Namewee's loss in weight was noticeable when he was in town for SGIFF 2015 last December. It's been a rough ride for the Malaysian director, whose fourth film Banglasia, completed in 2013, has been banned in its country of origin since
2014.
The action-comedy is set in an alternate reality where
Malaysia comes under attack from the Luk Luk army. Harris (Nirab
Hossain), a blue-collared Bangladeshi worker, emerges as the all-rounded hero
in the film. Harris’ courage and generosity gains the friendship and admiration
from his employer’s daughter, Siti (Atikah Suhaime), pro-Malaysian activist Han Guo Ren (Namewee), and Han Guo
Ren’s demented grandmother (Lao Zha Bo). Transcending boundaries of race, age,
and nationality, the motley crew comes together to resist the villains thrown its
way.
The film was made in the context of prevalent animosity towards Bangladeshi workers in Malaysian society after the 2013 elections, traced to the government's alleged use of these workers as phantom voters. According to Namewee, the figure of Harris was created as a reminder of the contributions of Bangladeshi workers to the country.
I caught Banglasia at the SGIFF last December, in a screening that drew much laughter from the audience. Knowing that the film had struck sufficient caution in the Malaysian Film Censorship Board to warrant 31 cuts, I'd expected at first a film sharp in its criticism of Malaysian society and politics.
So I was surprised at how lightly the film dealt with a host of socio-political issues, including xenophobia, racism, phantom voting, and corruption. The film flirted with caricatures and conspiracy theories familiar to a Malaysian audience – the extent of its commentary resembling a year in review of people and events trending on Facebook.
Censorship decisions against the film were thus doubly surprising, and testament to the Malaysian authorities’ flair for imagination.
Made for a Chinese New Year crowd, the film would have been a great complement to the easy laughter and running commentary from friends and relatives gathered for the festive season. The gloom that’d settled over Malaysia after the 2013 elections (and which continues to thicken) might have been momentarily dispelled by Namewee’s attempt at verbalizing and poking fun at the many, many things that frustrate the average citizen.
Unfortunately, Malaysians’ access to the film continue to be restricted. Outside of SGIFF 2015, the film has been screened at the Osaka Asian Film Festival 2015 and the New York Asian Film Festival 2015.
To complete the director's cut and secure funding for a global release of the film, Namewee and his team announced during SGIFF 2015 a 40-day global fundraising kickstarter campaign with a target for USD500,000. It was dubbed the most ambitious film crowdfunding project in Asia in terms of pledge amount.
As of 19th
January, the kickstarter fundraising has not met its target and has since closed. It is not clear what alternatives are
available to the team.
Stay tuned while we keep a lookout for the film's latest developments and how you can help! Tidbit: Namewee shared after the screening about his unusual method of casting for Banglasia. This involved walking into a 'Bangla' DVD shop in Malaysia and trying to find the DVDs in which the same faces popped up most frequently. He then asked the shopkeeper who they were, and contacted these actors after several rounds of shortlisting. What followed was flying to Bangladesh and meeting them face-to-face. Eventually, the team ended up choosing a lead guy touted as the Andy Lau (famous Hong Kong actor) equivalent of Bangladesh!
Watching The Songs We
Sang (2015) would not have held that much importance for me had it not been a special screening organised by both Hwa Chong Junior
College and CHIJ St. Nicholas’ Girls alumnai associations. Surrounded by
both fans, participants and their children, it was amazing to feel the audience
hold their breath and exhale as one at various points of the film.
I am not very familiar with the genre in this film but I
noted that director Eva Tang was audacious enough to not just cover the Xinyao
movement from the music industry’s point of view but also from its very humble
beginnings in the Chinese medium schools.
The latter is what makes the film
stand out, otherwise it would have been just another documentary, albeit still
a good one, on a music movement. Eva Tang is of course, well-known for her work
with Royston Tan and Victric Thng in Old
Romances (2010) and Old Places
(2012) which are social-historical documentaries on Singapore. It is such
experience that we see Tang bring to the fore in her debut feature.
The closure of Singapore’s vernacular schools as it made to
switch to all English-medium schools was a necessary, yet bitter move in the
1970s as Singapore sought to prepare itself for survival in the world economy.
However, Nantah University had been built only two decades before as a pinnacle
to Chinese education in Singapore. Thus it is usually such regret that comes to
be associated with the switch.
However, Tang shows us a completely different
reaction in Nantah Chinese poetry club’s last days. Within this club, we see
poetry and music flourishing dramatically as the university faced its imminent
closure; The students creating poetry to express their emotions on the state of
affairs and then taking cues from Taiwan’s folksong movement to set their poems
to music which became wildly popular. Such creative outpouring of the students,
a lesson in how to respond nobly to a traumatic event.
Of course, optimism alone would not have been able to
sustain the movement. Tang then traces its increasing popularity to the
willingness of a radio disc-jockey who was willing to take a chance on these
students, which eventually catapulted them to fame as well as spawning similar
movements in various schools across Singapore, leading to television
appearances and of course, Singapore’s mandarin music industry as it is today.
The
scope of this research took 3 years to complete as hunting down members of the
various bands and producers who have long since taken different paths was not
easy. Similarly, Tang’s efforts to film their efforts in their original
locations or to substitute with old pictures must be lauded for making this
film a fantastic historical record of Singapore. This makes her attempt to
organise a reunion concert for the various bands and their supporters, in Bras
Brasah (a site where bands originally played), which was filmed for this documentary,
all the more outrageous.
I cannot recommend this film well enough for its production
values which are impeccable. In a city where archival materials are difficult
and expensive to procure while historical places are torn down every other day,
Tang has done us a huge favour in documenting the Xinyao movement for
posterity. Even if you are not a fan of Xinyao or can’t speak Chinese, like me,
the irreverent hope that its pioneers carried and their triumph over adversity
holds a universal appeal that everyone can appreciate. Keep an eye out for it
when it comes out later this year! Review by Jenson Chen
Conversations about the identity of Singapore cinema continues with this 5-part series of talks by academic Wong Hongyi. This happens every Tuesday from 26 Jan to 1 Mar 2016, 7.30pm (except 9 Feb) at the Workshop Space at Objectifs.
Entry is by Donation. You can register on the event page.
This series of talks will take a closer look at Singapore cinema by uncovering recurring themes and focusing on the works of several filmmakers. Learn more about how the Singaporean identity has shaped our films, and how it has expressed and influenced our perceptions and understanding of the world.
These talks are organised in conjunction with Objectifs’ Watch Local screenings. Get more information on our Watch Local screenings here.
This introductory seminar to the 5-part series will look at Singapore film through a number of identifiable themes and concepts. Ideas like memory, nostalgia, space, identity and the use of Singlish in some of our local films will be examined with examples from various Singaporean filmmakers. A good place to start is the omnibus 7 Letters, itself a part of the numerous initiatives of SG50 and an attempt to look at how Singapore has changed across our five decades of nationhood.
2 February 2016
Art as Alternative Voice
Many times, art is used by the artist to reclaim what has been taken away from the powerless and the marginalised. This seminar looks at how films in Singapore are sometimes a representation of the person in the street with his or her fears and aspirations. In this way, film can be used to validate individuals who are neglected or even rejected by the collective consciousness. Some of the films of younger filmmakers like Boo Junfeng and Kirsten Tan will be featured in this session.
16 February 2016
Director Focus: Jack Neo
This third seminar in the series takes a look at Jack Neo, who is sometimes believed to represent the Everyman in Singapore. His choice to focus on the problems of the masses is arguably the source of his appeal. The issues that he explores may be mundane but many of them are very real. Throughout his filmmaking years, Neo has evolved and developed a bankable formula that works. Some of the films we will watch include Money No Enough, I Not Stupid, Homerun, and Ah Boys to Men.
23 February 2016
Director Focus: Wee Li Lin
A prolific filmmaker in her own right, Wee Li Lin is a master of the short film genre. Starting from Norman on the Air in 1997, which won her an award at the Singapore International Film Festival, Wee has been making films that explore the inner worlds of archetypal, localised characters. In this seminar, we take a look at some of these shorts. Lunch Time is about a coffeeshop assistant who fantasises a better life; Holiday features the sudden retrenchment of an average Singaporean man; and Autograph Book talks about the pains of growing up through the eyes of a 12-year-old.
1 March 2016
Director Focus: Eric Khoo
One of the forerunners in the Singapore film scene, Eric Khoo has contributed to the growth of the industry significantly. He has also influenced a number of young local filmmakers hoping to make their mark in Singapore and abroad. Many of his films are dark symbolisms of existence in urban spaces. The characters featured in films such as Mee Pok Man, 12 Storeys and Be With Me are edgy, displaced and lonely individuals. The way they cope with their lives serves as a mirror for the rest of us who may be grappling with similar issues. In this final seminar of the series, we round up with Khoo and his works.
About the speaker, Wong Hongyi
Wong Hongyi is an academic who teaches film and communication in local tertiary institutions. He received his BA and MA (Literary Studies) from the National University of Singapore. Apart from teaching, he has also developed curriculum for university modules such as Introduction to Film Art and Shakespeare in Film. He believes movies have the power to transcend cultural differences and bring new perspectives to otherwise fettered minds. Apart from film, Hongyi is also interested in literature and writes creatively. He was a contributing writer in the 2014 Singapore Writers’ Festival, leading a literary walk as part of the Festival with fellow writers from the third installment of the Balik Kampung series (forthcoming).
We so rarely encounter nuanced treatments of aboriginal lives and struggles in the movies that some of the buzz around Panay, the opening film at this year's SGIFF, proved to be very promising indeed. What less could emerge from the collaboration between two directors, one with multiple feature films under his belt, and another whose aboriginal status should grant him some firsthand purchase on the struggles faced by such populations? What less might we expect from a film that clinched the Audience Choice Award at this year's Taipei Film Festival, and that landed among the top eight contenders for SGIFF's equivalent award after the festival's first five days?
Sure, critical reactions to Panay might have been lukewarm, drawing attention to its broad characters, saccharine plot and generic village milieu. But perhaps those compromises are not out of place for a film aimed directly at the hearts of a mass festival audience, especially to serve a cause as well-intentioned as the representation of aboriginal lives. Of greater concern, however, is the risk that Panay's good intentions don't necessarily serve the cause that it promises to back, and could well lead it instead to backfire.
Here's a rundown of why:
1) Panay bogs itself down with too many challenges for its protagonist.
Panay opens with wide shots of an idyllic cliffside motorbike ride into the title character’s village, giving us a sense of what’s at stake as we glimpse roadside billboards that declare ‘Land for Sale’. A boy sits on the roof of his house at dusk, trying repeatedly to make phone calls to an absent mother working on the mainland. That same mother, our title character, has her news item on the aborigines cut by her employer for, in her own words, ‘some showgirl’s tits’. An old flame from high school shows up at her doorstep, and turns out to be trying to help a client buy over their family’s plot of farmland. Her children tell him that their village canal has stopped flowing, leaving the land barren. Panay’s elderly father, tending the grasses alone, collapses into a faint.
These stockpiling challenges shape our sense of the stakes that might permeate Panay and plague aboriginal communities beyond the dark of the cinema. But we might also sense, just from Panay's first reel alone, that the film bites off far more material than it can chew in the space of 99 minutes. Given a miniseries, or even a full TV season, this material could have served as fodder for a sweeping and impassioned portrait of a contemporary Taiwanese aboriginal family. (We might not be surprised to learn that Cheng Yu-Hsieh, one of Panay's two directors, has devoted more of his recent filmography to the realm of TV.) Unfortunately, as a relatively short feature film, Panay simply doesn't have the running time or economy of expression to support such a portrait. And, as we will see, this lack of time and economy ends up further spawning two of Panay’s more fundamental hurdles to its own cause.
Presented as part of Singapore Art Week (16–24 January 2016), 13 Little Pictures, a filmmaking collective, will showcase 8 short films, including 3 new works this coming Saturday. The new works are Lei Yuan Bin's 'An Autumn Afternoon', Liao Jiekai's 'Silent Light' and ' Yeo Siew Hua's 'The Minotaur'.
Yeo Siew Hua's 'The Minotaur'
Liao Jiekai's 'Silent Light'
Tan Bee Thiam's 'Kopi Julia'
Here are the details:
Saturday, January 23, 2016 at 7:30 PM - 9:30 PM
LASALLE College of the Arts, Green, 1 McNally St, Singapore
All welcome. Admission is free
Refreshments from 7:30 pm.
Screening starts 8:00 pm
Programme (1 hr 25 min)
1. Tan Bee Thiam, Kopi Julia, 2013, digital video, black and white, silent, 7:04 minutes
8. Yeo Siew Hua, The minotaur, 2015, high-definition digital video, colour, sound, 13:00 minutes
13 Little Pictures supports independent filmmaking through ideas, collaboration and production support. Since its founding in 2009, it has organized three regional film labs and produced twenty-seven films.
Celebrating six years of the collective, the screening features experimental films of mystery, including 'Silent light' (2015), a new work shot entirely on 16 mm film by Liao Jiekai, and 'Kopi Julia' (2013), a tribute to 1950s Malay horror films by Tan Bee Thiam. The films will be presented on a 6-metre wide outdoor sheltered cinema screen underneath the stars.
Featuring films by Wesley Leon Aroozoo, Daniel Hui, Lei Yuan Bin, Liao Jiekai, Gladys Ng, Sherman Ong, Tan Bee Thiam and Yeo Siew Hua. Curated by 13 Little Pictures and Melanie Pocock, Assistant Curator, Institute of Contemporary Arts Singapore.
Singapore tends to be too hasty in obliterating things of the past. Thankfully, there are movies that have captured some of these lost monuments and places in Singapore. And here is your chance to set foot on where these 'lost' monuments once stood.
State of Motion is a bus tour that retraces these places with Singaporean artist and filmmaker, Toh Hun Ping through his extensive research on 20th century Singapore films and their filming locations. With a focus on a selection of classic Cathay-Keris films, audiences go on a trip to these film locations where an artwork responding to both the film and its site awaits them. Participants are encouraged to not just remember but to re-imagine the film and an ever-changing Singapore landscape.
Programme Outline
The starting point of State of Motion will feature a pop-up exhibition curated by the Singapore Film Locations Archive, focusing on the films of the Cathay-Keris Studio and the important landmarks related to this slice of history.
Tour participants will see a presentation of short excerpts from selected Cathay-Keris films, including iconic titles like Chinta Kaseh Sayang (My Darling Love, 1965), Korban Fitnah (Victim of Slander, 1959), Mat Tiga Suku (Mat Crazy, 1965), Che Mamat Parang Tumpol (Black Hand Gang, 1960) and Sumpah Pontianak (The Curse of Pontianak, 1958).
The tour will visit five filming locations ranging from the former kampongs in Siglap, to the old Outram Prison and the iconic Queen Elizabeth Walk. Each stop will feature a site-specific artwork, created by Singapore-based artists Kin Chui, Mark Thia, Hafiz Osman, Stephanie Jane Burt and Mike HJ Chang and curated by Kent Chan.
Tour Locations and Featured Films
Starting Point: Level 8 Promenade, National Library Building
1. Old Outram Prison; Korban Fitnah (Victim of Slander, 1959)
Tour Schedule
Tour 1: 10:30 am - 1:30 pm
Tour 2: 11:00 am - 2:00 pm
Tour 3: 11:30 am - 2:30 pm
Tour 4: 12:00 pm - 3:00 pm
Tour 5: 12:30 pm - 3:30 pm
Tour 6: 1:30 pm - 4:30 pm
Tour 7: 2:00 pm - 5:00 pm
Tour 8: 2:30 pm - 5:30 pm
Tour 9: 3:00 pm - 6:00 pm
Tour 10: 3:30 pm - 6:30 pm
*Please arrive at Level 8 Promenade, National Library Building, 15 minutes earlier for registration. Tours will commence as per schedule. Latecomers will bear the risk of missing the tour.
Sunny Yu’s debut feature The Kids revolves around the lives of teenage couple Pao-li (Wu Chien-ho) and Jia-jia (Wen Chen-ling). The narrative shifts between the couple's high school days and the present, situated a few years after. Pao-li is now a kitchen helper at a roast meat stall, Jia-jia works at a café, and they live with their baby daughter and Pao-li’s mother (Yang Chi) – a compulsive gambler – cramped in a one-room flat.
Jia-jia’s struggles with her abusive father and cheating ex-boyfriend loom over the couple’s high school romance. The present offers little relief, saddled as it is with familial responsibilities and marital deceit. Contrast is mild between the past and the present, and nostalgia cut short.
Pao-li weathers through the day with a stoic countenance in both timelines, while Jia-jia's aspect is constantly clouded. The years in between do not left much of a mark on the characters, so the film’s juxtaposition of time is light in effect.
The drama in the present is triggered by Jia-jia leaving the house with the child, leading to Pao-li's ill-fated series of amends. The story plays out like a melodrama, but one of loose intensity and unexploited tension. In what was probably intended as a culmination of his desperation for cash to secure a new apartment and the marriage, Pao-li attempts to rob a wealthy woman in one of the final scenes. Yet, even this sequence was rendered with a gentle hand, and Pao-li’s desperation, like his character, appears distant.
There are some lovely moments in the film, and the one-room flat littered with unwashed clothes, leftover food, and occupied by Pao-li’s unkempt mother, provides a stark backdrop for the youthful faces of the couple and their child.
Yu's writing is sophisticated, and safe. The story stands on its own without being consumed by thematic expositions. The visuals are similarly measured. What would be great for Yu’s next project would be a further venture into the depths of the ordinary.
Review by Teenli Tan
This review is part of the Asian Feature Film Competition series at the Singapore International Film Festival 2015. Read more about the filmhere.
There was an encouraging significant turn out at the
National Museum to watch the Asian Premier of The Return by multi-disciplinary artist Green Zeng - a Singaporean film
on an ex political detainee as he returns to society after years of lost time
and opportunities. It was a home-coming of sorts as the film had garnered
international attention after having been selected for the Venice International
Film Critics’ Week in July 2015.
The pre-text of the film about a political detainee would certainly
have given rise to much interest – Singapore’s political sensibilities have
increased among today’s millennia generation, and this with against the recent
passing of Singapore’s first Prime Minister Lee Kuan Yew, meant the film’s
premier was definitely very timely and relevant. The film gives a voice to the
human impact of political dissent through a fictional narrative of political
detainee returning, and integrating into civilian society – the film sheds
light on the challenges, personal sacrifices and the uncertainties of the
future. The film certainly took pains in providing a good back story in setting
the various scenes.
From a personal perspective, the hardship and emotional
impact on immediate loved ones was quite emotional to watch. Broken
relationships, lost time, missed opportunities between husband and wife, father
and children were all very realistically depicted. Balance was achieved by
including broken relationships that needed to be healed (between a repentant
father and neglected son), and a more caring father daughter exchange that
provided a catalyst for healing.
The daily challenges of re-integrating into today’s society
was another aspect that the film did not shy away from. From re-connecting with
other ex-political detainees, to media interest, to flashbacks of political
movement that hinted at the activities that had probably resulted in political
detainment – the audience catches a fuller glimpse into the how the lives of
political detainees would have been affected.
The film looks to that an almost documentary approach. It
did not provide an opinion on right or wrong, or take sides – keeping very much
to presenting situations and allowing the audience to finally come to their own
conclusions. Cinematographically, it was beautiful. The camera angles, framing
and scenes were beautifully composed and shot. Much credit must be given to the
photography team for being able to capture and invoke nostalgia through the use
of image.
Perhaps my only comment would be on the pacing of the film.
As many of the themes covered - such as relationship difficulties, lost time -
are all very familiar and real to the everyday audience, the extensive detail
and film time allocated to each felt at times repetitive.The Return certainly comes at an appropriate
time and voice in today’s increasing political awareness.
Held across two days at the Substation, the Asian Shorts
Programme look to bring together and give exposure to up and coming new Asian
filmmakers. The selections were wide and varied – coming from multiple
countries including Thailand, South Korea, Japan, Israel, Iran and even Bhutan!
A number of films were having their World Premiere (Coming Attractions, A Special Visit, A Monk In the Forest),
International Premiere (April Fool’s, In
The Room) and Asian Premiere (Missing
One Player).
The programme looked to cover different themes – from the
avant garde and artistic, to dramatic, to animation and more. Some filmmakers
chose to focus on a clear straight story line, while others preferred to be
less structured in taking the audience through an experience of the film,
rather than the use of a narrative storyline.
A number of personal stand outs include One-minded of which was told from the point of view of a fan. While
the story itself was unique based upon the shenanigans within an apartment
shared by two women, taking the point of view of a fan certainly added an extra
dimension for the viewer.
Another stand out was
Constant Angle – a submission from Iran. Told in a single continuous long
take, it was a very modern take on the relationship between a couple on a drive
to dinner. The short’s pace was very strong and fast, and the filmmaker
certainly made the most of the very strong script while drawing out the best in
her actors as the different challenges and situations were played out
completely within the confines of a car.
My personal favourite was the submission from Israel, April Fool’s. A particularly well
scripted short – it begins rather sedately with home video scenes of practical
jokes before hitting the audience with a particularly shocking clip of a
practical joke gone horribly wrong. The audience is then taken on a search for
the prankster which ultimately leads to a journey of self discovery for the
film maker himself.
Resignation reigns supreme in this somber film about the place of women in modern Iran.
Directed by promising newcomer Sina Ataeian Dena, and co-produced by Yousef Panahi, brother of Berlin Golden Bear winner Jafar Panahi, Paradise follows the journey of a disaffected young woman, Hanieh (Dorna Dibaj), as she tries to escape the oppressive miasma of the conservative school she teaches at. Part documentary and part social drama, the most striking part of Paradise is easily its visual language: the often-used candid camera approach lends a sense of organic growth to the narrative, while the striking contrast between the outfits of the various characters with the mundane and drab palettes of the landscape evokes a certain Pop-Art yet Neo-Realist aesthetic sensibility.
By interacting directly with non-actors on the Iranian streets, who are not aware of the fact that they are being filmed, Hanieh confronts the issues that the modern Iranian women faces at a basal level, exposing the true state of the body politics and policing of women from since they were youth, to their completely indoctrinated adulthood and old age. Given the somewhat blandness of Ataeian Dena’s screenplay and the ham-fistedness of his imagery, this artistic choice that favors an amorphous, and ever-present, sense of dread and urgency over that of contextualization helps to balance out the monotone that the film occasionally lapse into.
Thematically, the most comprehensively covered idea in Paradise is that of moral resignation—in the opening, we bear aural witness to an interview between Hanieh and an officer responsible for approving her application to transfer from a school in the distant suburbs of Tehran to one much closer to the city, and listen in on the enforcement of a hegemonic religious tradition on an obviously emotionally-battered woman. The audience gets to watch a black screen while Hanieh is verbally hounded and queried on how much neck and ankles a woman may show: emphatically, the answer is none. Later on, even as we watch Hanieh subvert the various expectations of tradition in minute acts of rebellion, we also see Hanieh crack down on acts of dissent by her students with her own brand of self-policing words. In this case, the accused has become the accuser, and we get to extrapolate the only outcome these exchanges can have, a vicious cycle of traditionalism enforced with thinly veiled and clearly articulated threats.
While Dibaj’s subdued performance is thus fitting, it also leads to the occasional lull in narrative pace, as the plot is presented at a soporific speed throughout the entirety of the film. However, viewers with patience can thus get the opportunity to revel in the immersive quality of the society depicted and the space it inhabits.
The more interesting sequences of note are those involving Hanieh’s school and its all-female student populace whose acts of rejection of school laws is simultaneously envied and resented by Hanieh—we watch these hijab-clad girls discuss the hairstyle of anime character Judy Abbott and sing pop songs whilst still being so heavily constrained by the cultural framework they live in, and the effect is joyously surreal. Darker is the undercurrent that runs through the film however, as we piece together the connection between Hanieh, her behaviors, and the recent disappearance of her students, as well as the somber and reproachful tone that the adults approach their young with.
All in all an admirable attempt, a meta-textual curiosity of some merit would be that of its sound. Having all of its audio material confiscated before post-production, the entirety of the soundscape of Paradise is recreated in Berlin, where every dialogue and every background sound is painstaking work by sound designer Lajos Wienkamp Marques.
Review by Alfonse Chiu
Paradise won the Swatch Art Peace Hotel Prize from the jury for first features and the Ecumenical Prize at the 68th Locarno film festival.
This review is part of the Asian Feature Film Competition series at the Singapore International Film Festival 2015. Read more about the filmhere.
Happy New Year everyone! As the new year starts, here is something handy for those who want a primer on recent Singapore films, especially if you haven't been keeping up and you want a reason to watch. We are giving you a 'Watch SG Film Calendar' here because we believe there is a film for every occasion through the coming year. Here is hoping that these films will enhance these special days to come.
New Year’s Day
1 Jan
‘In the room’ by Eric Khoo
In Room 27 in a fictitious Hotel Singapura, a young man named
Damien dies of an overdose of happy pills on New Year's Day. Straddling between
the netherworld and the real world, in Eric Khoo's terms, Damien plays a creepy
voyeuristic ghost who stalks human beings caught in relationship junctures tied
to sex. Slicing through a cross section of the decades, this is somewhat Eric's
tribute to Singapore going through puberty. For those who want to say Happy SG50
for the last time, say it with this film.
Thaipusam
24 Jan
‘Journey of a Kavadi Bearer’ by Navin Kumar
Navin Kumar' short film 'Journey of a Kavadi Bearer' offers you
an unusual insight into the festival many of us may feel squeamish about. It is
unusual because this is actually the journey of a Chinese medium getting into
the body piercing ritual of Thaipusam. Get into the psyche of a devotee and
revisit this rich tradition that's been played out on our streets for the
longest time. And thankfully for a return to good sense with the lawmakers,
they don't need to turn the volume down again this year.
Chinese New Year
8 & 9 Feb
‘Homecoming’ by Lee Thean Jean
No CNY is as close to the local experience as much as
'Homecoming'. It's got everything a Singaporean and Malaysian needs to feel
festive. There is Karen Neo, the naggy Singaporean mum who is trying to look
like an Ah-Joon-Ma (Korean auntie) played by the inimitable Jack Neo.
There is the goofy kampung boy-next-door Ah Niu who plays her son. There is
that familiar bus ride up Malaysia and the even more familiar toilet experience
of having no toilet paper! And of course lots of CNY cheer for the whole
Valentine’s Day
14 Feb
‘The Girl in Pinafore’ by Chai Yee Wei
Though an ode to Xinyao, 'The Girl in Pinafore' is really a
'pak tor' movie, with heart-stirring love songs that speak of more innocent
times Singapore has seen, the 80s/90s to be exact. This was a time without
Facebook and Instagram and East Coast Park was still possibly romantic for a
date. The film follows a group of school mates who bond through song and dance,
and there is also a tragic Romeo and Juliet plot thread that hopes to yank a
few tears from you.
15 February
15 Feb
‘To Singapore with Love’ by Tan Pin Pin
15 Feb is actually not a special day but the title of a song
composed and performed by Francis Khoo, one of the political exiles interviewed
in Tan Pin Pin award-winning film 'To Singapore with Love'. Sounds heavy? The
film's really quite relatable as it more interested in how they live the
day-to-day and how they connect with the Motherland now.
After almost becoming the PSY of Singapore, actor Chen Tianwen wants
to stun you like a vegetable even more with this feature film. And that's no
joke. Getai gets a new twist with English lyrics. Think '881' translated. The
film also offers some 'feel good' sense of hope as it is about a man who wants
to sing a different tune from his family's Getai staples and eventually
fulfills his dream. Don't think too much when watching this. Just sing along
with your heart.
Labour Day
1 May
‘Labour day’ by He Shuming
This Labour Day, pay tribute to workforce heroes with He Shuming's
short film 'Labour Day', which is essentially a collection of 3 female
portraits - a peidu mama who moonlights in red lights, a Malaysian photocopying
lady who fails to get her work permit renewed and their landlady.
While Jack Neo's 'Money No Enough 2' is a take on money-besotted
Singapore, it is also an ode to all mothers. While chasing money, three
brothers need to take care with their dementia-stricken mother who cannot
remember the colour of the last bra she wore. This film is proven to milk your
tears according to feedback from many. It will also
June School Holidays
‘Singapore Panda’ by Sun Koh
Whether you have visited Kai Kai and Jia Jia at the River Safari
or not during the June school holidays, 'Singapore Panda' by Sun Koh is rather
exceptional edu-tainment material for the whole family. You get to learn about
pandas and the art of storytelling on radio. The mischievous digs on the state
of radio and commercialisation will also tickle you silly. (No trailer available)
Father's Day
19 Jun
‘3688’ by Royston Tan
Celebrate Father's Day with an air of nostalgia thanks to the
sounds of the Rediffusion aa heard in Royston Tan's latest feature film '3688'.
While a tribute to the late Taiwanese singer Fong Fei Fei, the movie peers into
the life of a 'Carpark Summon Auntie' and her trying relationship with her
father who (like the mum in 'Money No Enough') also has dementia. Essentially,
she is trying to take care of her father who thinks he is taking care of her by
selling Rediffusion sets, an obsolete product. Note: If your father is a
baby-boomer and understands Mandarin and Hokkien, there is a high chance he
listens to Fong Fei Fei too!
SAF Day
1 Jul
‘Ah Boys to Men’ by Jack Neo
Need we say more?
Mind you there is already 4 in the pipeline, after the success
of Part 1, 2, 3. Steady Lah!
Youth Day
3 Jul
1. ‘Red Dragonflies’ by Liao Jiekai
What do youths think about these days - What to post on
Facebook? What to post on instagram? Travelling to faraway places? So what is
Youth Day about? Liao Jiekai's 'Red Dragonflies revisits youth through the
jungle adventures of three students who like they are wearing NJC uniforms.
Trekking through a huge expanse of foliage, one of them drops into a hole and
disappears. Then time leaves that episode behind and the characters have moved
on with their own lives until they decided to look back, revisit and ask big
questions again. Have a thoughtful Youth Day!
2. ‘The Songs We Sang’ by Eva Tang
This documentary about the Xinyao movement will make the Gen-X
among us feel youthful again. Tracing the development of this music culture
that is somewhere between folk and pop, the film also speaks of a time when a
guitar is all you needed to create the next radio hit. This labour of love by
filmmaker Eva Tang features interviews with pop stars like Stephanie Sun, JJ
Lin as well as footage from a mini Xinyao concert at the Bras Basah complex,
that saw crowds throng the corridors.
Hari Raya Puasa
6 Jul
1. ‘Sayang Disayang’ by Sanif Olek
If food helps unlock festive cheer, then surely some fresh
sambal goreng during Hari Raya Puasa will add sizzle and spice to the occasion.
Sanif Olek's first feature film, about an Indonesian domestic helper who
tries to cook sambal goreng to win the heart of her disabled master, will
restore your faith in good old-fashioned human values like friendship,
forgivesenes and redemption. This film was also Singapore's entry to
Oscars Foreign language film category in 2014.
2. ‘03-flats’ by Lei Yuan Bin
Amy Tashiana shows you how to celebrate Hari Raya Puasa in style
even when your HDB flat isnt too accomodating in terms of space. She uses her
corridor and a huge serving of spirit and zest as a host. This documentary
'03-Flats' puts the microscope on the lives of three women who live in vastly
different HDB units, with interior designing (or the lack of) defining each of
the flats and mirroring each woman's personality. One lives a very spartan life
with minimal furnishing, one is a visual artist who has transformed the flat
into an impressive studio. Last but not least, there is the larger-than-life
Amy whose mix of boudoir and glamour will convince you that the shoebox which
is the HDB is what you make of it.
Royston Tan gives Makansutra the cinematic treatment with
meticulously executed shots of food and their preparation overlaid with earnest
voices from the hawkers who will convince you their food is made from the
heart. Something to whet your appetite duri
National Day
9 Aug
1. ‘7 letters’ by Royston Tan, Eric Khoo, Jack Neo, Tan Pin Pin,
Kelvin Tong, Boo Junfeng, K Rajagopal
'7 Letters' is possibly one of the best SG50 tributes we saw in
2015. It brings together what might be the 'Big 7' among Singapore directors
(Eric Khoo, Jack Neo, Tan Pin Pin, Boo Junfeng, K Rajagopal, Kelvin Tong,
Royston Tan (Anthony Chen not included)) and jogs an assortment of memories
about Singapore. It is essentially an omnibus of 7 short films made by the 7
directors, each given the stimuli that their film is a love letter to home. We
dare say surely will laugh, and likely can cry. (Plus Jack Neo's segment has zero
product endorsement for once)
2. ‘1965’ by Randy Ang and Daniel Yun
The other film that was made for and timed with Singapore's 50th
anniversary is '1965'. This obviously period film depicts Singapore in a time
when racial relations were tense and Lee Kuan Yew did the crying thing. Watch
this for the epic treatment, cast of thousands, high production values and Lim
Kay Tong's LKY impression.
Hungry Ghost Festival Aug 1. ‘2359’ by Gilbert Chan
2. ‘881’ by Royston Tan
Take a pick? Do you want horror or comedy this 7th month? Such
is the multi-faceted nature of the Hungry Ghost Festival in Singapore that it
spooks you, shocks you, tickles you and entertains you. Stories involving the
netherworld are aplenty to make you want to reach home before 23:59 every night
in fear that you may bump into some woman with long hair and a white dress. For
people who are not afraid, test your tolerance by watching '2359'. This horror
film is about the fateful Charlie Company in Pulau Tekong in which a recruit
disappeared from his platoon and was found dead and disembowelled later.
For those who cannot stomach horror, opt for a signature
piece from Royston Tan, '881'. Through the singing career of the 'Papaya
Sisters', we are taken through the melodies and beats of Hokkien songs and
realise that they are actually quite melodic. This was the film that redefined
Hokkien music and made it somewhat cool. Don't miss it!
Teacher’s Day
2 Sep
‘Kallang Roar’ by Cheng Ding An
We found a good teacher in Uncle Choo from Cheng Ding An's
'Kallang Roar' - a film about how the Singapore Lions won the Malaysia
Cup (soccer) in 1977. That was the legendary team with Quah Kim Song and
Dollah Salleh, led by the team's coach Uncle Choo. This is a 'road to victory',
feel-good kind of film about fighting, sportsmanship, friendship and a very
inspiring teacher. It is like a Singapore version of Mr Holland's Opus (played
by the late Robin Williams). For soccer fans, subject matter aside, the movie
has the blessing of the 2 legends Quah Kim Song and Dollar Kassim as their sons
acted in the movie.
Hari Raya Haji
12 Sep
‘Road to Mecca’ by Harman Hussin
There are many movies out there about the Mecca Pilgrimage but
this is one made by Harman Hussin, a Singaporean about his road trip to Mecca.
Little encounters and pockets of surprises make the film more than just a
'Lonely Planet' video. These include a grand prayer session in India that
resembled a Hollywood set and a serendipitous encounter with a girl called
'Priti' (no pun intended) in Lahore at a high, breathtaking vantage point
overlooking the whole city.
Children's Day
7 Oct
‘Innocents’ by Wong Chen Hsi
Growing up in Singapore back in the 70s and 80s, many would be
more familiar with the concept of 'tough love' than the children today.
Everyone was caned at least a few times by their parents but in today's
Singapore, kids have it easier. This film, while taking a leaf from the
authoritarian culture we experienced in the earlier decades, also offers some
questions for children and adults today about conforming and finding their own
space. Two young school children, class monitor Syafiqah and rebel Ah Huat,
form a close friendship driven by the oppression of their school and find
solace in spaces like the public drains where they can claim their own. A film
like this makes Children's Day a little more thoughtful.
Deepavali
29 Oct
‘Stranger’ by Boo Junfeng
'Stranger', one of Boo Junfeng's earliest short films, takes you
on a tour through the human maze that is Little India near the Deepavali
season. Pregnant with reminiscent thoughts, we see Little India through the
director's eyes who is rekindling old memories of happy times spent here. A
little fun, a little sad, a little deep and a lot honest.
Go ahead and scare yourselves silly this Halloween by watching
The Maid, possibly the scariest local horror flick on record so far. A Filipino
domestic enters into service for a Singaporean Chinese couple in an
eerie-looking shophouse. Discovering what her fate could be will send electric
chills down your spine.
World Kindness Day
13 Nov 1. ‘Dahdi’ by Kirsten Tan
2. 'Not Working Today’ by Tan Shijie
Believing in 'paying it forward' may not be the easiest thing in
today's world but these 2 short films will restore your faith in kindness.
'Dahdi' by Kristen Tan is about an encounter between a Rohingya refugee and a
Singaporean Ah Ma. While the Ah Ma makes a police report about the refugee's
intrusion, she also instinctively offers her milo and other items of comfort.
'Not Working Today' is about a Bangladeshi construction worker
who needs to take a breather from the daily grind of work but has no money to
see a doctor and he discovers an unexpected pocket of kindness from a
Singaporean. (No trailer available)
World Toilet Day
19 Nov
‘Everybody's Business’ by Lee Thean Jeen
Did you know that World Toilet Day was invented by a
Singaporean? The person who invented it is Jack Sim, who, like us, feel
Singapore can do better when it comes to toilet hygiene. The film 'Everybody's
Business' puns the word and the concept of 'shit' to death but is still
immensely entertaining. There is an abundance of laughing material if you don't
mind the toilet humour overdose. There is a department called the Ministry of
Toilets in which Kumar is the toilet minister. This minister literally walks
the talk and visits local coffeeshops to take dumps to test the condition of
coffeeshop toilets. Then there is the epic sewage pipe bursting sequence where
it rains shit everywhere. Enough kick, enough entertainment and a nice useful
message to take home.
World Aids Day
1 Dec
‘Rubbers’ by Han Yew Kwang
Have a little fun while remembering to have safe sex on World
Aids Day, with the comedy 'Rubbers'. If this trailer clip of award-winning
actress Yeo Yann Yann slipping a condom over a banana rocks your boat, go catch
it as the movie promises to be as naughty as Ris Low's red 'bigini'.
International Migrant Workers Day
13 Dec
1. ‘Ilo Ilo’ by Anthony Chen
Take this day to remember the contribution of our migrant
workers who are helping to build our new MRT lines and take care of our house
chores and children. There is no better movie to remind us that they too form
an important block in our social jigsaw puzzle than Anthony Chen's
award-winning film 'Ilo Ilo'. Based on Anthony's personal experience, the film
depicts the growing relationship between a young boy and Terry, the Filipino
domestic worker who lives with him. Certainly a film worth watching based on
its own merit, anytime of the year.
2. Unlucky Plaza’ by Ken Kwek
While Onassis is not exactly a migrant worker in the
film 'Unlucky Plaza' by Ken Kwek (more like a migrant business owner), this
film's allusion to Lucky Plaza, a meeting point for thousands of Filipino domestic
workers every week, is a reminder of the mixed social fabric we have in
Singapore. This film, as some reviewers have mentioned, is a Singapore film
like no other due to the director's bold over-the-top style. Onassis'
failing business at Lucky Plaza and mounting debts drive him to create a
hostage situation that rocks the whole of Singapore. Guess the impossibly
high-octane plot speaks for itself.
Christmas
25 Dec
1. ‘Singapore Minstrel’ by Ng Xi Jie
Christmas is a time to share joy and spread some cheer, very
much like the act of busking, an ancient art form that stems from the love of
performing and brightening up the lives of people who watch it. Filmmaker Ng Xi
Jie lets us in on the world of busking through the eyes and voice of
Singapore's most famous busker Roy Payamal. Like busking, the film is quite a
mixed bag of many things - make-believe, fantasy, realism, social
commentary, theatrics and education. So give your time for buskers this
Christmas who are working hard to add colour to our streets!
2. 'Gift' by Daniel Yam
This unassuming short film garnered over 8 million views on Viddsee and got re-posted, ripped and reshaped in plenty of other online sites all around the world. It could be Singapore's more viral short film ever. It's a simple short film about a dad's love and his best gift to his son. Soak into the spirit of Christmas with this short film here.
That's all folks! Remember: an SG film a day keeps the blues away!
'Rose' by Derrick Lui: 'Rose' strikes an emotional chord in depicting the growing distance and tensions between an ageing grandmother and her family. Masterfully crafted with a clear direction, 'Rose' is at once poignant as well as highly relevant, with the film painting an all-too-familiar scenario in our ageing society—one that probably unfolds much more often in reality than we like to acknowledge. (Bryson Ng) >>> If you would like your film feature on FRESH TUBE, just email us at sindie@sindie.sg and we will put your film on the line-up.
