Singapore Biennale 2013 Special: Liao Jiekai & Boo Junfeng


The year 2013 has been an eventful year for Singaporean cinema and filmmakers, not least for two very special filmmaking talents. Both Liao Jiekai and Boo Junfeng had a memorable year to date, notching up accolades that saw them being credited as joint winners of the President's Young Talents Awards, as well as being commissioned and invited to be part of the prestigious Singapore Biennale this year.

As the Biennale season is upon us, SINdie took the chance to sit down with the both of them to look back at their achievements, reflect upon each other's successes and chat with them about what is in store for their near futures as the year draws to a close.
(From left to right front): Liao Jiekai, President Tony Tan & Boo Junfeng
President's Young Talents Credit Suisse Artist Commissioning Award ceremony
Photo courtesy of Artitute
Kay Wee (K): I think looking back at the year 2013, as filmmakers and artists, both of your milestones and trajectories feel very similar, as if they were running on parallel lines. Belonging to the same generation of prominent Singaporean filmmakers, both of you were selected to be in the President's Young Talents (PYT) exhibition this year, were the two winners of the subsequent PYT Credit Suisse Artist Commissioning Award, got invited to participate in the Singapore Biennale, had both of your two art works exhibited in the same compounds concurrently, and both of you are also developing your sophomore feature films at the moment. Let’s go back to the beginning first. How did your involvement in the PYT awards actually come about?

Jiekai (LJK): For the PYT awards, basically…I think Junfeng and I are probably quite similar la, because it's the same type of exhibition. So we were invited to a portfolio presentation to a selected external panel that were not from the Singapore Arts Museum. And then, I don’t know how they nominated us or chose us, they just asked us to come and we went, presented and later they told us we are chosen to participate in the PYT show this year. And then, we were given a budget and a very, very short run up time to present a new work at the arts museum.

Junfeng (BJF): So what happened is…for me it was Cheo Chai Hiang (Visual Artist and Local Conceptual Art Pioneer), he saw 'Sandcastles' (Boo Junfeng, 2010) and he liked it and he thought it might be interesting for me to explore a different realm, because I’ve just been concentrating a lot in narrative filmmaking. So I think after that, he made the recommendation and I was invited to the panel presentation. It was really just to present my short films, talk about the thought processes behind them, the ideology behind them and to see if they are suitable for visual arts or their showcase. I thought it's quite interesting because you know, the both of us are filmmakers and they chose us to be involved. So that was the first time I was ever actually even involved in anything visual arts related. I enjoy going to museums and all that, but I've never done anything for a gallery space before.

K: So how were the experiences of exhibiting in a museum, as compared to maybe the cinemas, different for you? Does it change the way you work, in terms of your approach towards your ‘museum works’ this year?

Boo Junfeng and his PYT work 'Mirror'
Photo courtesy of SAM
BJF: Well, for 'Mirror', I wanted to create something that was still cinematic, because that was what I knew or something that I understood. But it was maybe the idea of…expanding it to just two screens, and allowing both screens to sort of interact with one another. And it's inspired by the idea of a ‘split’, in history and in the two realities of these characters, playing with the idea of that. It’s conceptual. It was more conceptual than what I’m used to. Usually when I start with a film I start with a character or a subject matter. But in this case I had to force myself to look at it in a more conceptual level: how the idea can be represented  in a space rather than it being simply within the frame of a film.


Liao Jiekai and his PYT work 'Brothers Quarters'
Photo courtesy of SAM

LJK: The context of showing the work definitely affects the way I conceive of the project. The moving-image is a durational medium. When I make a work, I craft an audio and visual experience for the audience through time. When I make work for the cinema, I focus on the film itself, to create that 4th dimension for the viewer to engage in. In a museum, space becomes another factor other than time, because the audience can walk around the space, interact with different elements, something that won't happen in a cinema.

For 'Brother's Quarters', I look at my work as a form of intervention. Firstly, I intentionally isolated my work from the rest of the exhibition by building a wall with a sliding door (which really is a door because of safety protocols, if not I rather it be a wall), making it difficult for the audience to locate the piece, so when they found it, it became some form of a hidden chamber that they walked into. I used many elements to create the installation: wall texts, audio, archival floorplans, 16mm film running on loops, lighting and even a making-of video of the work. For me, 'Brother's Quarters' is about laying bare my process of creating the work, the interviews I did with formal SJI students (one of which includes improvisational music by Leslie Low), the process of working with 16mm celluloid film - a dying medium, and the durational aspect of having to maintain and transform the work over the nine months long exhibition. At the end of the show, only one projector is working, there is a new corner of the room dedicated to broken projectors and burnt film strips, and I opened up the sliding door to create an open passageway to link up Brother's Quarters to the rest of the exhibition.

Jeremy (J): Jiekai, how about your approach to your Singapore Biennale piece, 'Bukit Orang Salah'?

LJK: The title of my work is 'Bukit Orang Salah', which means “Island of Misfits”. A few years ago I started writing a screenplay for a film to be made about islands, but not specifically about St John’s Island. I’ve always been interested in all these outlying islands.

At first I was thinking about Pulau Ubin because I used to go there very very often, like ten, twenty times a year, to camp or to do various things. But St John’s Island is still kind of a mystery; in fact it’s become like a memory, because I remember going there when I was in primary school. I still have very vivid memories of the place.

Still from 'Bukit Orang Salah' (Liao Jiekai, 2013)
Photo courtesy of artist.
So I just went to do like a recce trip, to find out whether it was a possibility, to just see the place. So I went, and I was very fascinated by how it hasn’t changed. What I remember it being in the 90s still remains the same, unlike many parts of Singapore—even Pulau Ubin is completely different from what it used to be, but St John’s Island never changed, from what I remember.

Well actually, one thing did change, it was merged together with three islands. So after more research I found out that there was actually a proposal to turn the entire chain of islands into something like Sentosa Cove. In fact their reference was Venice. But it didn’t become like that. In fact, they built a very nice harbour and then they renovated the roads and they connected all three islands together and everything, but they just left it there and it didn’t happen la, basically. So I thought that place becomes a very interesting meeting point between what could have been and also what was in the past, and also because the island has such a strong and important history in our country, being a quarantine centre, so most of our forefathers were imprisoned there, or quarantined there for some time.

Liao Jiekai on set for 'Bukit Orang Salah'
Photo Credit: Looi Wan Ping
J: So can I say your idea for St John’s Island was actually already kind of in your mind before the Biennale came about, and it was always a part of your—

LJK: I think it was something I always wanted to…it was a point of interest but it didn’t really become a work until I had to come up with something for the Biennale. It was during the PYT exhibition that they asked us each to submit a proposal, and they gave us something like two weeks. So I just made a trip to the Island, went to the National Library and did all this research, and then I put together something.


J: How about you, Junfeng? Was your Singapore Biennale piece 'Happy and Free' something that you conceptualised from scratch or is it something that—I wouldn’t say it’s part of an agenda—but are these themes that you’ve always wanted to present, and perhaps this was a convenient platform for you to realise this?

BJF: I remember they were also asking me to come up with an idea, I can’t remember at which stage, but I was in Jerusalem for a film lab, and in between the mentorship sessions and writing and all that, I was forced to come up with this idea. So I was just staring at the screen and because the Biennale theme is “If the world changed”, I was just toying with the idea of…I guess for me the starting point is always Singapore, so what, how different might this place be. It was actually from the theme that this “what if” concept came about, and of course then I was looking at the different points in Singapore’s history; what, which specific point did I want to cover, which I thought was interesting…

Still from 'Happy and Free' (Boo Junfeng, 2013)
Photo Credit: Wilfred Weegee
So I thought of independence, and most obvious thing was between 1963 and 1965 there’s actually a period that is still quite under-represented in how we understand history. If you think about it, it’s essentially the most crucial period of Singapore right? How Singapore came to be, because we were supposed to be part of Malaya and that didn’t work out. So when I submitted the proposal “What if Singapore was different, was still a part of Malaysia, what would a propaganda video today look like?” and this was tied in to the idea that if we hadn’t separated, 2013 would be the 50th year of merger, so then it must be a big year, right. This year would have been such a big, big year for the golden jubilee and since the Biennale is to happen around the same time I though it’d be interesting to explore that.

As I was working on the idea I started asking people about what Singapore might look like and all that. A lot of people seemed to feel, the overwhelming response I got was that "Oh, we will be worse off! We will at most be like a Penang". We tend to see ourselves being lesser if we had remained. While there might be some truth in that I can’t help but feel that believing in that is also subscribing to what I call the “1965 narrative” because after this separation, we want to believe that we can make it. “There was a time when people said that Singapore can’t make it but we did”, right? So that comes in a song that was written and so I can’t help but feel that this belief is also a part of that narrative.

Boo Junfeng on set for 'Happy and Free'
Photo Credit: Wilfred Weegee
So how do I want to break that down, and suggest something that perhaps challenges people’s idea of what Singapore is and what it has become, and then on top of that, I remember Alfian Sa’at, a good friend of mine, once telling me about this album of songs that a friend of his passed to him, and when I got that album of songs and I heard all these songs that celebrated merger, in 1963, and how this album basically vanished after 1965, and this was commissioned by the Ministry of Culture in Singapore. So if that narrative from 1963, which I’m hearing from the songs, was to continue till today, what that might be? It just opens so many possibilities but again in defining this alternative history, I had to really, really narrow it down and it helped that I was framing it as propaganda, I was framing it as something like a National Day type of thing so I could very narrowly define this narrative and then inadvertently it kind of then subverted the idea of national, our national day celebrations and the idea of nation, the construct of a nation and what it is.

So it was a very, very interesting process for me. On September 16 I went to KL on the day of merger. It was Malaysia Day and I heard from people what their idea of Malaysia Day was, and to a lot of people there, Malaysia Day was the more inclusive day, because it was the day when Sabah and Sarawak also came to be a part of Malaysia. Malaysia Day became almost a reaction to Merdeka Day, which was actually the independence of Malaya, which was for a long time the national, the independence day of Malaysia, but Malaysia Day only in recent years came to prominence because people wanted something more inclusive and so now they sort of have two national days, Merdeka Day and Malaysia Day and of course in Singapore apart from August the 9th we don’t celebrate or we don’t talk about any of these other days, which were actually a part of our history, especially Sept 16. So, these are some of the things that came to my mind as I was researching for the piece.

K: So in terms of both of your Biennale works, I observed these “audio-centric extensions” out from the frame of the moving visuals into the physical space itself. Like for example, in terms of Junfeng’s work, there’s this whole participatory and interactive aspect of the karaoke element in place. So, tell me why did you choose to make it as such, or make your installation more “fun”, so to speak? What was your intention?

BJF: I wanted people to sing the song and perhaps feel how awkward and funny it is to utter those lyrics, to sing those lyrics out loud. To say lines like “happy and free, in a bigger family, equal and free, with merger and Malaysia”, how awkward it feels to sing lyrics like that today, and why. I think the complexity of just that sentiment is very interesting and that is actually at the core of my work, what the piece is about.

K: As for Jiekai, in your 'Bukit Orang Salah', you added three different sound design layers, on top of the one imbedded into the film itself. Why this decision to experiment with different audios from different channels in the gallery space?

LJK: Actually one of my initial proposals to the Biennale was that I wanted to hear different sounds in different parts of the room but it’s quite technically difficult to achieve that and in fact I wanted something like you go close to the wall, you hear different sounds in different parts of the room, because I wanted to explore the more interactive components to showing a video work in the gallery space. So I approached Bani Haykal (Sound Artist and Musician) to do the sound design, and he actually suggested something very similar to my initial proposal, which was having different sounds in different parts of the room.

We had a very short incubation time. We had only a bit more than one month lead up to work on the sound. And actually Bani is very busy, so most of our dialogue happened via email. He sent me an email questionnaire, like 30 interview questions, very, very long, and at that time I was in Indonesia and I wrote a reply and from these email conversations he gleaned about three or four different themes, in which he used to compose different soundtracks to the film and those different themes are presented in the different headphones that you can pick up at the three different stations.
The filmmakers and the SINdie correspondents during the roundtable interview
K: So I’ve chanced upon some articles and interviews on the both of you and Jiekai, you’ve always been termed as both a filmmaker and visual artist, but interestingly for yours Junfeng, you are usually termed as simply a filmmaker, even in the PYT or Biennale context this year. So what do you guys think of these labels and where do you guys think you stand in between being an artist or/and filmmaker now? Should there even be a distinction in the first place?

BJF: I’ve never been called an artist until this year. Haha. Even in my engagements with say, Arts Engage, and all these organisations where we talk about arts policy, about art making, about the art making community in Singapore, it’s quite often artists and filmmakers, so it’s always sort of a slight separation but only this year because my work is in a gallery I became an “artist”. To me it doesn’t really matter. At the core of what I do…I see myself making films in whichever form. I don’t really care. My interest is still in narrative films but doing works like that actually opens my mind and broadens my view of what art is and what filmmaking can be as well so it’s been very educational.

LJK: For me these labels are not important also. My background is in visual arts. I paint, and my first video was actually not a film, it was a video installation, at the Singapore Arts Museum also. So I kind of move in between different ways of showing the world, whether is it in a gallery or whether is it in a cinema. I mean sometimes I call myself a filmmaker or I call myself an artist and it’s really out of convenience, so people don’t get—it’s really subscribing to a way that people box up or people label things but personally I don’t believe in that. I think that’s not important. But I think it’s important to understand the expectations of the audience when they come into an art show and when they come into a cinema, because they’re very different.

BJF: Actually, I mean…among the filmmakers in Singapore, a lot of them, whom I have respect for, they tend to be rather multi-disciplinary, people like Ho Tzu Nyen, Brian Gothong Tan, Jiekai, even like Tan Pin Pin also. If filmmaking is but a medium of expression, then you know…we wouldn’t narrow that field of vision so much. We would be keen to explore if given the opportunities.

J: Speaking about labels, do you ever feel pressured by the manner you wish to present yourself as a filmmaker, with regards to aligning and marketing yourself between the so-called distinctions of “arthouse” and “commercial” for example? Let’s say five, ten years down the road you want to make a commercially successful film, do you think it’s important for you to present yourself in the theme / agenda of a certain label?

BJF: I don’t think so. I mean, first of all I’ve never believed that something critically acclaimed and something with mass appeal has to be mutually exclusive. If you take Ilo Ilo (Anthony Chen, 2013) as an example, it is a good film, and of course I think the Singapore public—to many in the Singapore public—they’re only starting to be exposed to films that are perhaps different from the usual mainstream fare that they get but I think that’s precisely the function—okay, not the function but one of the functions—of films like that, it helps in raising cultural literacy, it helps in opening people’s minds so that film doesn’t have to be just about entertainment, there can be other forms of films to watch and if you’re talking about being like an artist vs. being a filmmaker and all that. The labels aren’t really so important, personally I just let the press go with whatever they want to call me, or whatever the PR company / marketing team wants to call me / the work or whatever. I mean, if I don’t agree with it I might resist it, but I don’t really care la.

J: For me, it’s interesting to note that for Ilo Ilo when the posters first came out in Cannes, they looked more art-housey. But when the poster was then modified to give it a more heartland commercial movie look (with the cartoon drawings and all), that to me was a form of succumbing to the market and fitting into labels to make the movie look more accessible.

BJF: I think that exercise was an interesting one. When I first heard they were going to do that, I thought that was interesting because what you want to have is a foot in the door. To have a Cannes label on it, for the masses, may not mean anything. In fact, sometimes it might mean, “Oh, this must be a boring art house film”.  So what if we break it down, what if we market it to be a more ‘palatable’ film and see what kind of audiences it attracts. It is an interesting exercise but it is also a double-edge sword, because ultimately it is not a Jack Neo film. If people went in with these expectations, they could either be pleasantly surprised or disappointed. And the word of mouth from that may not be good, because we might be targeting the so-called ‘wrong’ audience, as much as we do want this ‘wrong’ audience to give it a try.

JS: (To LJK) What’s your view on this?

LJK: I certainly liked the original poster more. But like what Junfeng said, it’s a marketing tool. It’s like trailers. Trailers don’t represent the film at all. I made my 'Red Dragonflies' (Liao Jiekai, 2010) trailer using many out-takes.  I mean, there were several out-takes that I liked but could not put it in the film. So I think a film can be very different from all the devices, means and labels from how people try to market it.

BJF: For some of us, where the ‘mission’, so to speak, is to really expand the audience to different kinds of cinema, these steps are ultimately necessary. Because otherwise you would always just have that split between what is art-house and what is so-called commercial. And the audience will also be split and clearly, the art-house audience will always remain that minority and you will never be able to make films that are critically acclaimed with a sizeable audience. So in that endeavour to expand our audience, these steps are necessary. So even if people walk out of the cinema feeling they were short-changed for whatever reasons, at least there is a film that they have seen and judge for themselves, and hopefully in the future they can give films like that another chance.

K: As an observer and an audience, I actually find lots of similarities between both of your works. Referencing both your first feature films (Sandcastles & Red Dragonflies) and the two works presented at PYT (Mirror & Brothers Quarters) and the Singapore Biennale (Happy and Free & Bukit Orang Salah), there was to me this common theme of “looking back” and always this heavy historical element attached to them. So can you tell me more about what drives you to make your works and what are both of you normally inspired by?


BJF: I don’t think it’s just confined to us. I mean in general, if you look at a lot of filmmakers in Singapore, there is always a desire, whether consciously or not, to look back. Perhaps, it speaks of a kind of society we live in and the kind of changes we are going through and the kind of physical changes we experience and the things, places and the memories that have been lost as a result. It’s just reclaiming a lot of that and an attempt to immortalize some of these either places, or sentiments, or emotions. (pause) I was also hearing from the curators of the Biennale that in fact, it’s not just confined to filmmakers. A lot of the works from the Singaporean artists are about the past, like Lai Chee Kien has a work on the National Theatre reconstructed and Royston Tan’s one is also about the Capitol Theatre, so it’s always about these things that we have lost.
Aditi (A): I observed that most of your works look at the past but they don’t necessarily take a sentimental view at it. But I feel like there is a national obsession with nostalgia at the moment. Do you have any takes on this and do you consciously try to be more objective when dealing with the past?

LJK: I actually think that nostalgia can be dangerous because you cannot always be dwelling and thinking that the past is better than the present or the future. So, I don’t want to sentimentalise the past. That’s never my intention. I agree with Junfeng that it’s not just us who are dealing with these narratives of the past. Even if you look Singapore films in the past ten years, there were a lot of nostalgic elements. Even when we make films that are contemporary, the production designer will always like to find things that are vintage, cause things that are old attract us? But I will be quite careful with how I deal with it. I don’t like to evoke nostalgia just for the sake of sentimentalizing it.

K: Okay, so now if you have to ask each other one question, what would it be?

LJK & BJF: (awkward smiles) Haha…erm…

LJK: Maybe I ask first la. I think one thing that I thought about when I looked at 'Happy and Free' was that it resembles some kind of an imagined National Day video but you were also involved in NDP before. So how do you see these two different experiences? Because when you were involved in the real NDP two or three years ago, you were constructing a certain narrative that was relevant to present day Singapore or that kind of, say…propaganda. So how do you balance with what you think Singapore is and what the organisers want the public to think, and then comparing it to this particular work that you made?

BJF: I actually didn’t do the National Day videos. I did the multimedia for National Day Parade (NDP) 2010. When I was doing that, I laid it out quite clearly to the committee that I wanted to present something that felt real. I wanted sentiments that were real. For example, I posed a question of what the five stars represent, actually I had a whole chunk of people who went blank and they got it all wrong. Apparently, several people think ‘prosperity’ is one of the 5 stars. So that to me was an interesting exercise because I interviewed a lot of people. And subsequently when I did the multimedia for the 'Fear of Writing', a play by Tan Tarn How under Theatreworks, I did exactly the same thing. I asked very similar questions and that was when I was allowed to put in all the wrong answers people gave. Like I had a lot of people saying ‘prosperity’. So for the NDP version, I showed that people didn’t know and they laughed. When you have 30,000 over people laughing at the same time at how they also didn’t know, it binds people la, if you know what I mean. Because there is some truth and it was the truth that I was interested in. 
Still from 'Pink Dot 2013: Home' (Boo Junfeng, 2013)
Photo courtesy of pinkdot.sg
Perhaps the closest I have come to in making something that looks like a National Day music video was actually this year’s Pink Dot campaign video with the song ‘Home’ performed by Dick Lee. I was examining what home means to these characters in the video (who are LGBT) and how that is presented with a song like ‘Home’ means and resonates with people. So, I would say these videos are like part advertising, because we are ultimately trying to evoke something, trying to pull some kind of commonality, in order to propagate an ideology from whoever is commissioning this piece. So in doing ‘Happy and Free’, I was also toying with the idea of how a song like this, with lyrics that sound so awkward in today’s Singapore, when matched with a National Day type of video or even campaign (I even came up with a fictitious Ministry of Culture and 50th anniversary event), how is it unimaginable? And if I were to imagine the unimaginable, how would people respond to it? It’s always an interesting exercise working on these projects, whether it is NDP or Pink Dot...because ultimately it is an understanding of the pervading sentiments in society and how to make use of that to fulfil a certain agenda. That’s what NDP is about, right?

K: Haha. Okay, your turn to ask Jiekai a question now.

BJF: Hmm…well, my favourite works of yours are the ones that seem very deeply personal and I think I mentioned to you before, 'Before the Wedlock House' (Liao Jiekai, 2012), that piece to me was one of the best short films I have seen from Singapore because it is so deeply personal and yet it is not indulgent. I could see things from your perspective and see that love that the video was made for. So it is always fascinating to see how you present something so personal in a piece of work. Do the works that you do always come from a very personal place? And how do you find the balance between what you choose to present and what you choose not to indulge in?

LJK: For most of my works, the starting point is always personal. But the more personal it is, the more difficult it is for me to confront. For instance, for ‘Before the Wedlock House’, it was done very spontaneously. I didn’t even think about making a film. The night before, I just decided that I was going to make a film. The night after I shot it, I shelved it. I did look through the footages but I didn’t know what to do with it. Then I saw some films that lent me ideas and strategies that I could use on these. So I thought I could put something together with them. And that’s how the film came about.
Still from 'Before the Wedlock House' (Liao Jiekai, 2012)
Photo courtesy of artist
I think there are some things that, because they are so personal to you, nobody else can see them except you. So I think it is also about finding that balance, because if not, it will look like a video that you made for your own indulgence, compared to something that can speak to the larger audience. I also think that sometimes the more personal you get, the more universal it is. This is because everyone experiences the same things in their own unique environment in their own way.

BJF: If you watch a wedding video. Unless they are close friends, you usually do not feel much for the people inside. But I felt something for your cousin. It was a happy occasion, but at the same time, you also feel something very poignant about everything that she said, about your childhood together and the bond you had.
LJK: I shot it as a reaction to many wedding videos I see. At some point in time, I got a bit disillusioned with wedding videos because they are so formulaic. At one of my other cousin’s wedding, the videographers were actually staging things. For instance, they said ‘Now we need the bride to thank the parents’. It was not planned for and they needed the shot and it seemed they already had a story to tell already.

K: One last question. I know you guys are in the midst of developing your second features now, so from an audience point of view, what can we expect from them?

BJF:
For mine, we have not officially started pre-production but we have started casting for six months now. Hopefully, we can shoot next year, if everything goes according to plan. But the earliest the film will be out will be early 2015. We first presented it two years ago at Rotterdam and subsequently it was invited to the Jerusalem Film Lab, so I went to Jerusalem three times to develop the script with the script analyst. That was very helpful. And back and forth...I feel that this back and forth is really what film development should be, like I really properly went through the process and quite often it is very challenging. Well, writing is a very solitary process, but then to have these people enter this world of yours, dissect everything, analyse everything, put everything back for you and help you discuss it through...it really, really does something quite magical to the script. It's always a learning process. 


LJK: In my case, I've already shot the film, am editing it right now and it's been an editing hell la. The analogy I have been giving people is that it's like a 50,000 piece jigsaw puzzle that has only seen the sky. You know, when you do jigsaw puzzles, the sky and the forest and the sea are the most difficult parts right? So I think I am still trying a lot of permutations, but I am also working with two other editors so we are trying out different ways of cutting it together. I realize for my longer projects I could never...after I shoot it, I can never really edit it to the script. Somehow it just transforms beyond the pages. Because sometimes when I shoot I deviate a lot, so it feels like I am finding the film in the sea of footages. So it can be quite painful. 

BJF: Haha. But when it emerges it can be quite beautiful la.

LJK: Hahaha. I don't know, haven't seen the light yet. Very far away still. The film's setting is very similar to my Biennale piece, but it is also very different. It is a romance story that takes place in two different eras, that's all I will say for now.

(From left): Aditi Shivaramakrishnan (SINdie), Thong Kay Wee (SINdie), Boo Junfeng, Jeremy Sing (SINdie), Liao Jiekai

The "Singapore Biennale 2013: If The World Changed" will be running till the 16 February 2014. 
(Both 'Happy and Free' and 'Bukit Orang Salah' can be viewed at SAM8Q as part of the event.) 

Liao Jiekai's 'Before the Wedlock House' is available for viewing here, courtesy of SG Film Channel.

Boo Junfeng's 'Pink Dot 2013: Home' is available for viewing here, courtesy of Pink Dot SG.

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