Death eludes me. The word in itself comes with plenty of questions that I still cannot answer, and the act in itself is one of those things you cannot know for certain until you are at the end yourself. After all, there are different kinds of deaths. No two people dying will carry the same intentions, circumstances and fears.
It greets everyone differently - in accidents, illness and old age. While being predictable (because everyone passes on eventually), Death still remains one of the most mysterious and least talked about.
So if you are to die tomorrow, would you prefer to know it or not?
Can death be a good thing?
Can it be selfish?
Written and directed by Nawapol Thamrongrattanarit, Die Tomorrow is a 75 minutes Thai film depicting the moments before death. The scenarios presented are inspired by news headlines between the years of 2012 to 2016.
However, you will not be greeted by gruesome scenes of the dying itself. There is no dramatic spilling of blood on roads, nurses rushing into the hospital A & E or crying relatives by a death bed. You will find yourself in the moments leading up to death - the calm before the storm and the start of underlying emotions bubbling to the surface.
Like death itself, the film itself is fleeting in depicting its scenes. There is a hotel room being cleaned up and restored to its untouchable state. A wife looking out the window after her husband leaves the home. Interview snippets with a child or an elderly gentleman. The scenes are so ordinary that they make your heart ache. Their peacefulness and moments of mindfulness showing you exactly what death takes away, or ironically, how death enhances the importance of these daily normalities to be almost precious.
The lighting of the scenes gentle and soft, with minimal sound accompaniment. The most prominent sound effects being the breathing patterns of the characters in the scenes or the ominous ticking of a timer that reminds you that every second brings about two deaths around the world.
The film does not seek to sensationalise dying or death itself, but to present it in its raw form of everyday life and how it actually is. I appreciate this approach of presenting death in its subtleties and in ways most people to be able to connect with.
You would not be surprised to find yourself in any of those situations - making you aware of just how fickle-minded life can be and the disturbing nature of death in every day innocence (or shall I say ignorance).
That is where the power of this film lies - in its generous portrayal of the emotions that come with dying. Thamrongrattanarit does not shy away from its messiness but embraces it, and by doing so, the film becomes a digital space for anyone looking to reconcile with the concept of death itself in its physical and emotional act.
Singular Screens, a special film programme under the Singapore International Festival of Arts opens today with A Man of Integrity (Lerd) (pictured below) by Iranian film director Mohammad Rasoulof. As a scathing critique on the inherent corruption in contemporary Iranian society, the film tells the story about a man who lives in a simple life tending to his goldfish farm in northern Iran, but is threatened by the growing power of corruption. Banned in Iran, it won the 2017 Un Certain Regard prize at the 2017 Cannes Film Festival, as well as the Best Director (International) and Best Actor (International) at the 54th Antalya Golden Orange Film Festival.
This film leads a line-up of 13 new films that seeks to respond to the general sentiment of the Festival programming with ideas revolving around the notion of resistance and the experience of the individual. These films include one Asian premiere (Madeline's Madeline) and 12 Singapore premieres. Curated by Asian Film Archive, SIFA 2018 invites film and arts lovers to embark on cinematic adventures that celebrate independent voices across the world and power of the individual.
We spoke to Thong Kay Wee, Outreach Executive of the Asian Film Archive, about how he and his team put together this selection of films.
The themes found in Singular Screens include resistance and the individual. What kind of resistance were you looking for in the films selected?
As a programme partner for Singapore International Festival of Arts 2018, AFA wanted to develop a line-up of cinematic works which will align with the overall tone of the festival.
The notion of resistance could refer to just and dramatic heroism or the daily toll and quiet internal struggles. Cinema as a medium allows for immersion and imagination, granting avenues to project aspirations amid larger circumstances. This prospect of introspection and reinvigoration is what we hope people will experience with each film screening. This idea of resistance is also reflected in the risk-taking and ingenuity of filmmaking. I am drawn to films that repel from formulaic cinematic languages and instead, reveal innovative ambition in evoking further cerebral and/or visceral triggers. This is how I have illustrated “singularity” in film curation.
Was it a pre-requisite for the selected films to have never been premiered in Singapore before?
Yes, it was a pre-requisite for the films to be new and never screened in Singapore before.
How long was the curation process and how many films did you screen through before selecting the films that would be shown?
I screened through over 40 film titles produced in 2017 and 2018 before arriving at a final selection of films for this programme.
What were the challenges you faced in the curation of ‘Singular Screens’?
As we wanted to feature a strong line-up of films which have never been premiered in Singapore before, we had to persuade filmmakers and distributors to put faith in our programme and the festival, and to grant us screening rights. As an international programme based in Singapore curated by AFA, I felt that it was essential for ‘Singular Screens’ to have a good amount of Asian film representation. More importantly, the programme needed to speak to and illuminate different audiences.
If you had to pick three personal film favourites, what would they be and why?
My three personal films favourites are ‘Madeline’s Madeline’, ‘Arabia’ and ‘I’ve Got A Little Problem’.
Madeline's Madeline
A critics’ darling of Sundance and Berlinale this year, we are very proud to secure the film's Asian premiere in Singapore at this programme. We hope that the tale of artistic manipulation and experimental theatre sits well within the context of a festival focused on the performing arts. This spellbinding film can be seen as an amalgamation of visceral and conceptual possibilities in both theatre and cinema, possessing a nice balance of experimentation and emotionally-driven narration. This film is not your everyday American indie Sundance film.
Arabia
Regarded by many critics as one of the best films in 2017, this devastating film of harsh industrial landscapes and soothing heart-wrenching soundscapes brings solace to the tale of anonymity in nomadic fashion. We lay witness, quietly and solemnly, to the visualisation of factory worker Cristiano's journal as he allows us to glimpse into his wealth of emotional depth. This is an epic that does not require big gestures.
I've Got A Little Problem
Ren Hang's suicide shook the photography and arts world in 2017 and this mid-length documentary is possibly the best behind-the-scenes exposé into the young maverick's inner turmoil. Politics and personal demons seem to meld into one fascinating kaleidoscope of visuals. Perhaps, like the man, the film takes on the persona of Ren Hang's infectious energy and spiralling frenzied condition. There is no better cinematic tribute to a man who lives and breathes through images.
About AFA
The Asian Film Archive (AFA) aspires to be a hub for the Asian film community, contributing to culture, scholarship and industry through organised screenings, educational and cultural programmes that open and enrich new intellectual, educational and creative spaces, to promote a wider critical appreciation of this art form.
If your film is within 30 minutes and produced between 2017 and 2018, share your story at the inaugural edition of Singapore Shorts! #sgshorts18
Singapore Shorts is an annual showcase celebrating the best and the most promising local short films in Singapore. A critical platform for excellence and diverse thought in moving images, the selection will be overseen by a panel of respected professionals across Singapore's film industry.
Alongside screenings of the selected cinematic works, the programme will also feature post-screening discussions with the filmmakers, dedicated reviews from critics and a special section of older titles from the Asian Film Archive's collection.
Date: 13 - 15 July 2018
Venue: Gallery Theatre, National Museum of Singapore
Conditions
Films must be made by Singaporeans or PRs. If films are made by non-Singaporeans, they must be exclusively shot in Singapore.
Maximum film length: 30 mins
Films must be made between 2017 and 2018
No premiere requirements
Deadline for submissions is Thursday, 31 May 2018 (no later than 11:59pm).
Selection Panel
Chew Tee Pao
Archivist, Asian Film Archive
Tee Pao has been with the Asian Film Archive (AFA) since 2009.
Leong Puiyee
Manager, Objectifs Centre for Photography and Film
Puiyee is a manager at Objectifs Centre for Photography and Film, where she is responsible for the film programmes and projects. She has managed film events such as the Singapore Short Film Awards, cINE65 Short Film Competition and the Fly By Night Video Challenge. She is also the Programme Manager (Short Films) for the 2014 to 2018 Singapore International Film Festival.
Low Zu Boon
Independent Film Programmer
He worked as a film programmer at the National Museum of Singapore Cinematheque (2011-2015) and the Singapore International Film Festival (2015-2018).
Dinesh Pasrasurum
Assistant Director, Singapore Film Commission
Dinesh is the Assistant Director at the Singapore Film Commission, a division under the Infocomm Media Development Authority, where he oversees the promotions of Singapore films and spends most of his days thinking of driving film awareness to audiences.
Sam I-shan
Curator, National Gallery Singapore
Sam I-shan is a curator at National Gallery Singapore. Previously, she was curator at the Singapore Art Museum and Esplanade Visual Arts, focusing on the moving image and photography from Southeast Asia and wider Asia.
Looking regal in a hijab over a grey robe, actress Datin Seri Umie Aida knows how to make her presence felt. And not just with what she wears but how she carries herself. It's something about the piercing look she gives with her eyes. Mystery seems to be her trademark and there is no doubt a mysterious air about her as much as about Diana Dahlan, the murderous bomoh character she plays in Dukun.
Dukun, if you don't already know is a 11 year-old film that was banned in Malaysia the moment it was about to be released. Many sources cited its macabre portrayal of murder and some said the relatives of Mona Fandey, whom the movie is inspired by, found the movie too insensitive. The real reasons of the ban were never known but the fact is, with the ban lifted and cinemas giving the film a new lease of life, ticket sales have been soaring. Within four days of its release in Malaysia and Brunei, the film raked in RM$6.2 million in box office sales.
Diana Dahlan is undergoing trials for allegedly murdering a prominent businessman and she meets lawyer Karim whose daughter has gone missing and is looking for help. Through an exchange of favours, they cross paths and connect. The movie traces her illustrious journey to the gallows, depicting various facets of Diana, from the seductive to the vulnerable to the outright monstrous. And actress Umie has filled these shoes well. A snake had a lot to do with her convincing take on this Mona Fandey-inspired character. SINdie had the privilege of chatting with Umie when she was here in Singapore over the weekend. Here is the interview.
Datin Seri Umie Aida at the interview with Jeremy Sing from SINdie
When you prepared for the role, did you get in touch with the actual people involved in the case?
For the character I didn’t reference any people. Instead I referenced a snake. I spent time, two months in fact, with a snake, to study its gestures, its movements. Day and night, I brought it with me. Even to the rehearsals! So it became my friend and whatever I did, I did it with the characteristics of a snake.
Is that the direction from Dain?
No, I developed the character myself.
Why did you model it after a snake?
Because the snake’s character is one of mystery. Of course, snakes also creep people out and scare a lot of people. Snakes have unique characteristics and they suit the personality of Diana Dahlan. I cannot think of any other suitable animals for the character. Diana Dahlan is like a snake.
Where did you get the snake from? Does it belong to your friend?
I bought the snake from a pet shop. I’m actually scared of snakes. I’m creeped out by them but for the sake of the character in Dukun, I just bought it and tried my level best to be at peace with the snake, play with the snake and be its friend for two months.
Did it bite?
No, it didn’t bite. I’m the one that bites it. (laughs)
How did you know if it will be safe?
It’s an animal. It’s a snake. Even if people say it’s safe, you never know. Anything can happen right? I just trust the snake and the snake trusts me, so we became good friends. It was my BFF for two months. It was nice to me, and I was nice to it, so nothing happened.
Did the director try to give you references for Diana's character?
Not really. The snake was my reference. I just needed the snake. I don’t need a third party. The snake was everything for Diana Dahlan.
I read about that spooky incident you encountered in the cell in which you were gasping for breath. Any other interesting incidents?
The execution room. There was a shot needed there and when the director came, he saw and felt ‘something'. It was the actual room where executions took place. So he cancelled the shot. And when I went in, I felt something my instincts say ‘no, we can’t shoot this hanging scene here.’ There was something that was not good in there.
How about the scene in which you were doing black magic in front of a body?
At that particular moment, that’s not me (Umie) la. That’s why I can do that. Looking back, I’m like, how did I do this and that? It’s not me. ThatS crazy.
There was also a scene of you contorting your body?
For that scene alone, we shot about 8 hours.
Why?
Because at the time there was no CGI, so my sister and I laid down together to get that moment. In order to extend my legs, we need a second body. So my sister was lying below and I was sitting on top of her.
When you first knew the movie was going to be banned right after you completed it, how did you feel?
I had no feelings. I became quite numb. And even when I heard it was coming out again. I did not feel any huge emotions. Maybe it's because I already faced disappointment at the start. Now that it’s out, I’m just going with the flow, not expecting anything. Honestly, my feeling is gone.
Over the last 10 years, did anyone try to revive the film?
No one.
Why is that so?
Maybe we were just too tired and wanted to move on. So no more Dukun.
But the box office sales are great. Congratulations!
When you watched the film again. How do you feel watching yourself perform?
That woman is crazy. (laughs) Seriously, that woman is crazy. That's not me anymore.
Do you feel scared watching the movie?
Ya. That character, that crazy woman.
How would you say your life or career as an actress has changed between now and then when you were doing Dukun?
Prior to Dukun, I did get good and heavy roles and people did show some appreciation in my acting. However, after Dukun, I felt people appreciated my acting at a whole new level. It was good. I hear some people saw it as a master class in acting.
What were some of the feedback you got from the Malaysian audience since it opened?
I think this movie has succeeded in bringing all sorts of groups and races together to watch the film. This has rarely happened to me in my entire career, to see audiences of different races being able to appreciate and enjoy the film equally. I also see more appreciation for local talent from the audience.
Photo of Dukun's gala premiere in Kuala Lumpur
Photo credits: Miera Zulyana, for Malay Mail Online
Dukun is out in cinemas in Malaysia, Singapore and Brunei. Catch it now!
'What Times Mosquitos Are Sleeping?' by Petrus Kristianto: With a title that sounds like an exciting Nat Geo docudrama, this film defies all such expectations by taking viewers on an unsolicited road trip to urban mundanity. With frequent bumps in sound design and pacing, this cinematic ride excruciatingly paints the absurdity of a vapid urban life. (Bryson Ng) << Want your film to featured? Send us at sindie@sindie.sg >>
