. 

The main way To Calm the Pig Inside conveys information to us is through the voiceover of a survivor. The voice slowly and calmly recounts what happened during the hurricane. It feels fairly unconventional as it makes us feel like we are with the subject, but we never feel like we are directly being spoken to. Instead we feel like we are in the same room as the subject recounts to an invisible third person. When paired with the imagery, the feeling of pure powerlessness and hopelessness is magnified that much more.

The film has a very basic score that dips in and out of the film to avoid from becoming overbearing and manipulative. On top of this, the film has an atmospheric track that plays throughout, a windy, droning sound that slowly intensifies as the film progresses, which instils a constant feeling of danger—almost as if there were another hurricane that could strike anytime now. Much like the victims, we would be completely powerless to stop this looming threat.

While the film manages to express the sorrow, frustration, and the subsequent physical and emotional trauma felt by the victims, it also manages to inform the audience not only of the true impact of the hurricane but also of a great deal of corruption and government negligence. The bureaucracy both placed little importance on the hurricane before it hit as well as were lacklustre in their recovery efforts in the aftermath. 

Overall, To Calm the Pig Inside by Joanna Vasquez Arong is an incredibly effective documentary that makes the audience feel just as powerful and hopeless like those affected. But it is also an incredible exercise in minimalistic storytelling that leaves a haunting impression on the viewer. 
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Much Ado About Nothing: Southeast Asian Filmmakers on Life with the 'Rona, Part 1

March 29, 2020, 9:39 am
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For some filmmakers, there is a sense of dread being on lockdown but for others, it is business as usual. They work from home most of the time anyway. In any case, while most of us are on lockdown, there is no need to feel like you are in a silo. The Italians bring their musical instruments to their balconies every evening and start a communal jam. We can do it here too! It is time to give our neighbours across the borders a shoutout to find out how they are spending time at home. From working on screenplays to watching Kingdom on Netflix, here is what filmmakers across the region in Southeast Asia are doing and watching while waiting for the 'Rona virus storm to pass.

Yosep Anggi Noen, Indonesia
Anggi Noen is a producer, screenwriter, lecturer and filmmaker whose films, including ‘Peculiar Vacation and Other Illnesses’, ‘Solo, Solitude’, and ‘The Science of Fictions’, were all Golden Leopard nominees at the Locarno International Film Festival. Last year, ‘The Science of Fictions’ received a Special Mention at the Locarno International Film Festival.

What is your biggest concern right now?
My biggest concern is to stay sane and healthy. And here in Indonesia, the people are building a solidarity emergency response. Solidarity by donations and providing support to the medical officers. Also, the government is struggling to make the best decisions for this issue.

What are you watching or doing right now?
I am watching some classic films...  some post-WWII Japanese films. But of course some series. 

What are you looking forward to after this is all over?
Maybe I will make a comedy film...



He Shuming, Singapore
Shuming is a screenwriter and director who most recently completed his MFA in Directing at the American Film Institute Conservatory in Los Angeles, California. He is currently working on his debut feature film, ‘Ajoomma’, which recently won the top prize at the Southeast Asian Fiction Film Lab (SEAFIC) and the Best Co-Production Prize at IFFM Macau in 2018.

What is your biggest concern right now?
My biggest concern first and foremost is the health and well being of family, friends and colleagues. This crisis is unlike anything we've witnessed. We need to stay safe, and look out for each other. Of course, I'm worried about my film. We are not stopping work, but rather we are adopting a wait and see approach, and adapt accordingly.

What are you watching or doing right now?
I'm developing a web television series, and working on 2 separate projects that are shooting in the next 3 months. I started watching Kingdom on Netflix and Modern Love on Amazon Prime.

What are you looking forward to after this is all over?
I'm looking forward to a lesser sense of uncertainty and continuing the work we need to do. I feel it's going to be a new era we will be entering!


Nontawat Numbenchapol, Thailand
Nontawat is a Thai film director and television screenwriter, who is widely recognised for his documentary works which include ‘Boundary’, ‘By the River’, ‘#BKKY’ and most recently ‘Soil Without Land’.

What is your biggest concern right now?
I'm concerned that the situation in this world is taking longer than expected to resolve and I think all my plans this year may be stuck.

What are you watching or doing right now?
I have more time that I never had like this. I can concentrate well on my script for my new film Doi Boy, while staying at home with my mom, cat and dog. I'm watching many films everyday on Netflix, Vimeo, Mubi etc.

The films I am watching include Clash landing on you, Paris Texas, Stalker, Farewell my Concubine, Ash is Purest White, Selfie, Kingdom, Pornhub premium (for free)

Also, I am releasing my films on Vimeo on demand with a 70% discount.
https://www.facebook.com/mobilelab2010/photos/a.240274409346991/3939147986126263/?type=3&theaterSoil Without Land is only available in Thailand. Finally, I am preparing for my solo exhibition in July.

What are you looking forward to after this is all over?
Go to massage and shooting Doi Boy.



Benedict Mique, Philippines
With over 20 years in the media production industry in the Philippines, Benedict has written for more than 25 productions including films and TV series and has also directed several films. His most recent films include ‘ML’, ‘Momol Nights’, ‘Barbara Reimagined’ and ‘Two Love You’. Under his film company Lonewolf Films, he has a slate of films lined up for the year and beyond.

What is your biggest concern right now?
My main concern right now is the safety of everybody. An invisible killer and a pathetic government is not a good combination.

What are you watching or doing right now?
Right now I am watching anything on iwant and Netflix.

What are you looking forward to after this is all over?
I want a safer world to live in, a far better government, and to make more films.



Aditya Assarat, Thailand
Aditya is a film director and producer whose award-winning films include ‘Wonderful Town’ and ‘Hi-So’. He is also the producer of many Thai independent films including ‘Eternity’, ‘Mary is Happy, Mary is Happy’ and ‘W’. His most recent film ‘Ten Years Thailand’, a Thailand-Hong Kong-Japan co-production, premiered at the 2018 Cannes Film Festival.

What is your biggest concern right now?
Health and safety of my family.

What are you watching or doing right now?
Netflix series.

What are you looking forward to after this is all over?
Kingdom 3.


Nadiah Hamzah, Malaysia
Born and raised in Penang, Malaysia, Nadiah started out as a copywriter in McCann Erickson. She then enrolled herself in film school and graduated with an MFA (Film & TV) from Tisch School of the Arts, NYU, training under some notable names in film, with one of them being Spike Lee. Her anti-bullying film for ‘Save The Children’, won a big following online and has earned her a win at the Adfest, The One Show, and a Cannes Lion. She released her debut feature film ‘Motif’, in 2019 and was hailed as “one to watch” by The Hollywood Reporter. 

What is your biggest concern right now?
My biggest worry right now is how the film industry is able to pick itself up and resume as usual. Filmmaking itself is collaborative in nature - we work in such close proximity for long hours on set. I do believe many would be wary to jump straight into production right away when the Movement Control Order (in Malaysia) ends, because even with extra precaution and safety measures taken, we can’t be 100% sure. But at the same time it’s also about how do we still put food on the table then? 

What are you watching or doing right now?
Honestly I imagined that I would finally be able to write, but with so much uncertainty it has been really difficult to be productive, creatively at least. I have been rewatching films like La La Land, nothing too heavy or intense (although I did finish The Invisible Man before). Other than that just a lot of cooking and spending a lot of time with my 5 year old. 

What are you looking forward to after this is all over?
I’m bracing myself for days that we are able to create and work freely again. To enjoy films in cinemas again, for stalled projects to continue and new ones to start. This storm shall pass!



Ray Pang, Singapore
Ray developed his passion for film at 18 years old and has made several award-winning short films which have travelled around the world, including ‘Break’, ‘You Are Only Young Once’ and ‘Closer to Me’. He is also a member of the “Producer & Director Network ASIA” in Japan. As much an entrepreneur as much as he is a filmmaker, Ray co-founded Premise TV, a tech & media startup that integrates crowdfunding and distribution while using data to market short content for filmmakers. Premise TV allows filmmakers to produce edgy content while they raise funds and audiences through the platform.

What is your biggest concern right now?
My biggest concern as a filmmaker is the lack of jobs and the investors' lack of financial interest in terms of the entertainment industry. 

What are you watching or doing right now?
I am watching Netflix, docu and series. I try to work and develop my first feature treatment. 

What are you looking forward to after this is all over?
I look forward to the sudden demand in entertainment and marketing needs since most of it has been on hold or postponed. It's like a congested pipe, ready to explode.



Tan Siyou, Singapore
Siyou is a Los Angeles based filmmaker originally from Singapore. Her short film Hello Ahma competed at the Toronto International Film Festival and the Berlinale. She is developing her first feature, ‘AMOEBA’, which was awarded the Most Promising Project at the Southeast Asian Film Lab, and has been selected for the 2020 SEAFIC Lab. 

What is your biggest concern right now?
I'm concerned about my friends and family's health and safety. I'm concerned that tomorrow is going to be worse than today. I'm concerned that the global lockdown is going to erupt in some unleashed mayhem. Lots of things! 

What are you watching or doing right now?
I'm trying to write my feature script, but sometimes it feels a little futile, and instead I just read every article in the papers. Every night I try to watch a film on Mubi. 

What are you looking forward to after this is all over?
I am looking forward to the sweetness of knowing that a hard-earned paycheck is on the way! But really, I'm looking forward to seeing people in flesh and blood instead of faces on screens. In spaces that I miss, like the cinema, a dingy bar.. 


Rae Red, Philippines
Rae is a writer and director who wrote the Philippine entry to the 90th Academy Awards, ‘Birdshot’. Her first feature film, ‘Chedeng and Apple’ was a finalist at the 2017 Cinema One Originals Film Festival while her second feature and first solo directorial effort, ‘Babae at Baril’, premiered at the 2018 Cinemalaya Film Festival.

What is your biggest concern right now?
My biggest concern right now is how to meet all my writing deadlines while trying to maintain a sane mind. It’s hard to concentrate with the constant thought that things might not ever be the same again. So why am I still writing this sequence treatment or that storyline?

What are you watching or doing right now?
Currently watching HBO’s The Outsider and I’m about to catch up on The Wire. I try to watch in between my writing but most often I end up getting more watching done than writing.

What are you looking forward to after this is all over?
Going back to production work! All shoots are cancelled as of the moment. I miss seeing colleagues and friends.



Judith Tong, Singapore
Judith is a young Singaporean producer and she is interested in broader collaborations with exciting new voices and diverse cinematic minds, especially from the region. Her thesis film, ‘Paper Roof’, competed in film festivals like Tribeca Film Festival, Busan International Short Film Festival, Rhode Island International Film Festival. She is also an alumnus of Rotterdam Lab and Film Leaders Incubator by the Busan Film Commission.

What is your biggest concern right now?
The disadvantaged communities that fall through the cracks and are more vulnerable to the virus than most of us. 

What are you watching or doing right now?
I recently caught Ken Loach’s Sorry We Missed You and Sophie Deraspe’s Antigone at The Projector before its month’s long closure. The latter film blew me away. 

What are you looking forward to after this is all over?

Watching films in cinemas again, but more importantly for the world to come a step closer in being self-aware and see how toxic we can be as individuals to our environments and to other people.

Stay tuned.... there is part 2.
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Much Ado About Nothing: Southeast Asian Filmmakers on Life with the 'Rona, Part 2

April 1, 2020, 9:45 pm
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Our multi-part series which checks in on how filmmakers in Southeast Asia are putting up at home during the lockdown continues. From to binging on video on demand content to cooking up a feast to simply eating more, here are what filmmakers across the region are doing and watching while waiting for the 'Rona virus storm to pass. 

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Tran Thi Bich Ngoc, Vietnam
Tran is a film producer who has worked on both big Hollywood productions as well as smaller independent productions such as ‘Big Father, Small Father and Other Stories’, ‘Immortal’ and more recently ‘The Third Wife’. Named as one of the 50 most influential women in Vietnam in Forbes Vietnam in 2019, she has won numerous awards as a producer and has co-founded the program "Gap go mùa thu" (Fall Meetings), an annual cinematographic event that serves as a launching pad for young directors and talented actors.

What is your biggest concern right now?
My first thought everyday is for the safety of my family, friends, relatives & all the doctors, nurses who are working extremely hard in the forefront right now. I’m crying watching the news nowadays, seeing what happens in Italy, in the US, in Vietnam... There are so many concerns on our safety, our economy, our life..., so many thoughts to digest what is going on. But my first & foremost concern is for the strength of all doctors, nurses, I wish they stay strong & healthy & safe.

What are you watching or doing right now?
I often work a lot at home, so in principle, this does not change much the way I work, but with what is happening, it’s emotionally different. And with the fact that we cannot meet friends, have real contact with people, it’s really devastating.

Basically my daily routine is to read both books & scripts, watching movies, do some Skype business calls, stay in close touch with family & friends, and do a little walking alone in the afternoon.

What are you looking forward to after this is all over?
That we don't have to hear the word social distancing ever again in our life, that we will have back our social life but at the same time nurture every precious moment with family. We don’t need the virus to teach us that. More or less, our work, our economy will be affected but what is important is we all stay safe & healthy & never lose hope in life & in what we are pursuing. It needs more strength & resilience after the pandemic is over.


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Sorayos Prapapan, Thailand
Sorayos is an independent filmmaker, sound technician and foley artist based in Bangkok. He completed studies at the Film and Photography Thammasat University Thailand. He has directed many short films which have won awards in his home country and were shown at more than 70 film festivals including Rotterdam, Winterthur, Fribourg and Venice. Some of his notable short films include ‘Auntie Maam Has Never Had a Passport’ and ‘Death of the Sound Man’. He is now working on his first feature film ‘Arnold is a Model Student’.

What is your biggest concern right now?
Of course we all have a lot of things to be concerned about. One of the biggest concerns now is wondering if the tax I am paying is spent wisely. Also, I prefer a more sincere government, not one that hides the truth from people.

What are you watching or doing right now?
I watched many short films (mostly from My Darling QuarantineShort Film Festival). I also watched many videos on Youtube - various content such as stop motion tutorials, comedy and all kinds of nonsense stuff.

What are you looking forward to after this is all over?
I'm looking forward to hug people I want to hug. I also want to go to the Cinema and also to the swimming pool.


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Aung Phyoe, Myanmar
Aung Phyoe is a writer, director and film editor. After finishing his B.Eng. from Nanyang Technological University, Singapore, he earned a diploma in editing from Mumbai-based film school, Whistling Woods International. He directed a short film ‘Seasonal Rain’ and has edited a feature film ‘Murder on the Road to Kathmandu’. His feature film project ‘Fruit Gathering’ won the Myanmar Script Fund at Memory International Film Festival in 2017 and Grand Prix at Autumn Meeting in 2018. He co-founded 3-ACT Cinema Magazine to promote cinema education in Myanmar.

What is your biggest concern right now?
I am curious how long it would take, how it would be for a third world country like us. There would be some huge problems once the epidemic is ended, there would be an economic crisis and it would definitely affect the entertainment industry. For independent cinema, it would be much more of a struggle than what we have already gone through. 

What are you watching or doing right now?
I am trying to finish the new draft of my feature script. I had just done my script consultancy by early March. While working on the new draft, the social-political situation of Burma is rapidly changing, affected by the epidemic, so I stopped writing. I am watching my collection of Japanese films from the 70s and 80s like ATG productions. And I am reading Oe's “The Silent Cry”.

What are you looking forward to after this is all over?
I am looking forward to knowing how the whole world would change after this epidemic. Like after WWII there was a huge change in art and philosophy. I am curious to know how this would affect all of us, the philosophy, expression, the artistic concerns, etc…


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Amir Muhammad, Malaysia
Amir is arguably one of the starters of the Malaysian New Wave, having written and directed Malaysia’s first DV feature, ‘Lips to Lips’ in 2000. Sharp and witty, many of his films have unfortunately been banned in Malaysia including ‘The Last Communist’ and ‘Village People Radio Show’. However, a full retrospective of his work was screened at the Pesaro Film Festival in Italy in 2008. Amir has also been recently successful as a writer with his bestselling socially critical non-fictional work Malaysian Politicians Say the Darndest Things (Vol 1, 2007). His last film was ‘Voyage to Terengganu’.

What is your biggest concern right now?
Lack of money.

What are you watching or doing right now?
Watching mainly my diet.

What are you looking forward to after this is all over?
I look forward to releasing our film ROH in Malaysian and Singaporean cinemas, as well as festivals all over the world.


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Eden Junjung, Indonesia
Eden Junjung studied in the Film and Television department in the Indonesian Institute of the Arts (Institut Seni Indonesia) in Yogyakarta and started as an editor for several short films. His short films including ‘Bunga Dan Tembok’ (Flowers in the Wall) and ‘Happy Family’ have competed in various film festivals including the Jogja NETPAC Asian Film Festival, Bogota Short Film Festival 2016 in Colombia, Busan International Short Film Festival, Valletta Internasional Film Festival in Malta and Bridge Of Arts International Film Festival in Russia. His feature film project, ‘Mayday’, won Best Future Project at JFP Jogja NETPAC Asian Film Festival 2018.

What is your biggest concern right now?
My concern now is how to get through this condition by keeping myself healthy and thinking positively sure that this condition will soon recover like it used to.

What are you watching or doing right now?
I'm writing my script for my first feature at home.

What are you looking forward to after this is all over?
Back to normal activity make some short films again.


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Kan Lume, Singapore
Kan Lumé’s debut feature film ‘The Art of Flirting’ , which he made for just S$600 won Best ASEAN Feature at Malaysian Video Awards 2005. His second feature ‘Solos’ won the Best Newcomer Award at Torino G&L Film Festival while his third film ‘Dreams from the Third World’ received the MovieMax Award at Cinema Digital Seoul 2008. Among his more recent films, ‘Libertas’ picked up Special Mention at Cinema Digital Seoul 2012 and the NETPAC Award at Tripoli Film Festival 2013 and ‘‘The Naked DJ’ earned Kan his second NETPAC award for Best Asian Film at Jogja-Netpac Asian Film Festival 2014.

What is your biggest concern right now?
I am currently living and working in Johor. In Malaysia they started a Restricted Movement Order (RMO) since 18 March 2020. It will last until 14 April. Everyone not involved in providing essential services towards combating Covid has to stay at home unless going out for groceries. My biggest concern is people's worst and basest instincts coming to the fore during crisis time. There are always people who need someone to get angry with, someone to blame. If the government is too inaccessible an entity to blame, the next best thing is usually someone of a different race. Malaysians are generally friendly people. And there are enough sensible and kind folk that will counterbalance any stupidity. But media can amplify the stupid actions of a few and skew the perception of many. That's the other concern I have. Social media algorithms do generally highlight stories that get the most attention. And just like traditional print media, except now at lightning speed, sensationally negative stories are often spread around faster than any virus. This leads to general anxiety and panic. I have tried to stay away from social media as much as possible. 

What are you watching or doing right now?
I purchased an air-fryer earlier this year and have been using it to cook simple meals. This is something new for me as I used to eat out all the time (Malaysian street food being so cheap). It turned out to be a timely change of lifestyle! I am now cooking beef steaks for meals everyday. Besides my usual habit of sampling new shows to discover a worthwhile series, I have been revisiting films about disasters. Contagion plays like a prophecy and shows Steven Soderbergh as a true visionary. Spielberg's War of The Worlds is the director in his prime and showcases with great flair all the anxieties, terror, excitement, exhaustion of what being in a crisis real time feels like. Other films/series I've watched since the Restricted Movement Order started: After Life (Recommended), Dead To Me (Recommended), Chicago Fire(My guilty pleasure. Basically soap opera with fire involved), High Flying Bird, Osmosis, Cells At Work, Typewriter, Itaewon Class, Claire's Camera, Human Space Time and Human, The Following, The Naked Director, American Factory, Revenger (Awful. Skip to final fight scene). 

What are you looking forward to after this is all over? 
I look forward to continuing a podcast series I have been doing called 'The Conversation Club'. It is basically straightforward conversations I have with my University students about their experiences as a film student and filmmaking. I also recently purchased new wireless microphones to go with my phone camera and I'm looking forward to shooting more vignettes with my students using these easy to operate equipment. I will also be working on my Masters degree in the next two years. My thesis will be exploring 'writing a script (on the spot) during production'. As always, I look forward to trying out new things, taking bigger risks, making films.


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Perci Intalan, Philippines
An award-winning director, producer and writer, Perci has directed films such as ‘Unforgettable’ (co-directed with Jun Robles Lana), ‘Distance’, ‘Born Beautiful’, ‘My Fairy Tail Love Story’ and ‘Dementia’. As a producer, he has made ‘Bwakaw’, ‘Barber's Tales’ and ‘Shadow Behind the Moon’ and box-office hits such as ‘The Panti Sisters’, ‘Ang Dalawang Mrs Reyes’ (The Two Mrs Reyeses) and ‘Die Beautiful’. He is the President of The IdeaFirst Company, which has produced over 21 films partnering with all the major studios in the Philippines.

What is your biggest concern right now?
Honestly, with Metro Manila in lockdown, my biggest concern is making sure everyone I know is ok. Apart from checking on my immediate and extended family, there are a lot of production personnel that lost their source of income and most of them can’t afford even a week without work. And even if I find out they need financial help, getting the money to them is a challenge too. We also have some people we know who got sick — sadly, two of them passed away. It’s a terrible situation but we’re banding together to help each other.

What are you watching or doing right now?
There’s still a lot of work to do but essentially I watch the news on TV and online.  And of course  at night I watch Netflix or the local streaming platforms  Two movies IdeaFirst produced are on Netflix’s trending list so that’s a bit of a thrill during these trying times.

What are you looking forward to after this is all over? 
I’d like to say I look forward to getting our lives back to normal but I know that there’s going to be a lot of work before that happens.  Industries are hurting — and the entertainment industry is among them. I’m also worried about how the cinemas will bounce back. But I know we all would.  It will just take a bit of time and a lot of effort, but we’ll get through this.


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Tan Si En, Singapore
A producer based in Singapore, Si En has worked under the mentorship of Soros Sukhum (185 Films, Thailand), Lai Weijie (E&W Films, Singapore), and Anthony Chen (Giraffe Pictures, Singapore). She produced ‘Wet Season’ by Anthony Chen, and was the assistant producer of Kirsten Tan’s ‘POP AYE’. She is in the midst of developing ‘Ajoomma’ by He Shuming as well as ‘Arnold is a Model Student’ by Sorayos Prapapan. 

What is your biggest concern right now?
Livelihood of filmmakers/crew, especially freelancers. A lot of projects and jobs are either delayed or postponed, I hope that everyone will be able to tide through this difficult period.

What are you watching or doing right now?
Watching a lot of Netflix, my favourite series now is ‘I’m not okay with this’. Also short films! Some festivals have gone online, I’m currently watching the SXSW shorts.

What are you looking forward to after this is all over? 
I’m looking forward to being back on set and shooting something, anything! Also, can’t wait to travel to festivals and hang out with film friends.


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Anucha Boonyawatana, Thailand
Anucha is a Thai independent film director and also the founder of G-Motif Production, one of the largest video production companies in Thailand. Her thesis film ‘Down The River’ in 2004, won her the Young Thai Artist Award. Her feature directorial debut, ‘The Blue Hour’, premiered at the 65th Berlin International Film Festival, while her latest feature film, ‘Malila: The Farewell Flower’, won the Kim Ji-seok award at the 22nd Busan International Film Festival and has been shown at several film festivals around Asia.

What is your biggest concern right now?
I'm not so afraid of the virus. Perhaps I'm LGBT and had some experiences when HIV was spreading in the 90s and 2000s. The coronavirus is very different but that experience made me get used to illness and death. However, I'm living with my father and aunts, they're very old and very sensitive to the virus. So we practised many measures to prevent coronavirus infection at home since January (if I contacted a virus from outside). What I am more concerned about is my company and crew. We have to find a way to survive both from the virus and for our livelihood and economy.   

What are you watching or doing right now?
Of course, I have more time to watch many films and series. I just finished watching Kingdom of Heaven (director's cut), a 2005 epic film of Ridley Scott. Surprisingly, it's very good compared to a theatrical release version and it's a good example to learn about film editing because we can compare the two versions and see what has been cut and its effect on the storytelling.

I also have some film projects but they are still in the script development process. So it's quite nice to have online meetings with my scriptwriters. However, I also do some commercials and face the same problem as many people. All my commercial jobs were cancelled. We can't do any productions as the clients have put every project on hold and don't want to spend money at this time. 

What are you looking forward to after this is all over?  
Lately, I consulted many filmmakers, directors, producers and many crews. We try to make a standard measure to prevent coronavirus infection in Film & TV productions. Not just wearing a mask and washing hands, it's challenging since the production is where the people come into contact with each other(acting, directing, managing, eating) and share things (camera, equipment, wardrobe, probs and makeup etc...). This has now been proposed to the Ministry of Public Health and it'll take some time for them to approve and publish it. I'm talking about 1-3 months (maybe longer) after the strict quarantine time ends. The cinemas may still close but I think it's important to start productions again, at least for TV and online platforms. This will prevent many production crew from being out of job for too long and help the film industry recover.


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Mattie Do, Laos
Mattie is Laos’ first, and only, female filmmaker. Her feature debut, “Chanthaly,” was the ninth feature film pro­duced in the country since the 1975 revolution, and was the first Lao film to screen outside of Southeast Asia. Her second feature, ‘Dearest Sister’, screened at multiple festivals and was later selec­ted as Laos’ first official submission to the Academy Awards. Alongside Laos’ Ministry of Culture, Do has helped create the infrastructure necessary to intro­duce foreign co-productions, including a framework for managing the country’s rigid censorship. She just released her last feature film ‘The Long Walk’ at the Venice Film Festival last year.

What is your biggest concern right now?
In terms of film, I'm most concerned about the films that did not get the publicity that they deserved, the premieres that they were supposed to have, and the festivals coming back to normalcy or even existence because of the huge and sudden blow that was most likely financially devastating for arts and culture events that already had difficulty year to year with budgets in general. For myself, on a personal level, I just don't want it to become The Road or Mad Max. 

What are you watching or doing right now?
Surprisingly, I have restarted dance training. I had stopped all ballet training to focus on film when I became a filmmaker, but now that I'm locked in, I am reminded of how sedentary my lifestyle is, and I've started taking beginning ballet classes with some of my old teachers again online! Of course, I'm also watching some Netflix content as well, and I recently saw The Invisible Man, which was so tense and excellent! My husband and I have started to dive into classic Spaghetti Westerns from Italy and Giallos. 

What are you looking forward to after this is all over?  
To be honest, I'm so looking forward to making more films, because I think that people are going to be seeking entertainment or an escape from the present day stresses after this is all over. I'm also looking forward to taking my dog to a barbecue with a lot of good friends without worrying about giving each other a hug or kiss on the cheek! Haha!


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Sanif Olek, Singapore
Sanif is an accomplished and versatile television and film writer, producer & director, having received multiple ‘Best Director’, ‘Best Drama Series’, ‘Best Magazine Series’ awards for his television work. He is the head creative at reeljuice, a collaborative agency actively promoting effective storytelling. His debut feature film, ‘Sayang Disayang’, received the Special Jury Prize for Best Asian Film at the SalaMindanaw Asian Film Festival (November 2013, Philippines) and subsequently represented Singapore in the 2015 Oscars Best Foreign Language Film competition.

What is your biggest concern right now?
My biggest concern right now is how many are not taking the quarantine and social distancing seriously. Perhaps they are not concerned that when they are hospitalised at the chronic stage they’ll be all alone because no visitors are allowed. Worst they’ll die alone and get buried/cremated with no relatives saying final farewell. I’m also concerned that peers in the other arts practices are not getting paycheques due to cancelled gigs. I’ve also received several queries from the filmmakers who have been only 3-4 years in the industry looking for jobs - any jobs, on set. Quite depressing.

What are you watching or doing right now?
Good question, other than my completing the ongoing filming schedule, it’s a good time to catch up on Netflix. At the moment I’m watching the lighter stuff - I’m finishing Kingdom season 2, Alternate Carbon and South Park. Perhaps when filming is done I’ll get to the more cerebral ones :D

What are you looking forward to after this is all over? 
I see the situation as a good time to return to the stories and concepts put on the backburner. When work is slow I’ll continue writing because when you’re on set for 12-14 hours everyday the last thing you want to do when you come home is to look at your laptop. I want to revisit these ideas and perhaps return to films when everything cools down. Story is king. Uplifting inspirational stories trumps especially after this depressing episode.


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Chulayarnnon Siriphol, Thailand 
Both filmmaker and visual artist, Chulayarnnon captures human behaviour as both absurd and wondrous. His work operates between film, documentary and experimental video, and explores his personal memories and what it means to live in modern Bangkok. His pieces, which include ‘Vanishing Horizon of the Sea’, ‘A Brief History of Memory’, ‘Myth of Modernity’, ‘10 Years Thailand’ and ‘100 Times Reproduction of Democracy’ superimpose aspects of modern living with distinctly Thai elements and contemporary life in Thailand. 

What is your biggest concern right now?
I'm concerned this is not gonna end soon. I am sure we can control the virus. In the near future,  there are many crises such as economic crises or political crises. When we cannot live in this situation for a long time, we have to think to survive in the long term. 

What are you watching or doing right now?
I am making a new video animation for my solo exhibition at Bangkok CityCity Gallery called Give Us A Little More Time. The animation is created from daily newspaper collages when Thailand was under military government from 2014-2019. This animation is about how the media works in the future.

What are you looking forward to after this is all over? 
I am looking forward to seeing people live differently in the new order. It is gonna be a new standard. People would think about how shall we live in the future. When the world looks like apocalypse now, I am planning to move to virtual reality not in this physical world. 


This is a multi-part series. Check out Part 1 here.

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ShoutOUT! SGIFF Appoints New Executive Director, Announces Key Structural Change

April 6, 2020, 11:13 pm
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The Singapore International Film Festival (SGIFF) has appointed veteran arts manager Emily Hoe as the new Executive Director. Hoe takes over from Yuni Hadi and will focus on strengthening the organisational structure, governance and growth of the institution and further develop the strategies and vision of the festival. This year marks the 31st edition of SGIFF, slated to happen between 26th November and 6th December 2020, and the appointment aims to make the Festival more responsive to the challenges facing festivals in the rapidly evolving media landscape, while maintaining its commitment to the growth of the independent film ecosystem in Southeast Asia.

“SGIFF is a loved part of the Singapore arts scene and it is a privilege to continue my career in the arts with the festival as Executive Director.” says Hoe. "I am very much looking forward to working with Ming-Jung and the team, ensuring that we are collectively striving towards clear objectives that uphold the vision and values of the festival. The audience, sponsors, partners, donors and supporters are as instrumental to the festival as the programmes and filmmakers. Partnerships and collaborations are going to be more important in building growth, locally, regionally and internationally, and alternative screening platforms could also be key to growth in audiences as well.”

On her own specific role, she adds, “My hope for the festival is to continue to solidify its position within the region and beyond, to champion the amazing work and talent that is being created and developed in Asia, and to bring the audience on a journey of discovery through shared experiences, deeper engagement and conversation. Nurturing and supporting filmmakers has also been a key part of the festival’s work and will continue to be so, and a year-round programme will be developed further. I would like to see the festival growing in stature on all fronts, and I will lead the strategy on this in collaboration with the team and the Board.”

Hoe was previously Head of Partnerships with the Esplanade, Singapore's national performing arts centre, and her role encompassed working closely with various government agencies, diplomatic missions, cultural institutions, corporates, donors, and other arts centres. She also led the fundraising for a new waterfront theatre which will be operational in 2021. Prior to this, she was a Head of Programme Management, with a portfolio that included theatre, dance and partnerships of the company's programmes. Before this, Hoe was the General Manager of The Substation, Singapore's first independent arts centre. She takes over from the previous Executive Director, Yuni Hadi, who has been with the festival since 2014, helming the fabled re-launch of the Festival alongside subsequent editions up until the 30th.

Hoe will work closely with Kuo Ming-Jung who leads the artistic team. Ming-Jung was appointed Programme Director of the festival in May 2019 and has since been re-designated as the Artistic Director. Previously a consultant to the festival from 2017 to 2018, Ming-Jung was the Programme Director of the Taipei Film Festival before joining SGIFF full-time.

Call for Entries for Festival film submissions, Southeast Asian Film Lab and Youth Jury and Critics Programme will be opened later in April.
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Much Ado About Nothing: Southeast Asian Filmmakers on Life with the 'Rona, Part 3

April 11, 2020, 2:14 am
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The last (for now!) of our multi-part series which checks in on how filmmakers in Southeast Asia are putting up at home during the lockdown, our journey across the region continues with both veterans and exciting new talents.

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Aacharee ‘Ohm’ Ungsriwong, Thailand

Ohm is a film editor based in Bangkok. Starting her career in 2010 as the assistant editor of famed editor Lee Chatametikool when he edited Aditya Assarat’s Hi-so and Apichatpong Weerasethakul’s landmark Uncle Boonmee Who Can Recall His Past Lives, which was the first Southeast Asian winner of the Palme d'Or at Cannes Film Festival. Ohm has gone on to edit various festival darlings, both features (By The Time It Gets Dark; Krabi, 2562) and shorts (Sunday). In addition, she has also worked with brands such as Chevrolet, Accenture and Agoda on commercial projects.

What is your biggest concern right now?
My biggest concern is that my grandma would get COVID-19. She already has bad lungs so she would probably not make it. Another concern for me is that the inequality is going to be even worse. Some people already committed suicide because they couldn’t find a way out of this economically.

What are you watching or doing right now?
I was watching Parasite with my mom. It’s her first time watching it and I really like looking at her reactions. I also like watching it again and feel the cut. It’s very nice rhythm and the way it uses the music is also very precise. The story resonates what’s happening now as well. It’s an inconvenience for the rich but the matter of life and death for the poor.

What are you looking forward to after this is all over?
I’m so looking forward to seeing the world operating again. I hope we will learn something and build  a better society.


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Danech San, Cambodia

Danech is a filmmaker based in Phnom Penh. Originally trained in interior design, Danech has been working on TV and film production since 2014. She has worked on several films on production and casting with up-and-coming Cambodian production company Anti-Archive, and her debut short film as director, A Million Years, has travelled to over twenty film festivals worldwide.

What is your biggest concern right now?
I’m most concerned now of being exposed to this virus and possibly become a spreader so every time I go outside my house, i have this anxiety. 

What are you watching or doing right now?
I learn cooking, watch films and reading a book called “Note: On the making of Apocalypse Now by Eleanor Coppola”. Recently, I watched Paris, Texas by Wim Wenders and I like the film very much.

What are you looking forward to after this is all over?
Physically meet my friends and families, going to swim, mountain trekking, and I want to complete my new short film.


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Nadira Ilana, Malaysia

An award-winning filmmaker, writer, and activist born and raised in Kota Kinabalu, Nadira was the first East Malaysian to win the Freedom Film Fest Award for Best Human Rights Documentary in 2012 for The Silent Riot, a politico-historical documentary on the 1986 Sabah riots. A champion for East Malaysian representation in the Malaysian national narrative, Nadirah was an alumna of the Berlinale Talent Campus, BIFAN NAFF Fantastic Film School, Singapore International Film Festival (SGIFF)’s Southeast Asian Film Lab and the Luang Prabang International Film Fest's Talent Lab.

What is your biggest concern right now?
It’s been nearly 20 days since Malaysia went under the Movement Control Order (MCO). Just a couple of weeks before that, our then multi-racial government collapsed over one weekend and was usurped by a Malay-majority political coalition. We barely had time to adjust before we had to isolate ourselves and with a new Federal Cabinet, it’s difficult to gauge how everything is functioning. This whole month has been bloody surreal for us as a country, to say the least.

My main concern is for our health and economy; how we can be a democracy now, or even conduct protests in an era of social-distancing. It’s bizarre that with ordinary citizens being forced to stay home, the government is now in total control of our well-being. It’s like a police state - but a necessary one.

Despite that, I am so far fairly satisfied with how things are being handled here compared to some other countries where politicians are still in denial of how gruesome this pandemic truly is. MCO restrictions here are tight. Unlike many, I’m fortunate to have a roof over my head and food to eat. My family are safe although I can’t see them. Now that people have begun to adjust to the situation, work is starting to come in though it’s mainly virtual. As for the virus, it’s changed every rule on how we live and interact. I think things will get worse before they get better but we’ll get through it if we all remain loving and vigilant.

What are you watching or doing right now?
Playing and tinkering while practicing self care. Self-isolation is a kind of sensory depravation so I’m taking advantage of this situation by exploring other facets of myself as a creative. I’ve been recording myself singing and playing on Instagram (@feistgeist) so my guitar is saving my life right now. I was concerned at first about not being able to make films this year so having the chance to explore my musical side has cracked open this whole other world.

I’ve been working on how to maximise the use of my kitchen and garden in case we do start running out of rations. I love recipes that require fermentation so I’ve made my own hot sauce and tepache, which is a kind of fermented pineapple ‘beer’ from Mexico (because, priorities). I haven’t watched as many films as I thought I would because it makes me miss the outside world. I’m meant to be in post-production of my short film, ‘Terang Bulan’ but I can’t do ADR right now because I’m in KL and my cast are in Sabah.

What are you looking forward to after this is all over?
Hugs and lots of cuddles. I could really use a hug right now.

Also, song recommendation: Janis Joplin - Get It While You Can.


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Bianca Balbuena, Philippines

The youngest recipient of the Asia Pacific Screen Awards (APSA) FIAPF Award for her contribution to Asia Pacific cinema and the 2018 Asian Film Commissions (AFC) Network’s Producer of the Year, Bianca is a producer, writer, and the co-founder and CEO of Epicmedia Productions. She has attended the Produire Au Sud of Festival des 3 Continents, Rotterdam Producers Lab, Talent Campus Tokyo, Cannes’ La Fabrique des Cinemas du Monde, EAVE Ties That Bind, Aljazeera Witness Documentary Workshop and the Berlinale Talent Project Market where she won the ARTE Prize for Above The Clouds, her first venture into French co-production. Amongst the many works she has produced, notable ones include Antoinette Jadaone's That Thing Called Tadhana, one of the highest grossing independent film in Philippine box office history; Bradley Liew's debut feature Singing In Graveyards, which premiered at Venice Film Festival Critics Week 2016, and sophomore Motel Acacia, which premiered at the 32nd Tokyo International Film Festival; and Lav Diaz’s Berlinale 2016 Silver Bear winning A Lullaby To The Sorrowful Mystery.

What is your biggest concern right now?
The biggest concern I have now is that our President asked for emergency powers and a whopping Php 275Billion to address the pandemic but has not given us his plan and solution. People are dying but his priority is to “arrest and shoot” those who oppose. The Covid numbers in our country are rising and we are only a few days to the lifting of the lockdown. I have a feeling it will be extended. To how long? No one knows. But not only our country but the whole world is crumbling and testing our humanity. 

What are you watching or doing right now?
To be honest, I got addicted to Something In The Rain. It’s a K-Drama available on Netflix. I’m also watching the flicks and series available on our local streaming platform called iWant TV. My entire day is mostly taking care of my child. And trying to cook. Haha.

What are you looking forward to after this is all over?
I’m looking forward to hugging my friends and family members. Big tight hug. And to get a good 2-hour deep tissue massage.


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Nguyễn Lương Hằng, Vietnam

Hằng is a writer, director, and producer based in Ho Chi Minh City. An alumna of the SGIFF Southeast Asian Film Lab, the HANIFF Talent Campus, the NAFF Fantastic Film School, and the Film Leaders Incubator: FLY, she has worked on a variety of productions, the latest of which includes the gay dramedy, Goodbye Mother.

What is your biggest concern right now?
The pandemic is affecting us on all possible aspects of our lives on so many levels, some are not even foreseeable at the moment. Several friends of mine who are social workers are already concerned about the public’s mental health after such a trauma. But what’s most immediate and relevant to me is the livelihood of a lot of our colleagues who work in the film industry as freelancers getting paid per project or daily wage earners. A halt on all productions means an instant cut of income, even while we still need to sustain ourselves and our families. The next 3 months or even more will be particularly hard. Some initiatives are being taken in neighbouring countries, a good example is the Lockdown Cinema Club campaign to raise funds for the freelance filmmaking community in the Philippines. Maybe we could start to do something similar to help our own community in Vietnam. 

What are you watching or doing right now?
Like almost everyone else right now, I have been mostly staying home and suddenly afford the luxury of time and space to consume all the books and movies and music that normally I don’t have enough time to read or watch. It’s also a perfect time to write and go back to work on my scripts. I have also started to read The Plague by Albert Camus, suggested to me by a Japanese friend. The coronavirus has sparked the public’s interest in the book in Japan recently it has become a best seller. It’s just funny how a novel written in the 40s of the previous century is now more relevant than ever in this modern world where we once thought we could control all the diseases. 

What are you looking forward to after this is all over?
I just can’t wait to meet up with friends in a big group gathering just so we can look at each and every one of us, give each other a hug and enjoy a sweet and simple moment of physical proximity.


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Thảo Hồ, Vietnam

Thảo is a filmmaker based in Hanoi.

What is your biggest concern right now?
My biggest concern is the community’s health, including my family and myself. We are put in a state of dilemma. We have to stay home but at the same time we have to work. I also feel sorry for the people living in other countries in the world as their lives have been ruined by the virus.

What are you watching or doing right now. 
As a filmmaker, writing scripts and watching films are my regular tasks, even in the time of corona. I think filmmakers should make those a practice everyday. These days, I enjoy many websites for free entry such as IDFA, Cinemascope, Cambridge’s online library and so on. I rewatched Tsai Ming Liang’s The Hole. In the film, the world also has a very odd disease, but in the end, there is love. In addition, I have time to improve another language. I feel like the routine of the world has changed a lot but me, not so much.

What are you looking forward to after this is all over?
I hope the world recover soon and less crazy than before. Many things changed, I would like to see how much cinema changes after this. While in quarantine, I pop up with new ideas that I want to try in the future.


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Tang Wan Xin, Singapore

Wan Xin is a filmmaker based in New York and Singapore. A graduate of the Puttnam School of Film at LASALLE College of the Arts, her directorial interest lies in issue-based topics and unconventional female characters. She hopes to reveal truths that reality often conceals, and firmly believes in film as a tool for her to raise awareness, bring in new perspectives and to challenge existing ideologies.

What is your biggest concern right now?
People who are homeless, displace, the poor and the vulnerable. Most of them can’t even meet the most basic needs and yet with this virus lurking around, it’s just heartbreaking at the thought of it.  With what is happening, it really registers just how privileged and fortunate I am. For God's sake, I am in a freaking hotel provided by the government doing my quarantine. 

Also closer to home, the stubborn older folks in the family that are still insisting on going out despite so the stringent warning (and yelling). It so ironic how the parent roles have switched. Urgh, wish I can lock up them up or something.

PLEASE STAY HOME GUYS. LET’S NOT BE COMPLACENT. 

What are you watching or doing right now?
I just finished Tiger King. I kinda want to create a special group chat with people who caught it,  just to discuss the madness of it all.

Just before flying back home, I started thinking a lot as my role as a storyteller and the distinction between a narrative filmmaker, a documentarian and a journalist. I just felt so helpless being stuck at home but one day I got inspired by Ozu’s pillow shots and started an Instagram page where people from all over the world share their view from their window: a way to encourage people to stay at home. The responses have been amazing and even touching so far. It made me realised that this is happening everywhere in the world and not just the country you are in. It’s just so insane. It called @thepillowshotclub.

Apart from that, I still have online classes to attend. The good news is that drinking wine in class is highly appreciated. HA!

What are you looking forward to after this is all over?
The day where I can sit anywhere and people watch, have awkward eye contact with strangers for a second too long and to have large dinner gatherings with my friends; sharing small plates without any repercussion.

Also, to finally start pre-production and location scout for my next short in Indonesia.


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Don Aravind, Singapore

A veteran screenwriter and director, Don has worked on more than 25 short films, and currently directs for television and commercial content while still maintaining a practice in independent filmmaking.

What is your biggest concern right now? 
At large, the development of this pandemic is something that keeps me up. It has raised so much of questions within  myself from a personal level - spiritually, economically and scientifically. A month back my father was suspected of having the Covid-19 virus and he was in an isolated ward. No one in my family could see him till he was tested. After two days he was cleared, but the fear was real. A close friend’s grandmother was tested positive and he had to be quarantined at home as well. It wasn’t easy psychologically for him and his family as well. At the heart of it, I do hope this crisis ends real soon as it’s not really a safe environment for our elderly and people with existing medical conditions. However, there are pressing issues at large which definitely needs immediate attention from mankind - CLIMATE CHANGE, GLOBAL WARMING.  The world will be different after this ordeal.

What are you watching or doing right now?
I had to binge watch the first season of a TV series which I might be potentially be working on for its next instalment. I am also in post production of a short film I just completed. Besides work, I am using this down time to catch up on books, sleep and family. I am also spending lots of time cycling, it’s therapy for me.

What are you looking forward to after this is all over?
TRAVEL.


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Nicole Midori Woodford, Singapore

Nicole is a film director, writer, and editor. An alumna of Berlinale Talents, Asian Film Academy, Torino Film Lab and Talents Tokyo, her short films have travelled the festival circuit widely, including Clermont-Ferrand International Short Film Festival and Busan International Film Festival. A lecturer at the School of Art, Design and Media of the Nanyang Technological University, Nicole is currently preparing her debut feature, You Are There, which was selected in the inaugural edition of SEAFIC film lab, the SGIFF Southeast Asian Lab, Torino Film Lab, and Talents Tokyo.


What is your biggest concern right now?
Biggest worry is that globally all of us won’t be able to get out of this one…But most immediate worry is that this pandemic is disproportionately affecting the marginalised and lower income, the ones neglected are the ones most vulnerable to the effects of this crisis. Even here in Singapore we are seeing this happen right now, it has exposed the cracks in our society.

What are you watching or doing right now?
Alternating back and forth between online consultations with my students, team meetings with colleagues and writing scripts. I’ve been trying to have a daily routine so that by end of the ‘work’ day, I have certain things to look forward to like reading a graphic novel (currently Sabrina by Nick Drnaso), working out indoors or cooking dinner with my husband.

What are you looking forward to after this is all over?
To be able to watch films in the cinema again. And of course to see friends and family in person!



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Check out part 1 and part 2 of the series if you haven't already!
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Film Review: For My Alien Friend (2019)

April 12, 2020, 8:37 am
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It is an inherently human idea to try to search for the unknown. Most other creatures stay put where they are comfortable, but humans have a strange habit of attempting to connect with things they do not understand or have any knowledge of. In For My Alien Friend, filmmaker Jet Leyco tries to connect with a titular alien friend through a series of videos cut together to form a kind of coherent narrative. The film is designed to feel like a time capsule filled with pieces of the unnamed narrator’s life, which gets broadcast into the unknown.

Throughout the entirety of For My Alien Friend, it is difficult to understand where the story would be seen. For most films this is not very important, but this film is explicitly a direct message for someone to find. The narrator continuously addresses the viewer as “you” and expresses hope in connecting and communicating with other beings of life, aliens. He documents and speaks about his family, his friends, life in the Philippines, political disruption, and religion. Most of the time the visuals and dialogue are powerful and rather impressive, but there are moments where the commentary seems to fall a bit flat. These occur mostly when the scene has little to no exposition.


For My Alien Friend is for the most part, successful in communicating its narrator’s perspectives to the audience. The words people have spoken previously often resurface in later moments of the film with a new or more nuanced meaning, and unrelated quotes often overlap into one large mass communication. In keeping with the theme of the film, this does a very good job in communicating the chaotic nature of people to the unassuming “alien friend”.

One of the more interesting parts of For My Alien Friend is the difference in quality of each sequence. Leyco chooses to continuously juxtapose high quality and professional shots of landscapes such as mountains and the ocean, against a series of candid and handheld shots of the narrator’s documentation, which seem to all be made without too much planning. This sense of spontaneity is fabricated, but is very effective in stitching together a very honest and sincere atmosphere. The stark contrast of quality within the film is considerably noticeable, but not in sacrificing the film’s pace or message. On the contrary, it actually feels very realistic (as far as a message to aliens expressed as a movie can be). The high quality landscaping shots seems to be directly reflecting on the much more candid shots made by the narrator’s handheld camera.


Leyco relies heavily on the act of reflection to intrigue his audience. He uses parallels to the July 16, 1969 moon landing, constantly weaving in quotes from Neil Armstrong, Buzz Aldrin, and the NASA space team on land. The excerpts of the astronaut's voices is in constant reference to outer space, and the discovery of the unknown. For My Alien Friend not only starts out with references to the moon landing, but comes full circle and returns to them near the end. They are first framed with a sense of hopefulness, but when the story comes to a close, it feels a lot more melancholic.

For My Alien Friend’s main protagonist is it’s narrator. He speaks to the viewer about his life, shows videos and images of his family and friends, all the while communicating through a grizzled sounding radio. The narrator is seemingly objective about his story, often purely describing who someone is and what they are doing. However, as the film goes on, Leyco injects the narrator with a sense of despair. “Are you there?” he starts to ask the viewer. It’s a feeling that is easy to relate to, even when it is expressed to an unseen alien friend. It’s also very self-referential and feels like the question is somewhat aimed at the immediate viewer. Are you still watching the movie?

It often feels as if the narrator is recounting his life for two reasons. Firstly in an attempt to communicate with other beings of life, but secondly to remember it for himself. The entire film is a journey into the narrator’s, and by extension Leyco’s life, with the references to his mother, two sisters, nephew, and previous girlfriend being at the forefront of the most memorable scenes. It is an aimless roam into Leyco’s memories and life and a reflection of who he is.


For My Alien Friend makes it a point to present political ideas. While there are a few moments in the film where this is effective, for the most part they lack a sense of importance. The most powerful parts of the film rely specifically on the relationship between the narrator and the subject matter, whether this be a person in his life, his view of religion or something else. While it is made clear that the political issues are prominent in the Philippines, it is vague as to how the narrator fits into that story and why it is included in the film. That’s not to say that the images aren’t powerful, it just seems like it could have gone further and been even more impactful.

The film also features many characteristics of modern online life. As the story progresses, the film slowly becomes saturated with pop-up ads, which infiltrate the screen. Watching it on a Windows computer surprised me multiple times, because of its use of the Windows 10 notification pop-ups and sounds. I genuinely thought I was receiving some strange messages. Some pop-up panels are barely on the screen long enough for the viewer to even register what they say, so they give an intense feeling of being overwhelmed. Personally, it also reminded me of malicious internet activity, since many of the ads were sexually provocative or referenced surveillance.

There are two instances where the story is interrupted to ask the viewer a question. The first instance on the boat to ask whether they want to “continue watching this story” and second to ask what the viewer thinks the item on screen is “drugs”, “sand” or “sugar”. By asking the viewer specific questions, it makes you feel very involved in the story at that particular moment.

By far the most memorable part is Leyco’s creative way of tying the entire film to the sea. He starts and concludes with a series of sea-related shots and narrations, and the most noteworthy shots are the ones which take place in boats or on the ocean. Here, the aim of connecting to an alien friend is also the most prominent. Water is often seen as a sign of life. And by utilizing visuals of water, both high quality and low quality but all beautifully captured, Leyco drives home the idea of searching for something new and communicating with the unknown.


For My Alien Friend seems like a film fit for a time where searching for outside intelligence is closer than ever. Not only does the movie effectively capture the fragments of the narrator’s life and his futile attempts to communicate with the unknown, but you also get the feeling that it is Leyco’s personal self reflection, a timeless piece of art about the state of his life when the movie was made. Which, in the end, has accomplished its goal in connecting with a stranger.

Review by Valerie Tan

For My Alien Friend had its world premiere at QCinema DocQC Documentary and has subseuqnetly screened at the 7th Salamindanaw Asian Film Festival (Opening Film) and the 12th Taiwan International Documentary Festival (Asian Vision Competition). It was also listed as one of the best Filipino films of 2019 by Rappler and CNN Philippines.


Follow the film's latest developments on its Facebook page here. 


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ShoutOUT! Light-hearted and inspiring conversations to dominate *SCAPE's first virtual National Youth Film Award Conference

April 14, 2020, 5:47 am
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LIGHT-HEARTED AND INSPIRING CONVERSATIONS TO DOMINATE *SCAPE’S FIRST VIRTUAL NATIONAL YOUTH FILM AWARD CONFERENCE 

• The panel discussion on media scholarships with the Infocomm Media Development Authority (IMDA) is one of the key event highlights 

06 April 2020, Singapore– With escalating news of the COVID-19 outbreak, Singaporeans can use a little bit of uplifting and inspiring conversations to get one’s mind off the crisis – if only for a moment. Hence, the annual National Youth Film Award (NYFA) Conference, organised by *SCAPE, is back! 

Aligned with the theme for this year – “Emerging Trends and the Future of Content” – and also as a precautionary measure in view of COVID-19, the NYFA Conference will be going online for the first time. The conference will be streamed live on 17 April 2020, from 1030 to 1900. Interested attendees can register here. 

Among the list of prominent speakers are Dorcas Tan, Director (Human Capital Development) of the Infocomm Media Development Authority (IMDA), Doreen Neo, Chief Content Officer, Mediacorp, and Kenneth Goh, Executive Director, Association of Independent Producers Singapore (AIPRO). 



Media scholarships: Possibilities and Probabilities
One of the highly anticipated tracks of this year’s conference is “Media Scholarships: Possibilities and Probabilities” which will spotlight the opportunities available to Singaporeans keen to pursue further education in film overseas. Attendees can glean insights from past scholars – Low Ser En, Ivan Tan, and Jonathan Choo – as they share their meaningful journey from student to independent producer or director. 

The Future of Content 
As content creation and distribution continues to evolve, a key topic of interest for content creators is “Stories for The People by The People”. The panel discussion will see representatives from Wattpad, Singapore Book Council, Screenwriters Association of Singapore, and Mediacorp, explore the role of crowdsourcing and what it means for screenwriters and filmmakers who want to tell their own stories. It will also address how audiences are now active in creating and deciding what they want to watch in terms of screen entertainment. 

Another interesting conversation to look out for is “Crystal-Balling the next wave: Trendspotting”. The panellists from DDB, Viddsee, Mediacorp, and Association of Independent Producers Singapore will share their current observation of the local and international film industry in terms of production practices. They will also give their take on emerging trends and highlight potential opportunities and challenges that come with these changes. 

Nurturing and inspiring the next generation of filmmakers 
The conference will conclude with a focus on NYFA’s past award winners, and the nation’s young
filmmakers who have gone onto international stages with their short films and craft. Participants will
be able to hear first-hand from Shoki Lin, Jerrold Chong, Tan Wei Ting, and Jonathan Choo, on how a
quality short film can open doors internationally, and their international award exposure. Participants
can also catch their winning films:
  • ‘Adam’ by Shoki Lin
  • ‘Piece of Meat’ by Jerrold Chong
  • ‘Cash’ by Tan Wei Ting
  • ‘Han’ by Jonathan Choo 
Access to these films will be shared during the conference. At the end of each session, participants will have the opportunity to ask questions via the conference chat function. Participants can also email their questions to nyfa@scape.sgahead of the conference.

About *SCAPE 
*SCAPE Co. Ltd is a non-profit organisation with its mission and vision rooted in support of youth, talent and leadership development. The organisation aims to facilitate youth-oriented programmes and support within various communities of youth interest in Singapore. The youth of today will be inspired and empowered to DREAM IT AND LIVE IT at *SCAPE! 

*SCAPE exists to serve and support youths to live their dreams and realise their full potentials. As
the integrated talent and resource hub for young people in Singapore, *SCAPE offers a holistic
network of programmes, communities, partners and facilities for youths to explore, create and strive. No dream is too small, no dream is too big. *SCAPE wants youths to be inspired to come forward and share their interests, share their dreams. Through guidance and facilitation, *SCAPE wants to see their dreams turn into ideas, and ideas into reality. Living their dreams should no longer be a dream at *SCAPE. 

About National Youth Film Awards (NYFA)
Since its inception in 2015, the NYFA has been cultivating a community of like-minded media enthusiasts and is the connecting point for youths to network and collaborate. Through NYFA, some of our alumni have been commissioned for various video campaigns by corporate and industry partners such as Adobe, PAVE and SONY. Together with industry partners, veterans, and institutes of higher learning, the NYFA programme is designed to spark deeper conversations amongst like minded individuals and hone their crafts in filmmaking. NYFA supports artistic works from both aspiring and professional filmmakers and is committed to nurture the aspiration, vision, and creative spirit of these youths.
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Still in Business! 9 Film Festivals Open Calls You Can Still Submit Your Films To

April 15, 2020, 12:08 am
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COVID-19 may be around and forcing us to Stay-At-Home, but there are still some film festivals that are accepting submissions amidst the pandemic! Here are a few of them to keep a lookout for:

1. 9FilmFest 

Image credit: 9FilmFest Official Website 

The 8th 9FilmFest, an international short film festival held Bangkok, Thailand, is accepting submissions until 19 April 2020.  

The 8th 9Fest will be held at Cinema Oasis, Bangkok’s newest indie film centre from May 27 -28, 2020.  9Fest accepts short films of all genres.

“9” is the luckiest number in Thailand. Thus, 9 films are selected as Competition Finalists. 9Fest will be showcasing the the finalists' films at Indy Shorts Int’l Film Festival, to be held in Indianapolis, IN, USA from 21 to 26 July 2020, if COVID-19 improves that is...

More information available at: https://9filmfest.com/

2. Bucheon International Fantastic Film Festival (BiFAN)

Image credit: BiFAN

The Bucheon International Fantastic Film Festival (BiFAN)'s call-for-submissions for the festival is open till 30 April 2020.

BiFAN is recognised as one of Asia’s top genre film festivals. In its 24th edition in 2020, it is currently scheduled to be held in Bucheon, South Korea from 9 to 16 July 2020.

Films must have been made after 1 January 2019, and must not have been previously screened in South Korea. Short films must be under 60 minutes, while feature films must be 60 minutes or more.

Submissions will be accepted online at BiFAN’s entry site (http://entry.bifan.kr). Enquiries may be directed to films@bifan.kr (feature films) or short@bifan.kr (short films).

In addition, the Network of Asian Fantastic Films (NAFF), also under BiFAN, has opened its call-for-submissions for the It Project market and the Fantastic Film School film lab. These will close on 1 May. Submissions details are in the links provided.

3. SeaShorts Film Festival

Image credit: SeaShorts

Previously we wrote about the SeaShorts Film Festival accepting submissions. 

Qualified directors from across the ASEAN region are invited to apply at bit.ly/seashorts2020submission by 30th April 2020 under the theme “Reimagining Short Films, Reinventing Southeast Asia”. Submissions in all genres and forms under 20 minutes will be considered.


A selection of 30 titles will compete for the SeaShorts Award, with Malaysian filmmakers qualifying for the additional Next New Wave Award. The candidates and winners will be determined by an independent committee of professional judges comprising Cambodian-French filmmaker Davy Chou of Anti-Archive, Philippine producer Bianca Balbuena of Epic Media, Singaporean sound engineer Rennie Gomes, and renowned Malaysian academic Dr. Farish Noor.

Subject to changes, it will be held in Ipoh, Perak, Malaysia between 25th to 30th August 2020.

4. National Youth Film Awards (NYFA)

Image credit: NYFA

In one of our previous blog posts, we also mentioned that Singapore will be having its 6th edition of the National Youth Film Awards (NYFA) opens for submission, closing on 30 April 2020.


Organised by *SCAPE, NYFA remains an important platform for aspiring filmmakers seeking to join the film industry. Since its launch, NYFA has awarded some 133 youth filmmakers, many of which have gone on to achieve international acclaim, with names such as Idette Chen (Bangla, Short Shorts Film Festival & Asia (SSFF & Asia) 2019) and Shoki Lin, (ADAM, Cinéfondation Selection, 72nd Cannes Film Festival). 

5. Minikino Film Week 6 


MFW6
Image credit: MFW 6 Official Website


Minikino Film Week 6 (MFW 6), Bali International Short Film Festival, 4-12 September 2020 is the sixth edition of the annual international short film festival in Bali, Indonesia.

There are two key submission categories, both ending on 13 May 2020.
a) Filmfreeway | 1 December 2019 – 13 May 2020 | Visit https://filmfreeway.com/MINIKINOFILMWEEK

b) Short Film Depot | 1 December 2019 – 13 May 2020 | Visit https://shortfilmdepot.com

MFW 6 presents world quality short films for visiting professionals, invited festival guest and also local, national and international short film enthusiasts who attend the festival. Meanwhile to build and strengthen the network of short film screening venues in Bali, providing spaces to screen the these carefully selected short films to their audiences, which might be difficult to be seen elsewhere.

MFW 6 committees consist of professionals, artists and film enthusiasts who works professionally as volunteers to support the non-commercial festival which run under Kino Media foundation. The running cost is covered by private funding donation, sponsors, and also occasional government funds. Most of the support is in-kinds, in the form of facilities, permits and helping hands to support various festival’s activities.

For more information, please visit: https://minikino.org/filmweek/mfw6/ 

6. Jakarta Independent Film Festival (JIFF)


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Image credit: JIFF Facebook


Call for submissions close on 13 May 2020. 

For more information, please visit https://www.jakartafilmfest.com/2020-edition 

7. Balinale 


No photo description available.
Image credit: Balinale Official Website


Bali International Film Festival (aka Balinale) is the largest and oldest annual international film event in Indonesia. Held on the paradise island of Bali, Balinale attracts a diverse audience of film-goers with its outstanding selection of independent local and international movies, many with filmmakers in attendance.

Balinale is celebrating its 14th anniversary from 8 to 13 September 2020. 

The Earlybird Deadline has passed, but there are other multiple deadlines for the submissions. The Regular Deadline is on 30 April 2020, the Late Deadline on 31 May 2020, and the Extended Deadline WNI on 20 June 2020.


Film submissions from all genres of fiction and documentary, feature length and short, from Indonesia and around the world are accepted for consideration.

For more information, please visit https://www.balinale.com/submissions/ 

8. 13th International Kuala Lumpur Eco Film Festival (KLEFF) 


Image credit: FilmFreeway 

The International Kuala Lumpur Eco Film Festival (KLEFF) is Malaysia’s homegrown environmental film festival for the past 12 years. Conceptualised and organised by a not-for-profit environmental organisation, EcoKnights, the Festival is a platform to facilitate the building of a nation of ecologically conscious businesses, individuals, and communities through on-ground activities and film screenings focused on critical environmental issues and stories such as pollution, transboundary haze, indigenous people’s rights, wildlife protection, nuclear energy, climate change, sustainable food production, waste management, local environmental heroes and more.

This year’s theme is ‘Climate (in)Justice’, which encompasses films that cover climate change, overlapping with other environmental and social topics. With that, we welcome all sorts of film submissions that fall within the category of the theme this year. 


Submissions are open until 31 May 2020. 

For more information, visit https://kleff.my/film-submission/

9.  Festival Film Bahari 3


POSTER KOMPETISI
Image credit: Festival Film Bahari


The Festival Film Bahari is designed to give insight and knowledge all about coastal culture and sea life through films. Thus, Festival Film Bahari creates several programs aim to capture and raise awareness of the coastal environment. August 2020 is the third year of this festival to be held, located in a small fisherman village of Bondet, Cirebon City, West Java, Indonesia. Our guests and participants are invited to stay in the village houses, experiencing themselves in daily coastal life.


Festival Film Bahari is also a youth-based film festival that offers young filmmakers a chance to enhance their critical thinking skills, showcase their work to a captive audience, and engage experienced learning with local communities.


The Festival Film Bahari is open for submission and closes 01 June 2020. 


For more information, please visit https://festivalfilmbahari.wordpress.com/ 


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ShoutOUT! Viddsee launches Stories Together community initiative to give hope through films during the COVID-19 pandemic

April 18, 2020, 6:23 am
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Viddsee launches Stories Together community initiative to give hope through films during the COVID-19 pandemic 



- Initiative brings storytellers, audiences, and media partners to give hope through films in this challenging COVID-19 pandemic. 
- Includes the StoriesTogether Content Fund, a partnership with Singapore’s IMDA to create new short-form content with Singapore-based media companies. 
- Viewers can enjoy specially curated channels featuring uplifting short films, live watch parties in English and Bahasa Indonesia, as well as interactions with filmmakers. 
- Support for similar initiatives across Southeast Asia such as Lockdown Cinema Club in the Philippines. 

SINGAPORE, 14 April 2020 -- On 14th April 2020, Viddsee officially launched StoriesTogether, a regional initiative bringing together our community of storytellers, audiences, and partners to give hope through films in this challenging COVID-19 pandemic. 

Within the initiative, Viddsee will carry out several activities to entertain viewers and create new content with media companies. Under the StoriesTogether channel on viddsee.com, the content team has curated a growing list of short films that aim to inspire, cheer, and entertain viewers. This will be supported by weekly watch parties on YouTube and Facebook conducted in English (#TogetherAtHome) and Bahasa Indonesia (#DiRumahAja), short film premieres, and sharing sessions with filmmakers about their favourite films. 

Viddsee will also support other initiatives with similar goals by promoting their efforts on the platform. One such initiative is Lockdown Cinema Club, a Philippines-based crowd-funding initiative that invites viewers to "watch all you want, give what you can," with funds going to over 1,000 low income, no work-no pay film industry workers. 

“The current crisis has made us realise the importance of staying connected, and for communities to stand united through these difficult times. 

Through this initiative, we see Viddsee as a canvas for good on which communities of storytellers, audiences and partners across the world can find and support each other, and continue to connect through our shared love for entertaining stories,” said Ho Jia Jian, Viddsee’s co-founder and CEO. 

Ho Jian Jian, co-founder and CEO of Viddsee


Keeping storytelling alive 
Besides entertaining audiences, the StoriesTogether initiative also supports local filmmakers by commissioning the creation of new content. Through the StoriesTogether Content Fund, which is part of Singapore’s Infocomm Media Development Authority (IMDA) Public Service Content Fund initiative that was announced on April 14, Viddsee Studios will work with Singaporean media companies to create short form short films and series over the course of a year. 

“Viddsee Studios was formed in 2017 to complement Viddsee’s mission of empowering storytellers, and during that time we’ve worked with dozens of production houses, and hundreds of independent filmmakers, cast and crew members in creating over 100 Viddsee Original productions.” 

“During these challenging times, we see how vital the filmmaking community is in bringing hope, laughter and joy through their stories. This partnership with the IMDA is a real statement of support to our community of storytellers, encouraging them to continue to do what they do best,” said Kenny Tan, the head of Viddsee Studios. 

Kenny Tan, the head of Viddsee Studios

The StoriesTogether initiative is open to collaborate with brands, media partners, filmmakers, and media companies across the region who share similar goals. Parties who are interested can reach out via enquire@viddsee.com. 

About Viddsee 
Viddsee is a leading video entertainment platform for short premium content. With over 1 billion views powered by data insights and a trusted community, we empower storytellers by enabling the creation of films and amplifying stories to targeted audiences. 
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ShoutOUT! Singapore Association of Motion Picture Professionals (SAMPP) launches Covid-19 Relief Fund

April 19, 2020, 9:59 am
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The Singapore Association of Motion Picture Professionals (SAMPP) has announced the launch of a $40,000 SAMPP Covid-19 Relief Fund to support Singapore-based motion picture freelancers whose livelihoods have been severely affected by the coronavirus pandemic.

With the Covid-19 pandemic escalating in Singapore and around the world, the media industry has been hard hit by the cancellation and postponement of projects and productions in the past and coming months and this has been made worse with the implementation of the 'circuit breaker' measures in Singapore.

While the Singapore government has announced measures to help businesses and households and has promised more targeted measures for freelancers, media practitioners are experiencing great hardship right now in these unprecedented times.

SAMPP, a platform for engagement of the industry and the development of the skills, professionalism and image of Singapore's motion picture professionals, recognises the financial pressures that the community, many who are either freelancers or small businesses, are going through at the moment, and has set up the relief fund to support the hardest hit members of our community who have been directly affected by the loss of jobs and income as a result of the Covid-19 pandemic.

SAMPP has initially put together $20,000 that will offer grants between $300 to $500 to support the film, television, new broadcast media and wider motion picture community through this challenging period. To support the initiative, IMDA will be contributing a matching $20,000 to SAMPP’s Covid-19 Relief fund to rally the community and encourage more people to lend assistance for those in need.

Applicants need to be registered members of SAMPP. In light of the current crisis, membership fees will be waived for the current year and applicants will need to register before applying.

Applications will be vetted and administered by SAMPP, but decisions will be made by an
external panel including a representative from a social sector organisation. Grants will be
awarded based on the assessment of individual needs and details are available on SAMPP’s official website www.sampp.org.sg

Establishing this Covid-19 Relief Fund is part of a wider plan to support the community during this difficult period. SAMPP has also set up a dedicated COVID-19 Resource webpage containing available funding support and an FAQ relevant to the media industry on its website.

Anyone requiring further assistance can benefit from more support via a Callback Request.
Jasmine Ng, President of SAMPP and freelance executive producer-director, said “Even though there have been government measures in place for small businesses and freelancers, we recognise that there are members of our community who may be ineligible or will need more urgent financial assistance. We hope our Covid-19 Relief Fund will be able to alleviate the hardships they are facing, as a stopgap.”


“We are heartened by the camaraderie of our media sector and the display of the bond among our practitioners. While we continue to recognise the ongoing challenges our media industry is experiencing during this challenging period, we will work hard to listen for feedback while refining our schemes to support both companies and individuals. We will continue to enhance our support through various prongs in providing job continuity - we can overcome this together if we stay united," said Howie Lau, Chief Industry Development Officer, Infocomm Media Development Authority (IMDA) who applauded the initiative.

Anthony Chen, film director and Vice-President of SAMPP said, “With people staying at home and indoors during these unprecedented times, more audiences are viewing content on television and on their devices, it is all the more crucial to support the makers and workers of such content at a time when their livelihoods are at significant risk.”

For more details as to SAMPP's organisation and mission, please visit their official website.

SAMPP welcomes further donations to their COVID-19 Relief Fund via this link.
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ShoutOUT! UCIFEST11 first to bring its film festival online in Southeast Asia

April 21, 2020, 7:02 pm
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While Indonesia is grappling with containing the spread of the Coronavirus, and film events are put on hold, we put the spotlight on one film festival still intact. The UCIFEST 11 (UMN Animation & Film Festival), happening over today and tomorrow, is an annual short film festival organised by film students under the Theory and Practice Film Festival course at Multimedia Nusantara University, Indonesia. This year marks the 11th edition of UCIFEST and is the first film festival in Southeast Asia held online. The festival organisers are also working with Viddsee to include the films programmed in the festival on Viddsee's platform in a bid to find new audience pools.

According to the organisers, one of the greatest obstacles of bringing the film festival online is the threat of content piracy. To combat piracy, UCIFEST 11 has implemented a secure registration system for viewers. All viewers are required to register with certain details for the system to verify the educational institution they belong to and that they are eligible to access the festival programme. Following every successful verification, they will get a link to watch the films via email. In addition, the festival has created a UCIFEST 11 watermark on every film to prevent piracy. Good lessons for other film festivals in the waiting indeed!

The festival's programmes on the first day (21 April) include the Competition Program (Demi Aku, Aku Rela), Non-Competition Program (Collaboration with IKJ Campus), Documentary Seminar in the current era (with Amelia Hapsari), Official Selection Non-Competition Program and Competition Program (Kisah Antar Golongan)



Programmes on the second day (22 April) include Competition Program (Realita +Tragedi = Manusia), Competition Program (Hai Dunia, Aku Terluka), Competition Program (Si Cilik dan Semestanya), Non-Competition Program (Collaboration with ISI Campus), Meet the Judges, and the Non-Competition Program (Experimental from Southeast Asia).

Two of the Non-Competition Programs are the result of the collaboration between Multimedia Nusantara University (UMN) with the Jakarta Arts Institute (IKJ) and the Indonesian Institute of the Arts (ISI). Meanwhile, another Non-Competition Program (Southeast Asia Experimental) is the curatorial effort of Umi Lestari, a lecturer at Multimedia Nusantara University.

To join UCIFEST 11, you can visit their official website at ucifest.umn.ac.id and for information regarding screening schedules, you can follow UCIFEST 11 on its official Instagram at @ucifestumn.            
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Short Film Review: Palabas (A Country in Moving Pictures) (2018)

April 22, 2020, 6:56 am
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Arjanmar Rebeta’s 2018 short film Palabas (A Country in Moving Pictures) runs a little over 15 minutes and was filmed entirely with a smartphone. Having won several accolades across the short film circuit in countries spanning the Philippines, Bangladesh, Germany, France, and Malaysia, Rebeta’s thought-provoking short is certainly well-deserving of praise. In a short window of time, Palabas has captured the stark realities of poverty, the country’s ongoing drug war, politically-driven psychological manipulation, and of course, the grey area that exists between online dating and online sex work. 

A clever exposition of the many things taking place that the majority would rather turn a blind eye to, Palabas is essentially a 15-minute screen recording of an ongoing online conversation taking place between Wilma, a Filipino girl in her late teens and Steve, a European “older man” figure. The resulting opening minutes almost feel wrong to watch—as viewers, we are, after all, interlopers in Wilma and Steve’s private conversation. As Wilma moves around her cramped “room”—if one can even call it that, given that she hardly has a door and only a sheet to separate her sleeping area from the rest of her home—her body is wrapped in a pink towel as she hangs up her lingerie. All the while, her phone is on and she gets ready on camera. 

Like most teenage girls looking at themselves in a mirror or in their front-facing camera, she makes faces and smiles, even posing with a finger heart. Her youth, in part, is what makes the scene even more disconcerting. The set-up, after all, is familiar—any teenage girl will remember the times she’s gotten dressed on camera in front of an eager observer—be it a stranger or otherwise. 


When Steve comes in view, however, there’s an a-ha moment—ah, this is the type of “relationship” this is: show some skin and I’ll show you cash. Or, in Wilma’s case, show some skin and I’ll get you a new laptop. Though transactional on an ontological level, Steve entertains Wilma’s descriptions of the Philippines, the beautiful beaches in Boracay (beautiful, just like her, mind you) and how she could show them all to him when he finally visits. It’s the kind of conversation that injects that sensation of dread in the pit of your stomach because you know how this could possibly end for both parties—Steve, completely scammed out of his savings by some pretty young thing, and Wilma, potentially sexually exploited without her even knowing it for the cash and material goods that she clearly needs. In the Philippines, after all, online sex trafficking is a very real reality for those in poverty, with one in five children in the country susceptible to online sexual exploitation. 

Rebeta’s decision to film Palabas in this way is absolutely perfect—without any elaboration or embellishment or a director’s stance to cloud the viewer’s judgement, all we get is pure reality, no matter how uncomfortable that is. 

As the conversation wears on, Steve becomes a passive onlooker to Wilma’s state of living—from witnessing her mother’s boyfriend, Gilbert, leering at her towel-clad body which morphs into an explosive argument between the two. Later on, he observes further examples of blatant sexual harassment as men hanging around her mother’s sari-sari store (a neighbourhood variety store) engage in catcalling, Wilma walks ahead, grimacing as she does so. She snaps when one man hurls vulgarities in Tagalog at her, claiming that her mother’s boyfriend must be so lucky to be sleeping with both a mother and a daughter. The touching, the words, the looks—the interaction is familiar to most women and as a woman watching that scene, all I could think was, “and tomorrow, it’ll be just like that again”.

Rebeta takes his time to enrich Steve’s view of Wilma’s day-to-day life as he watches her eating a humble breakfast of a large scoop of white rice and one hotdog. The bustle of the everyday continues: Gilbert and her mother have seemingly reconciled. Overhead, sachets of shampoo and miscellaneous objects hang from the ceiling—the tell-tale signs that we are looking at the interior of a sari-sari store, and a customer comes looking to purchase something. 


Wilma watches the news as she eats and here, Rebeta has cleverly included snippets from a real-life news programme announcing that police officers involved in the killing of Kian Delos Santos, a 17-year-old student were now facing charges. The case is well-known across local and international media for bringing the full extent of President Rodrigo Duterte’s drug war and its casualties to the spotlight, as well as the extent to which local law enforcement played in what has been deemed as an “overreach” in the dispensation of street justice. Steve reacts with horror and disbelief, but Wilma assuages him that there’s nothing to worry about. Tired of the ongoing “overrated” news narrative she reassures him that the president’s current war on drugs is well underway and that the boy deserved to die. 

The contrast between Wilma and Steve’s sensibilities could not be more pronounced in this moment. Steve, symbolic of the external, so-called “liberal”, “western”, and “humanitarian” criticisms of President Rodrigo Duterte’s ongoing war on drugs campaign, while Wilma represents the voice of those who live these realities everyday. While her socioeconomic class is not by any means a predictive metric of her political leanings, she certainly embodies that profile in this film. Despite the war on drugs having been indicative of clear human rights violations which clearly impact the poor, Duterte continues to hold favour among them for various reasons. 


This is no clearer than in the film’s climax where the theme comes full circle. I won’t spoil it for you, but personally, it’s a bit unrealistic to me that Wilma’s spotty 4G data hasn’t caused her call to drop throughout a crucial minute and a half in the film. Let’s just say that Steve probably wishes he ended his call with Wilma sooner rather than later. 

As a collage of moving—sometimes pixellated—images, Palabas paints a stunning picture of reality. From scenes inside a cramped jeepney with a child and a young man begging for money or a tricycle that certainly shouldn’t have been taking that many passengers, to moments of domestic disturbance, sexual harassment, and most of all, political injustice, Palabas offers an image of the Philippines that tourism boards would prefer to conceal and that for many, perhaps is even a source of shame. But it is a rich reality, it is our reality, and it's one that will hit close to home for many, I’m sure. 

As a Filipino woman, it certainly did for me—Palabas was an upsetting film, just as it should be.

Melissa Noelle Esguerra is a multifaceted writer who likes to explore all things pertaining to art, film, culture, and literature. She obtained her BA (Hons) in English Language & Literature with a minor in Linguistics from New York University. After having spent the last four years in New York City, she now resides in Singapore.

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Film Review: Daulat (2020)

April 22, 2020, 8:04 am
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Since the historical election of March 2018, the Malaysian film scene has made numerous attempts at casting it into cinematic stone. With results ranging from exploitative to revisionist, it seems that Malaysians are presented with another difficult code to crack on how to memorialise a political pivot. Daulat seems to be the next attempt borne from these new (and strange) times, claiming the title as Malaysia's first ham-fisted political thriller.

Daulat isn't here to reenact events. It opens with clear disclaimers that it is not in any way alluding to any politicians and any recent Malaysian political events. Hassan is a dethroned Malay prime minister whose racial party has ruled for the last 30 years. His throne has been taken by older politician, Malik, who colluded with a urban-slanted party with promises to hand the seat of power in the future to its party leaders. Fearing political retaliation, Hassan, turns to his first female party deputy president, Suri, to devise a strategy to win the next general election.


For all its intricacies, Daulat's filmmaking is blunt, but debut feature director Imran Sheik prefers to call it unconventional rather than cliched. He substitutes finesse with on-the-nose lines, and loudly calls to attention where subtlety would have been more effective. It can be a jarring experience that brings out unfavorable comparisons with horrible Malaysian soap drama tropes and cliches, but Imran has stated that the film was made this way to maximise mass appeal after test screenings (without calling the audiences dumb for failing to put together the pieces).

That isn't to say that Daulat has a terrible plot, even if it relies on plot contrivances to move along. Despite taking liberties with reality and somewhat over-simplifying the political machine, Daulat actually has a well-considered story that isn't matched by its storytelling. Structurally, it runs on narrative threads that are seen and unseen, despite leading audiences to believe that there is only the former. Amidst the storm of scandals, backdoor deals, and blackmail, a seasoned Machiavellian may come out unimpressed by the power moves being made, but Daulat ends on the note of being an uncomfortable and revelatory introduction to someone who hasn't heard of The Prince. Daulat works for keeping its scale small, even if it suggests a grander scheme afoot.


If there was one prevailing strength in its execution, it would be its cast. While familiar names like Tony Eusoff, Jasmine Suraya, Christina Suzanne, Rashidi Ishak, and Sangeeta Krishnasamy are given the short-end of the developed character stick, it is all in service to one character in particular. Vanidah Imran's Suri checkmates her performance, as a mistress of manipulation and rousing orator. She asserts her dominance in one moment, whether it's meeting a blackmailer or her husband's mistress, while shifting into a compromising diplomat when making alliances and herding sexists and racists to be on the same page. Suri is to be one the more recent exemplars of Malaysian (female) characters to study and imitate by smart screenwriters and projecting performers.


But what has Daulat contributed to Malaysia's cinematic politics? Imran is quite explicit of being a businessman first before a filmmaker. In his mind, a quick, low-budget, and flawed piece that is seen and talked about by a mass market is better than an indulgent, high art, masterpiece, understood by only a few. Daulat is an indisputable trailblazer, both for Imran's future plans for sequels as well as for political films in Malaysia. It may not have attained its ambitions on its first run, but it has opened the doors for more honest, brutal depictions of Malaysian politics and politicians while giving the finger to Malaysian censorship.

KC Lee is a Malaysian on a journey through film's past, present, and future, local and abroad. He writes down some of it along the way, hoping someone would read them.
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