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ShoutOUT! Mocha Chai Lab debuts new film scanning lab and 'Eating Air' restoration project

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Cinephiles, old-movie viewers, and old movie-viewers rejoice! Local post-production house, Mocha Chai Laboratories, helmed by award-winning sound designer Lim Ting Li and veteran filmmaker Chai Yee Wei, are rolling out their latest venture—the first and currently only film scanning laboratory in Singapore capable of 5K HDR film-scanning, alongside film cleaning and other restoration services.


While film duplication is no new process, the old way of doing things such as via telecine—when film data is transferred to tape—almost always ends up in a disaster from a contemporary perspective, as the footage generated do not match the actual films themselves. Combined with inadequate or non-existent archiving best practices, this often results in a scenario where colors fade or the actual structural integrity of the films themselves deteriorates, leaving behind barely usable archival materials.

Beyond conservation purposes, this is an issue that affects the audience too, as the display capabilities of audiovisual equipment and devices expand at an astronomical rate—a trend that guarantees that old copies or badly preserved films cannot be enjoyed the same way that their filmmakers intended.  Just imagine your 144p YouTube videos loading on your iPhones, and you can already feel the pain as an audience, not to mention the filmmakers themselves if they are still alive, of having to squint at something that is only twenty cm from your eyes.


Mocha Chai Laboratories, which includes local content aggregator A Little Seed, aims to help with the situation by searching for classic Singaporean films and recovering them for restoration purposes, before finally making them available on digital platforms for consumers, depending on the filmmakers’ wishes.

An example of such a classic title would be that of the groundbreaking Eating Air. Made in 1999 by directors Kelvin Tong and Jasmine Ng, the film prints of the self-professed  ‘motorcycle kung-fu love story’ were thought to be lost until Mocha Chai Laboratories’ persistent effort uncovered a surviving copy in Thailand. Before the discovery, audiences, programmers, and other interested screening parties alike had to contend with degenerating copies leftover from the title’s initial theatrical run or even low-resolution DVD transfers.


Upon successful retrieval of the prints from their Thai holder, Mocha Chai Lab aims to perform a 4K HDR restoration of the film alongside filmmakers Tong and Ng, after which plans were made to release the title onto iTunes, available for public purchase, so that the audience may enjoy the title as it was meant to be enjoyed.


STOP10: Reviving Ly Bun Yim's '12 Sisters'

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50 years ago, Ly Bun Yim made a landmark film in Cambodian film history, with his lavish film 12 Sisters. One of the first local films to be shot on 35mm as well as incorporating innovative and bold special effects never seen before in Cambodia - earthquakes, blood and a flying Pegasus were the big highlights of 12 Sisters.

However, when Cambodia fell under the hands of the Pol Pot regime, most of Ly Bun Yim's works had been lost. Bun Yim had prior to that, produced more than 20 films during the famous Golden Age of Cambodia film history and only 3 of these films remain in any useful conditions. 12 Sisters, Sobasith and Orn Euy Srey Orn.

12 Sisters propelled Bun Yim into fame and is considered one of his masterpieces that dazzled audiences. It tells the story of twelve beautiful sisters, abandoned by their parents and adopted by an ogress and a story involved eyeballs and orgies.

 

Fortunately for film lovers, a high quality 35mm print of the film was found at the house of Bun Yim's son in California, though it was a dubbed version for Thai. It was quickly sent to Berlin for a screening as well as to be preserved at minus 18 Celsius, waiting 4 more years before it was digitized into high-definition by Nobukazu Suzuki, a Japanese archivist, working to preserve the old films of Cambodia.

It took a further year, where at Kyoto University, in association with the Japan Foundaion and assistance of Cambodian arhcivist Lim Sophorn, Bun Yim was abl to re-synchronise the Khmer audio into the film and later screened in Japan.


Finally however, in what is a historic moment, after half a century later, 12 Sisters returned to the big screen in Cambodia, in high definition, with the original Khmer audio and in the presence of the director himself as part of a larger tribute  the Cambodia International Film Festival has dedicated to Ly Bun Yim.

Will we get to watch 12 Sisters again? We reckon the chances of another domestic screening at a later point in time are high. We pray for a VOD version online.

Written by Rifyal Giffari

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'Inside the Belly of a Dragon' by Ian A Wiggins

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I thought that by this point the "white man finds himself in Southeast Asia" trope was completely exhausted, but this film proved me wrong. Here we get a huge serving of this trope with an added twist - the central character is a clown.




Inside the Belly of a Dragon by Ian A Wiggins screened the recent 8th Cambodian International Film Festival. It stars Hugh W Brown playing (presumably?) himself, a jaded and lost former clown traveling through Cambodia and finding his way to recovery. This film suffered from a lack of precision. At times it forayed into unnecessary surrealism, at other times it looked like an amateur copy of one of Youtuber Casey Neistat's travel vlogs.


It really is a shame that this film couldn't find a focus because it did have many things going for it. The cinematography, for instance, was beautiful. Moreover, I applaud the filmmakers for showing many different aspects of Cambodia, from the rural to the urban. Rather than simply showing a serene Angkor Wat at sunrise, or a bustling Phnom Penh at sunset - the film did indeed take its audience to some truly remote parts of the Kingdom. In this light, the positive thing an audience member can take away from watching this film is the diverse footage they'll have seen of Cambodia.




The music was another significant factor that kept me going. I enjoyed the fusion of traditional sounds with a modern beat, and how each song flowed into the next. In particular, I enjoyed the song playing about 25 minutes or so into the film, when the clown is hanging out with some kids in Ta Prohm (or a temple that looks a lot like it).





The film has a distinct offbeat flavour, but without a clear and strong directorial vision, it fell short. The film began with a rather cringe-worthy black and white sequence, setting up a basic heartbroken character, thus prompting the audience to expect some kind of development as the film progresses. In the description of the film, too, the audience is told they are watching a story of a man's "voyage of discovery and recovery". However, the "voyage" was too literal. The main character stumbled in and out of situations, without any directorial commentary on what those situations are supposed to mean. Even for someone like me, who has lived in Cambodia for 18 years, I struggled to understand the point of showing these different parts of the country. What was Wiggins trying to say about Cambodia? What was he trying to say about this character?


Hugh W Brown's acting was often baffling, sometimes his expressions were too much, at other times not enough. This is ironic because Brown is playing himself. Even though the choice to play himself is an interesting one, neither Wiggins nor Brown were able to maximise the artistic potential of this kind of a disruptive Brechtian technique. 





At the end of the day, the important thing this film accomplished is the spirit of collaboration. It featured dancers from Epic Arts, an NGO based in Cambodia that started out as a place for disabled kids to learn dance, but has now expanded into an inclusive arts organisation. The music is by Cambodian Space Project, one of modern-day Cambodia's first "indie" bands. Coupled with such expansive footage of almost the whole country, this film does a good job of celebrating Cambodia's current cultural and geographic landscapes. In this way, it makes perfect sense for this film to be screened at the Cambodia International Film Festival.


If only the film were helmed by stronger directorial vision...

Review by Tanvi Rajvanshi

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'Hidden Photos' by Davide Grotta

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Screened at the recent 8th Cambodia International Film Festival, the documentary Hidden Photos by Davide Grotta starts with an arresting proposition - that there are only two main reasons why people would want to come to Cambodia as tourists, to visit the Angkor Wat, or to be a genocide tourist. Enter Nhem En. He was a photographer enrolled in the Khmer Rouge regime, who took more than 14.000 mugshots of the Tuol Sleng prison victims. Today, he is unabashedly cashing in on the aforesaid genocide tourism.

On the other hand, there is Kim Hak, a young and talented Cambodian photographer who is looking to capture images of a new Cambodia. His career starts from some family pictures his mother hid underground before the war and retrieved just after the defeat of the Khmer rouge. Hak's images will take us to a new Cambodia, far from stereotypes.

In the end, which Cambodia is more relevant today? Hidden Photos won the Best Documentary Award in the The Maysles’ Brothers Competition in the 2017 Belfast Film Festival. We interviewed Davide to find out how he hatched the idea for the documentary and the reception towards the film so far.


What was the idea behind the film, “Hidden Photos”?

Idid not choose to shoot in Cambodia in order to refresh our memory of the Khmer Rouge regime and its atrocities. I stumbled into it without originality. I chose this country because I thought it was the best laboratory to get to know the human being and his relation with time, with past and his history. I think that the practice of photography links man to time in a very privileged way – he represents it. Each photograph belongs to the past.



How different is it from other films related to the Khmer Rouge?

The main difference is that we don't talk about Khmer Rouge. Instead, we use that era as background of our film. It's not our main topic. Our point is: what use do we make of images of our history? During the editing I found out that only a few brave people pose questions while looking at a picture and want to search for answers. Others make it become a business for the present. 

Moreover, the majority of people relate to it passively, for it is easier to listen to the story told by an audio-guide. I am afraid of museums, of their labels, of their anecdotes, of the spectator's laziness and of the simplifications that often take place in these places. I am afraid of places where history is cleaned and where individual experience is silenced. I shiver in front of the synthesis of an unexplained photograph. I would never take my son into a museum. I would never like to see him in a postcard.


How do current day and younger Cambodians relate to these relics from the scary past of the Khmer Rouge?

My feeling is that Cambodia is a country that is changing a lot, especially in town. It's been almost 40 years from the "fall of Phnom Penh". It's like if you tried to talk about World War II to my parents during 1980s. My parents at that time thought to create a family (I was born in 1983) and economic position (If I can make movies today, it's only because of them). For my grandparents, the bitter memory of the war still remains.



What’s the most surprising thing about the film for a general audience?

I hope each scene will be a surprise. We tried to build our characters letting you know more about them scene by scene. Personally I more attached to the audio-guide, because it's like a voice-over but not using my real voice.

What kind of reactions has the film gotten from the difference audiences in its screening journey?

We had very good responses from the public. It's our first movie, so I was very happy that people didn't leave the cinema after 15 minutes. That thought scares me a lot.
Then in Italy sometimes the public don't understand how it is possible that there is no conflict during the meeting between Hak and Nhem En. Younger Italians could possibly have different reactions, and it's not easy to explain the different relations that we or the Cambodians have with old people.

We had Cambodian audience members in Paris, France. They were very surprised to have watched a movie related to their past where there are no judgments, and where sometimes they can have fun.



Interview by Kathy Poh

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'A Life Like This' by Isaiah Tour

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Have a better life.

Spoken in simple words from a limited vocabulary he could muster in a language foreign to him, Isaiah Tour’s father delivered these words with sincerity and a hopefulness that touched me deeply. His face hardened from years of labour but eyes a true reflection of his emotions.

Isaiah Tour’s father only had that one wish for all the people he cares about, spending days on end working in a box factory in a country where he struggles to express himself in English. Tour’s wish, now with this film, is to capture that resilience, hope and to make visible his mostly absent father’s decisions and history that has shaped him into the man he is today.

Though never sharing a hug on screen or any physical contact when in conversation, this journey is emotional nonetheless. From absence to uncovering the constant presence of his father in his every day life, the complexities of the past and the weight of new understandings lie within their voice, gaze and the poignant pauses every so often.
A Life Like This is an 11-minute animation documentary written, directed and produced by Tour himself. As a young New Zealander and a first generation immigrant, Tour lost touch with his Cambodian roots and grew up in an environment vastly different from his father. In an attempt to bond with his father, he explores the family’s refugee story as survivors of the Khmer Rouge Regime from 1975 to 1979.
Isaiah Tour

This film is one of six presented by The Outlook for Someday. This seems to be Tour’s take on the theme sustainability from the point of view of family relationships, cultural roots and the passing on of narratives through generations. It was recently screened at the 8th Cambodia International Film Festival.

I must say that the Khmer Rouge Regime is a dark moment in Cambodian history and being relatively recent, you can still see the aftermath of it when you visit the country – the lasting effects on its people and morale that are yet to fade.

To tell this narrative and capture it on film is a huge task to take on, however Tour does it with authenticity and grace. Combining interview footages together with animation, he manages to balance and tread the thin line of establishing the violence of it without being overbearing. He took on the role of sharing his story and educating his viewers on what his father’s experiences were in that terrifying time, without propagating or imposing judgment. I also found it touching that within all that tragedy, portrayed through digitized humans getting shot and separated from family, Tour also gave equal attention to the fortunes and love his family encountered as well.

A Life Like This is a film so generous in sharing his own personal history, that it resonates deeply with me – prompting me to reflect upon my own shared family history of love, loss and the constant looking out for the future generations to come.

Link to watch the short film here.
Review by Dawn Teo

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'The Path' by Jeanne Labrune

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The Path is the newest French film by writer-director Jeanne Labrune, best known for Sand and Blood, which screened in Cannes in the Un Certain Regard section at the 1988 Cannes Film Festival. It has been several years since her last film, Special Treatment and The Path clearly marks her return from a long spiritual and emotional journey as Camille seeks answers about the world and her place in it.

This film spins the curious tale of Camille, who arrives in Cambodia on a Catholic mission. Every morning she walks along a river towards Angkor Wat, encountering a Khmer man, Sambath. This ritual becomes established and we see how their two worlds collide.
This film screened at the Cambodia International Film Festival 2018, and we were able to get a few words from its producer, Catherine Dussart.

 
How did the story for The Path take shape?

The Path was adapted from a book written by a french author Michel Huriet. Originally the action is set in Japan.

Did you have any filmic inspirations to draw from when making this film?

The director Jeanne Labrune totally reinvented the story and when we decided to shoot the film in Cambodia she totally rewrote the script to pay  a homage to Cambodia people and culture and to evoke its painful history.

 
What was the most challenging aspect of this film?

The most challenging was  the heat during the shooting.
How much of the production involved Cambodians and did you get much support from the Cambodian Film  Commission?

We had a great help from CFC and from Bophana Centre. We could shoot in the wonderful site of Angkor and find the perfect location in the abandoned church of Ta Om.
The film could not have been made in better conditions than in Cambodia. The team was fantastic, extremely professional and devoted to the film. We had a small crew as our budget was tight.
Where will the film go after the Cambodian Film Festival?
The very next screening for the film is next week in Richmond Festival in Virginia USA.


Interview by Rifyal Giffari

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'First They Killed My Father' by Angelina Jolie

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The film opens with the title: ‘A Daughter of Cambodia Remembers’ before showing us a beauteous green landscape with only the quiet and calming atmospheric sounds to hear. Suddenly, a montage mix of Richard Nixon together with old news and archival footage and the Rolling Stones takes over with Sympathy for the Devil; we see some clips of Cambodian culture and their natural landscapes, social commentary and splashes of violence, fear, death and horror - the casualties of the war and conflicts.



And then, we return to a calm. The camera tracks across the floor and makes it’s way to the television screen which plays news footage of the war. Reflected on the old-style braun tube television screen is a little girl who watches the news play with a blank look on her face - I do not think she fully grasps the severity of the situation, but then again not many seven year olds would.




It is here, we finally see our protagonist, the little seven year old little girl whose journey though the war torn Cambodia we will follow. She walks out of the room into the balcony and we, along with her are treated to a view of the city streets of Cambodia from the balcony top; from her point of view.


What makes this picture stand out from the many war films out there, is the film’s commitment to see the conflicts and terrors from a child’s point of view, as tragic it may be to watch.


Angelina Jolie’s 2017 biological historical thriller, First They Killed My Father is a stunning anti-war picture and easily Jolie’s most assured directorial work. The film is based on the memoir of the same name by Loung Ung and it tells the story of a seven year old girl, along with her family struggling to survive within a conflict torn Cambodia during the Khmer Rouge Regime.



The film makes the exceptional decision to consistently follow Loung’s story, creating a focused and emotionally riveting emotional point of view, considering that the perspective comes from a child who is witnessing terrible things. And what makes it even more tragic is that the girl may not truly be aware of the many things that are happening to her - it is clear to us when we see her face and watch her expressions as she goes by the many situations.



When faced with difficult times, troubling concepts, her expressions are a little too stoic. Yet, despite her stoic expressions throughout, there are moments where she shows her emotional vulnerability as a child surviving in a conflict torn place, which makes her circumstances all the more tragic to watch.



It is noteworthy to add that Sreymoch Sareum, the child actress who plays the role of Loung Ung does a fantastic job in the film, delivering a performance that is not only realistic and dramatic, but also subtle and filled with little nuances that breathe life into the character.


There is something beautiful and raw about Anthony Dod Mantle’s cinematography, (most notable for his work and collaboration with notable Danish directors, Thomas Vinterberg and Lars Von Trier) with its fluid moving cinematography that not only looks polished and beautiful, but also feels spontaneous and realistic, further enhancing the subjective point of the view of the picture.


There is a hair raising scene where the girl, Loung runs through a field of mines. The camera keeps it to the ground, we see things from Loung’s point of view, the people running through the forest, behind the trees and stepping on mines as she anxiously takes steps forward. The well placed camera perspective makes the scene a heart-stopping thrill to watch.



Throughout the picture, we see the Loung Ung and her siblings go through the many tribulations and hardships during the Khmer Rouge Regime in Cambodia. We see her grow as a girl and person, eventually becoming more assured of herself and coming to terms with the losses that have occured to her during the Regime’s rule.


The picture ends on a hopeful note, fading to white and with the text: ‘The film is dedicated to those who lost their lives under the Khmer Rouge - and those who survived.’ dedicating to those who have been affected by the conflict. Certainly, First They Killed My Father shows the harrowing the experiences of those who have suffered under the Regime. I cannot think of a greater way for the people's sufferings and losses under the hands of conflict to be understood and known by the masses - memortalising the loss of innocence and sufferings of the people onto the screen.



First They Killed My Father was recently screened at the 8th Cambodia International Film Festival, and it was also the official Cambodian selection for the Academy Awards 2017. 

Review by Timothy Ong

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'Loung Preah Sdech Korn' by Mao Ayuth

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Something cropped up in the research on this film that was more interesting that fact that it was potentially the most expensive film ever made in the history of Cambodia cinema, almost US$1 million in budget. News reports have surfaced about the erection of several new statues of Sdech Korn around Cambodia, all bearing a facial resemblance to Cambodian prime minister Hun Sen. And these statues have allegedly been commissioned by tycoons who wanted to get into the good books of Hun Sen, knowing Hun Sen's quasi-worship of Sdech Korn, the 39th Cambodian King in the history books, also the subject of this epic film named Loung Preah Sdech Korn by director Mao Ayuth.

Hun Sen's fascination with Sdech Korn has been well-documented. He funded research into the location of Sdech Korn's ancient capital, backed several tourism developments around the site, and financed as well as wrote the foreword for a book on Sdech Korn. To add that these, the National Bank of Cambodia issued commemorative coins modelled after the currency that Sdech Korn created - he created what was arguably Cambodia's first widely-used currency. Hun Sen has also often drew parallels between himself and Korn in his speeches.


It is therefore of no surprise that the film production basked in the establishment-driven support that was offered to the making of the film. A million-dollar budget aside, it was not short on resources and as the film appeared lavish and worthy of a period costumed epic. The director, Mao Ayuth himself, was the Secretary of State at the Ministry of Information and already an institution in the Cambodian filmmaking scene, being one of the most famous directors from the 90s, and the director of Crocodile Hunter, Cambodia’s most successful and popular movie since the end of the Khmer Rouge. Lastly, a film that reinstates Cambodian history, culture and values should have made it an easy sell to the authorities.

So what's the story?

In 1505, a king named Preah Srey Sokun Bot fell in love with Bopha, a beautiful woman who was living with her mother, father and a brother named Korn. The lady was promoted as concubine, while her brother Korn, played by champion bodybuilder and personal trainer Sophorn, was assigned the title of Loung Preah Sdech Korn. Following some ominous dreams the king had, coupled with dissatisfaction from palace officials, as well as warnings from fortune tellers who said the king will be overthrown by a man born in the year of the dragon like Korn, the king plotted to have Korn killed.


Upon hearing the plan to have him killed from his sister, Korn fled east but used the opportunity to raise an army to rebel against the king. In 1512, Korn marched back the capital and overthrew the king, ending the Chaktomuk era of Cambodia. He then ascended to the throne as the 39th king of Cambodia. One of the most significant things he introduced during his reign was the first ever Cambodian currency, the sloeung, a gold coin inscribed with a scaled dragon.

Amidst the bulk of contemporary Cambodian films at the CIFF, many with an independent voice, Loung Preah Sdech Korn finds itself at a funny spot, being somewhat authority-driven, with authority in many senses of the word - a national message, a film veteran, a link to a government ministry and adulation from country's number man-in-charge. But if parallels have been established between the lives and identity of both Sdech Korn and Hun Sen, there might just be something pretty ominous in this film?

Written by Jeremy Sing

Check out which other 9 films made our STOP10 list of Cambodian films from CIFF 2018. 

STOP10: 'Until They're Gone' by Christopher Lockett

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Bill Morse is a volunteer who has been working for the landmine cause in Cambodia. He got out of cushy retirement in California to create Landmine Relief Fund in Siem Reap with his wife Jill Morse. Under Landmine Relief Fund, they helped raise funds for Aki Ra, a former Khmer Rouge child soldier, and his team of deminers: Cambodian Self Help Demining—CSHD. These deminers dig up landmines by hand to rid Cambodia of its deadly legacy.

Many people have had fateful experiences with landmines in Cambodia. This documentary on the Morse couple, puts the spotlight on the ongoing landmine issue in Cambodia and possibly around the world, which they feel is not getting enough attention. Here is a chilling fact, one person gets maimed by landmines every 22 minutes around the world and Cambodia is one of the most heavily mined countries on the planet.


Bill Morse and Jill Morse at a fundraising event


In the film, we are also introduced to Aki Ra, a former Khmer Rouge child soldier, who tried to manually remove landmines using just a stick and pliers. His DIY landmine removal operation was later shut down by the government, only to be injected with a new lease of life when Bill and Jill came into the picture and provided him with certified training and funds.

Thanks to Christopher Lockett, the maker of this documentary Until They're Gone, who generously shared about the experience of making this film in our interview with him, we are greatly enlightened about this pressing issue, still gripping countries, reeling from the after-effects of war.

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Have you been to a post-war country ridden with landmines, or was this your first time? Did you have fears of stepping onto one during the shoot?

I have been to Colombia, which is also plagued by landmines. I've also been to Mali, Cote D'Ivoire, and Senegal where there were local rumors of landmines. But previous to visiting Cambodia for the purpose of making the film, I was never in an area that had so many landmines, nor such an involved history with the U.S. as Cambodia.

I was never afraid of stepping on a mine when we were shooting. The deminers work to exacting international safety standards and the protocols in place were closely followed. The deminers would sometimes joke, when I was about to place a tripod on the ground: "No no, not there!" and then laugh if I had a look of panic on my face. 

As Bill Morse says in the film: "People looking for landmines don't get hurt by them. It's the people who aren't looking for them who get hurt or killed." 

Did you have first hand experience of seeing a land mine explode?

I had never seen a landmine explode before making the film. I work in film/TV as a cinematographer and camera operator as my day job. I have been around controlled pyrotechnics before, but not landmines. When the deminers clear unexploded ordnance such as landmines from a field, the blow it up in-situ. The concussive blast - you can feel it in your chest 100 meters away. 


Did you have a story in mind when you started or did you just go with the flow of the shoot and the story emerged slowly during editing?

I had a much bigger story in mind, initially. I wanted to do a global story, several countries. But budgetary realities, time, resources, which I'll get to in question 4, necessitated refining the focus and reining things in to a manageable shoot. As Bill Morse and I discussed the larger issues, and as I was still not finding the elusive thing I was after from the start - and American entrance point into the story, a place where an American audience could relate to the subjects of the film, mainly because our audiences in the States dislike reading subtitles for an entire film - it occurred to me that Bill and Jill Morse were the story. 


They uprooted from their California retirement to relocate to Siem Reap, solely to fund Aki Ra and his team of deminers. Telling that story, a relatable story about someone seeing an issue, realizing they bring something to the table that might help the problem, that story tells itself, has a narrative drive, etc. Juggling all the complicating issues and history that led to the landmine and unexploded ordnance problem in Cambodia, and the United States role in that history with so many moving parts.... that was what needed to be very carefully edited. 

Whenever telling stories about real, living people, much care must be taken to get the facts and the nuances just right. And the history, there is so much of it! The film is dense. I think people learn a lot from repeated viewing. But the challenge in the editing is to not let the story bog down. Nobody wants to watch a 90-minute news report. But a story about people trying to make a real difference, a hopeful difference the audience can actually feel and be motivated to action themselves - that's the challenge of the edit. 


My technique is very simple, although as the saying goes "Simple does not always mean easy." I put the people who know how to talk about the issues on camera, let them tell their story, and stay out of the way. 

What were the greatest challenges making this film?

Budget. I made the film because people weren't paying attention to the ongoing landmine issue. Out of sight, out of mind. When you pitch a story like that, people get excited and think "Oh wow, I didn't know this..." But those generally aren't the people with access to the kind of funding required to send a film crew to Cambodia from the U.S. several times to shoot this film. I am experienced DIY, low budget filmmaker who also has been lucky enough to work on high production value films and TV shows. So I was able to make a film that doesn't feel like it was made on a shoestring budget. But that takes a toll on your crew, your relationships, yourself. It's not an easy thing to do. Maybe that's why no one else was telling this particular story, ha! Constantly having to figure out how to cash in favors, how to pay for things, how to give this story the serious research, and production value that would appeal to a broader audience... all very difficult when you don't have the resources to do it. But in the end, you know you have to get it done. It's too important an issue to let something like funding stop you from doing it. So you simply find a way. 

Describe the most dangerous part of your shooting experience.

The most dangerous part of filming was probably crossing the street in Phnom Penh. Joking. There's always some danger when shooting abroad. I speak only a few words of Khmer. Occasionally someone would ask who I was, what am I doing with a camera, etc. I got something like the flu and had to keep shooting in the minefield on cold medicines wearing body armor in extreme heat. A cameraman on my crew discovered he was allergic to the local mosquitoes in Siem Reap, so we had to lance an infected blister, drain it with a syringe, wrap it, and continue shooting. A camerawoman on our crew got food poisoning. I felt terrible about that because she had signed up for a Khmer cooking class on her day off, but she spent it sick. 

Sleep deprivation, fatigue, rough travel in trucks, buses, tuk-tuk's, staying healthy on the road. Those were the main challenges. We honestly weren't in that much peril while shooting with the deminers in the fields, even when blowing things up. They are very serious about their safety protocols, thankfully. 

The crew who was shooting with me are colleagues and friends. We've done very tough shoots in difficult environments around the world, five continents now. I trust them and they accept the challenge of bringing home great footage that tells the story, no matter what the challenges of the environment or location are. All of us came away with an appreciation for Cambodia and Khmer culture. Despite its growing pains and local issues, every one of us would come back to Cambodia in a heartbeat. I'm writing this from a hotel room in Phnom Penh right now. 

What kind of social impact or benefit has the film created so far? (We know you have a donation option on your website)

Social impact - people are learning about the issue. They're learning about the American involvement in Cambodia during the Vietnam War era. They're learning how these explosive remnants of war keep a country from moving forward. It's very hard to do that when you can't walk to school or farm the land because what's lurking under the soil might kill you. 

With the current administration in Washington, DC, there is a very real and immediate threat of funding cuts. That's one of the chief aims of this film - to help Landmine Relief Fund raise money to keep deminers in the field. The film talks a lot about the cost involved with keeping the demining effort going. I want people who see the film to know that making a difference is within their financial means. They can make a difference. 



Until They're Gone was screened the recent 8th Cambodia International Film Festival.

Check out the film's website and Facebook page, where you can learn about how you could make a donation.

Interview by Jeremy Sing

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 'Surviving Bokator' by Mark Bochsler

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Surviving Bokator is a heartfelt story about reclaiming cultural identity and building bridges between generations. Filmed over 5 years, it is told through the struggle of an elder genocide survivor to resurrect the ancient Cambodian martial art of Bokator and preserve it in the nation’s youth.  Through their journey, the film gets to the very core of the generational fracture happening in Cambodian communities around the world today, between genocide survivors determined to revive and maintain traditional ways and Cambodia’s youth looking to forge anew.

While working in Cambodia on a martial arts segment for an experimental short film, director Mark Bochsler happened upon the story of Grandmaster Sean Kim SAN and his mission to rescue Cambodia’s ancient martial art of Bokator from extinction. Kim Sean referred to his mission as “surviving bokator” for the next generation.


Mark immediately felt compelled to document this burgeoning grassroots movement of restoring Cambodia’s culture. Bokator (which has its techniques carved on the walls of the Angkor temples), became a metaphor for Cambodian’s collective strength, which was taken from them during the 1970’s cultural cleansing by the Khmer Rouge, the regime systematically executing practitioners of traditional arts, among many others.

Upon embarking on this journey in the spring of 2010, Mark was unaware he would commit seven intense years to this project, having to face various challenges along the journey. But building deep relationships with the Bokator Family over the years has been a privilege — and being given access to tell this Cambodian story as a foreigner, an honour.

Here is our interview with Mark.

How did that initial brush with Bokator come about? Have you always had ties with the Khmer community?

I was actually doing a small artshouse project, a creative piece not a normal character film, about martial arts in rural Cambodia. I did a bit of research and discovered Bokator and the journey of grandmaster Sean Kim San surfaced. He was trying to revive and restore this art form for the new generation. It was a fascinating story for me and this was in 2010. And I set up a meeting with him. And I showed up at his club in Orussey market in Phnom Penh in April that year. In a few hours of speaking with him, he laid out his past, present and more importantly, the future, of what was about to unfold or likely to unfold in the immediate future. That included being selected by UNESCO to go to South Korea to compete for the first time against other traditional martial arts groups. So that was how the film came about.

I have not had ties with Khmer community . In Canada, we have a smaller population of Khmers. This whole journey, the Bokator journey, I have grown to develop a special connection and bond with these people. These are people who will be with me my entire life. I am fortunate to have spent such a long time in Cambodia and to be able to make this film into such a strong piece that it is now.



At what point did you reach the decision that this needs to be a feature length project as opposed to a TV one, which would be vastly more manageable?

It is a misconception that TV is more manageable. Just because it is a different length does not mean it is easier or harder to make. This film eventually will be cut down to television size when we convert it for TV. But when you are making content for TV, you are making it for a very specific target audience in mind. Also, TV has to fit other types of conventions, such as commercials. You the have to aware that this section will last 15 minutes and you have to wrap it up and then reintroduce them again once the commercial is over. The feature length format is quite unrestricted. You just have to make sure the film is watchable. You make it with the thought of your audience, who they are and how best to serve them. How to get your message to them. The feature film format is for me the preferred format. Finally, the type of film you do for TV is also different. It is quicker, and faster. You need to edit it in such a way that you jump quickly through scenes and explain a lot more than showing. TV tends to devalue the full immersive experience of watching it as a film.

What were your biggest challenges in making the film?

Raising funds for the films, esp in Canada. The most common issue posed in Canada was that there were no Canadians in the film. And especially if you were getting funding from the government perhaps, they would want to see some Canadian content. We also had to, at some point, change the editing team. They were hired and then had to go on to other projects that paid properly. So we had to reinvent ourselves, every 6-8 months or so, depending on what cycle we were in.

That was the biggest challenge I would say and it led to bigger complexities.



Was the local ecosystem conducive to facilitating the making of a project such as this? Or were the local film industry still lacking in certain aspects?

I found it was quite conducive. I found that the access we had here was amazing. I dont think it could be achieved in the West. Its different. Filming in cambodia has been a joy and pleasure. As soon as people found out what we were doing, they offered to help and we made a lot of friends around the Bokator community and they went on to make their own films,. The people at Bokator were very creative. And very helpful, whether it was to do some translation or hold the microphone or to give guidance on location. When you get back to Canada, things are a bit more structured and you cant be as spontaneous.

The local film industry in Cambodia is growing. There werent a lot of skills here so we spent some time training people. For instance, the Canon 5D Mark2 DSLR - not many poeple were using that, so I had to rent it from local photographers and then train people here. At the same time, there is an eagerness here to learn and grow. A lot of it is tired to the youth here. But we actually had to go back to Canada to do the editing there because I needed the skills of editors and story people who have worked on some very significant projects to help me through some of the hurdles we had. We had 400 hours of footage that we had to find a story in.

Have there been any concerns about how the film's sensibilities may be informed by your perspective as opposed to the Khmer people's?

I was very careful in taking on this project in that I didnt want to imprint my own viewpoint . ThatS a challenge because you become very self-conscious of where to place scenes in the film. These decisions arent always easy because you have to ask yourself: is this the way you would do it as a westerner in terms of your approach to storytelling or scene scripting, or is this how local people would do it?

There was some conflict in the film and I had to backtrack abit and do my due diligence. It was a conflict between generations and I had to find out why the grandmaster reacted the way that he did to his disciples. That required some homework for me and I had to do a bit of research on my part to understand the collective trauma the genocide had inflicted on that generation. So that was quite an eye-opener for me and it forced me to consider certain issues that I had not considered in the past.

At the end of the day, I would like to think that I represented Cambodia and the characters quite well. I didnt take sides with anything. I tried my best to represent the characters on each of their journeys as well as the collective journey so that the audience can decide for themselves when they leave the theatre.


About the Mark Bochsler


Mark Bochsler is an accomplished Canadian cameraman & photographer, turned filmmaker. During his 25-year career, his work has been screened internationally at festivals including Cannes (2010, At Home By Myself… with You), and television (ARTE, Animal Planet, Discovery, CBC). He was also nominated for a CSA / Gemini Award (Fatal Deception, CBC, 2013).

Mark is a visual artist and storyteller fuelled by a passion to explore diverse stories about the human journey which can bring much needed empathy to today’s fractured world.
Mark currently resides in Toronto, Canada with his partner in life and work, Sandra Leuba, and their two young children.

Interview with Alfonse Chiu

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: Frights, witchery and fights in 'The Witch' by Huy Yaleng

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Huy Yaleng is a Cambodian filmmaker who is known for his talent in acting and directing, often doing both in his films. He seems to have a special affinity with horror as he also acted and directed in the successful horror film Vikaljarek (Psychosis), which dealt with themes of mental illness. 

He has also helmed movies such as "Pteah Khmaoch Tinh" ("Ghost Bought a House"/ "The Haunted House"), "Khmaoch Daem Chek Chvea" ("Ghost on the Banana Tree"), "Mao Svet" ("Stingy Person"), "Aprerng Is Deat" and "Akok Achrova".

His latest film, The Witch, harkens back to a folktale involving witchcraft that threatens to tear a family apart.

Set centuries ago in the Longvek era, Raj is a happily married tycoon with two children and another child on the way. His wife is Tep Leak and they live in harmony, until one fateful day Raj is held up by bandits and wounded. Strange incidents begin when he wakes up, such as the disappearance of cattle and people. The well also dries up. Raj starts to act so oddly that his brother-in-law accuses him of witchcraft.



The trailer hints at a dramatic and entertaining B-horror that won't let up on the fights and frights, with some special effects thrown in. Reviews of The Witch have been positive, with the film receiving a standing ovation during its gala premiere and audience members commenting that Khmer films are improving. The film has also found critical success in Brunei. Its notable and bewitching OST is performed by Leang Sophalien.

Director Huy Yaleng told audiences that the movie took about a month to film, and him and his crew paid meticulous attention to the smallest details in order to properly portray the feel and atmosphere of its historical setting. 

His advice to up-and-coming filmmakers and actors is, “Being committed to performing at your best is one of the factors that go into being a good filmmaker and actor, as well as being able to reflect on who you are and what you are capable of doing. By doing so, you are able to set goals to perform at your best. However, most important of all, you must love what you do."

The Witch was screened at the 8th Cambodian International Film Festival and was earlier released in Phnom Penh and other Cambodian provinces on 25 January this year.



Written by Jacqueline Lee

Check out the other 9 films in our STOP10 list of Cambodian films from CIFF 2018.

STOP10: 10 Cambodian flavours at the 8th Cambodian International Film Festival

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Still from 'First They Killed My Father'

Almost everything leads back to the Khmer Rouge in recent Cambodian cinema. Almost like a birthmark that never goes away, it remains an overriding narrative that is still trying to find its resolution. But judging from the plump offering of Cambodian films at the recent 8th Cambodia International Film Festival (CIFF) (5-11 March), filmmakers have found distinguished voices to tell these stories with. 

Some voices reverberate with irony, like documentary Hidden Photos, which highlight the crassness of cashing in on genocide-tourism. Some voices tell it like it is, like one of the world's most famous Cambodian (and she does have a Cambodian passport), Angeline Jolie, with First They Killed My Father. Some tell it with urgency like Until They're Gone, a film on eradicating landmines. Some tell it with a tune of hope like Surviving Bokator, about a genocide survivor who wants to rejuvenate the ancient Cambodian martial art of Bokator, which looked a little 'King Fu'.

Khmer Rouge aside, the CIFF has put forth a rich platter of Cambodian films that explore the Cambodian identity from a plethora of lenses, including the historical, the romantic, the nostalgic, the cultural, the artistic and the pedestrian. Only in its 8th year, the CIFF has matured quickly into a richly-layered and relevant film festival. A colourful basket of world cinema and a thoughtful selection of contemporary Cambodia films aside, the festival also paid tribute to iconic film figures like Cambodian director Ly Bun Yim, whose films headlined Cambodian cinema of the 50s-60s golden age; as well as iconic Thai actor Vithaya Pansringram, who appeared opposite Ryan Gosling in Only God Forgives.

For STOP10, we picked 10 distinctively different Cambodian films from the CIFF and marveled like a tourist at the extremes each film took us to. Between guerilla-green fatigues to gold embroidery on royal robes, we hope these films will find their ways to your neighbourhood or even flat-screen TV soon.

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12 Sisters (Puthisen Neang Kong Rey) (1968)
Ly Bun Yim


12 Sisters is a landmark film in Cambodia, being the film that propelled the rise of the Cambodian film industry before the Khmer Rouge. Directed by the iconic director Ly Bun Yim, who had a retrospective at the 8th CIFF, the film was one of the first films shot on 35mm and the first film that featured never-before-seen special effects on Cambodian screen, such as a flying Pegasus, an earthquake and the gouging out of eyes. Made in 1968, these special effects seem even more of a curiosity today. Such bizzare scenes will make more sense when you hear the even more bizzare fairytale about 12 sisters who escape their human-eating mother and marry a king, but are later banished into a cave and blinded in a scene of kitschy violence. Their hopes of revenge rest on the son of one of the sisters. For many years, nobody could find a copy of this film in decent condition. So the long-awaited HD screening of the film last week at the CIFF must have been a moment to remember.  

Read more about the film and where you could possibly watch it here.

   
Inside the Belly of a Dragon (2016)
Ian Wiggins

A Western clown on a road trip in an exotic Eastern land, always in costume, a vermillion tin soldier jacket and oversized clown boots. A dash of humour, a gush of warm fuzziness, a glimmer of hope and a tinge of bittersweetness is what you will receive as you follow Hugh W Brown on his road trip in Cambodia. Hugh W Brown, a Northern Irish clown is disenchanted with his life as a performer, but this changes as he takes in the glorious landscapes, makes friends with the local communities, and even does a little cultural exchange with the artists and individuals who live within the villages. His journey reaches a high point when he finally finds 'The Dragon', a limestone mountain. As a befitting end to his travel and the film, he holds a concert within the mountain and puts together an East-meets-West showcase of arts and a testament of friendship.

Read more about the film here.


Hidden Photos (2016)
Davide Grotta

This documentary starts with an arresting proposition - that there are only two main reasons why people would want to come to Cambodia as tourists, to visit the Angkor Wat, or to be a genocide tourist. Enter Nhem En. He was a photographer enrolled in the Khmer Rouge regime, who took more than 14.000 mugshots of the Tuol Sleng prison victims. Today, he is unabashedly cashing in on the aforesaid genocide tourism. Kim Hak, a young and talented Cambodian photographer who is looking to capture images of a new Cambodia provides a counterpoint to Nhem En. Which Cambodia is more relevant today? Hidden Photos by Davide Grotta won the Best Documentary Award in the The Maysles’ Brothers Competition in the 2017 Belfast Film Festival.

Read more about the film and where you could possibly watch it here.


A Life Like This (2017)
Isaiah Tour

From the comforts of his home in Papatoetoe, New Zealand, Isaiah Tour, a creative content producer with Auckland media group MediaWorks, traces his roots back to Cambodia where he own father Huat originated. Over an intimate conversation with Huat, Isaiah learns about how his father escaped death during the Khmer Rouge and brought his grandmother Jou Ma to New Zealand. In one particularly chilling account, Huat described how he could not board the same jeep as his boss bound for the border, due to lack of space. So he had to walk. He later learnt everyone on board the jeep was killed at the border. Then there is also the inspiring part about how Huat rebuilt his life in New Zealand. While refugee stories are almost a dime a dozen, the father-son dynamics are interesting to watch in this one. Huat has almost never opened up this chapter of his book to Isaiah or to the world at such lengths.

Read more about the film and where you could watch it here.


The Path (Le Chemin) (2017)
Jeanne Labrune

Adapted from La Fiancée du Roi, a book written by a french author Michel Huriet, The Path tells the story of French girl, Camilles encounter with Sambath, a Çambodian man. Camille has joined a Catholic mission in Cambodia, with the intention of taking her vows there. Each morning, she walks through the ruins of Angkor Wat and crosses paths with Sambath. What we get is more than romance, but also a rather spiritual experience. At the same time, the film is also a love letter to the Cambodian people and culture and a chance to appreciate its history, including the dark chapters. Director Jeanne Labrune is an Oscar-nominated French filmmaker who has made 13 films since 1978 including Vatel, Sans Un Cri and Tomorrow’s Another Day.

Read more about the film and where you could possibly watch it here.


First They Killed My Father (2017)
Angelina Jolie

Enough has been heard about this directorial labour of love from Angelina Jolie. While it rode on her fame as a Hollywood actress, the film has earned its own stripes judging from the generally positive reviews it has been getting from the critics circle. Suspicions about cultural appropriation, getting Hollywood treatment or even a sense of white-saviour hood were aplenty but the film proved to be a sensitive portrayal of the Khmer Rouge, balancing numerous sensitivities and a unique window into troubled times through a different lens - the eyes of a little girl. Based on an autobiographical non-fiction book by Loung Ung, who also wrote the screenplay, the film tells the story of Ung who lived through Pol Pot's regime and got enlisted as a child soldier, while her six siblings were sent to labour camps. This gripping tale of survival had a Netflix release last year in September and has found its own life on the red carpets worldwide. Glad it came home last week at the CIFF.
Read more about the film and where you could possibly watch it here.


Loung preah sdech korn (2017)
Mao Ayuth

If you are looking for a chance to connect with Cambodian history, culture and identity, this is one film to watch. The filmmaker left no stone unturned in the making of this exquisite epic. In fact, the filmmaker Mao Ayuth is quite a household name, especially in the 90s, having made Crocodile Hunter, a film with hall-of-fame status. Loung Preah Sdech Korn is a historical drama about in-court fighting that erupted into a war and the overthrowing of a king. Set in 1505,  Loung Preah Sdech Korn is actually the name of title given to Korn, the brother of a lady whom the king falls in love in. Gossips and bad-mouthing by palace officials led to an evil plan to kill Korn by the king. Loung Preah Sdech Korn survives this and wins a war against the king, emerging as the 39th king in Cambodian history.  

Read more about the film here.


Until They’re Gone (2017)
Christopher Lockett

Bill Morse, a volunteer deminer, who got out of cushy retirement in California to work in mine-removal in Siem Reap with his wife Jill Morse, had this to say in the film Úntil They re Gone about landmines: "People looking for landmines don't get hurt by them. It's the people who aren't looking for them who get hurt or killed." And many have had fateful experiences with landmines in Cambodia. This documentary on the Morse couple, puts the spotlight on the ongoing landmine issue in Cambodia and possibly around the world, which they feel is not getting enough attention. Here is a chilling fact, one person gets maimed by landmines every 22 minutes around the world. In the film, we are also introduced to Aki Ra, a former Khmer Rouge child soldier, who tried to manually remove landmines using just a stick and pliers. His DIY landmine removal operation was later shut down by the government, only to be injected with a new lease of life when Bill and Jill came into the picture and provided him with certified training and funds.

Read more about the film here.


Surviving Bokator (2018)
Mark J. Boschler

During the Khmer Rouge, the following groups of people were not so kindly looked upon and and suffered the heaviest blows from the regime - engineers, intellectuals, teachers and….. traditional arts practitioners. Bokator is an ancient Cambodian martial art form and you can actually see its techniques carved on the walls of the Angkor temples. Suppressed during the regime, this martial arts form found a renaissance post-war and one war survivor, San Kim Sean, was determined to bring it back to its former glory and pass it on to the next generation. He crossed paths with filmmaker Mark Bochsler, who was working on a martial arts segment for an experimental short film in Cambodia and a perfect marriage was forged to illuminate Bokator once more.

Read more about the film here.


The Witch (2018)
Huy Yaleng

Huy is certainly a name to watch in the Cambodian film industry, having made Vikalcharek (Psychotic) in 2016, which played in numerous screens across Phnom Penh and other provinces, and this year, another hit in the form of horror flick The Witch or Thmob, which opened across the country on 25 January. A highly passionate actor-director, Huy has worn both hats in Vikalcharek and The Witch. Based on a Khmer folk tale, The Witch tells the story of Raj, a tycoon in the Longvek era (15th century), lives a peaceful life with his pregnant wife, Tep Leak until one day, he gets wounded and wakes up to a world turned upside down. His uncontrollable reaction to the situation leads his brother-in-law, Tep Pong, to accuse him of witchcraft. The rest is mayhem.

Read more about the film here.


Written by Jeremy Sing

Lee Chong Wei: Behind the movie, the legend and Lee

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 All in the famiLEE (from left): Actor Mark Lee, Sports Star Lee Chong Wei and Tosh Chan (who plays Lee Chong Wei) 

Somewhere inside Malaysian movie Lee Chong Wei: Rise Of The Legend, Singaporean actor Mark Lee utters a note of warning to his son, young Lee Chong Wei, about working in Singapore, “You want to go work in Singapore? You could bump into some really bad people." Laden with irony, this is a line that never fails to crack audiences up whether they are in Malaysia or Singapore, as Mark Lee related in a small group interview with SINdie and other media for the movie.

Such is the situational relevance of the movie in both countries on two sides of the Causeway. Lee Chong Wei: Rise Of The Legend is a biopic on the rise of one of Malaysia’s most famous sportsmen – Lee Chong Wei, who was ranked the world's greatest badminton player. For a medal-starved country like Singapore that went hysterical over Joseph Schooling's Olympic Gold in 2016, it is not difficult to appreciate a movie like this, despite the Malaysian context.


Malaysian Director Teng Bee (centre of row)

Malaysian director Teng Bee developed the script out of material from Lee Chong Wei's autobiographical book 'Dare to be a Champion', as well as interactions with Lee Chong Wei and his family members themselves. The movie follows Lee’s early life from a primary school kid (played by Jake Eng) learning to play badminton, to his formative years as a young adult (played by Tosh Chan) trying to make his mark in the National Badminton Academy. Lee's story follows a familiar rags-to-riches arc in which he grew up as a poor kid who wanted to play badminton but his family could not afford to buy him a racquet. As Mark who plays Lee's father relates, Lee has a father who disapproves of his passion for badminton. This is a conflicted stand towards his son's interest, because after all, the father himself loved badminton and introduced him to the sport right at the start. Then there is also the familiar saving grace in the form of a mother (Khor Kim Choi, played by Yeo Yann Yann), who quietly encourages Lee at the side. Parents aside, the movie also delves into his relationships with his wife Wong Mew Choo (played by Ashley Hua), and the man who trained him into a world champion – former national player and coach Misbun Sidek (play by Datuk Rosyam Nor).


As Teng relates, it was very important to bring out intimate episodes and details about Lee's life and he spent a fair amount of time with Mdm Khor, Lee's real mother to get stories that were not written into the book. One particular episode was about young Lee waking up at midnight to do jumping sets and trying to hit the wall above the door, all in the hope of growing taller.

"Her eyes were red when she was sharing that with me. So I found this part particularly touching  and when I shared it with Yann Yann, it also touched her. So this scene turned out to be very poignant and you can see that her eyes were red too,” Teng Bee added.

In response to a question on why he wanted so much to be tall, the badminton star himself answered, "Actually when I was twelve, they were making selections for the national team and I was not chosen at that time, mainly because I was too short. I was finally only selected at the age of 17."

Produced by CB Pictures and Mahu Pictures, the movie was three years in the making and over 2,000 people all over Malaysia were auditioned for the roles in the movie. Teng was more interested in badminton skills above looks as it would help make the on-screen matches more realistic. Still, they were fortunate to have found a dead ringer for Lee in the form of 22 year-old Tosh Chan, whom Lee himself approves of the resemblance, especially the lean features.

"In this world, experts say there are 7 people who look similar to each other. It so happens 2 of them are in Malaysia, "quipped actor Mark Lee, to unanimous laughter.


Tosh, a coffee barista originally from Johor Bahru, nabbed the role through auditions in Kuala Lumpur. He said, " When I heard of this audition opportunity, it occupied my mind and distracted me from work for a while. I just wanted to try something different and I went home to discuss with my mum about auditioning for this and she gave me her full support. When I went to the audition in Kuala Lumpur, I was very nervous. All I did was tell myself, just try my best, regardless of the results.

"During my secondary school days, friends around me did tell me I look like Lee Chong Wei, But I didn't really see the resemblance," Tosh added.

Relating a scene in which he kissed his on-screen girlfriend on the forehead, Tosh said that it was a little awkward when he knew he had to shoot this scene, as he only knew this girl for 2 weeks. He said, ”We practised that scene many times, about 10 times a day. The director and producer would come and watch how we rehearse. And make some suggestions."
Director Teng added, "I told him, you are going to kiss the girl. So he went to the toilet and took a very long time. When he came back finally, I asked him where he went, because everyone was waiting for him. He said he went to brush his teeth. And I said you really thought you were going to kiss for real!"

Actor Mark Lee has been on a roll in Singapore cinema screens since the year started, having played a pivotal role as Robert in Wonderful Liang Ximei!, and now simultaneously appearing in both Lee's biopic and Ramen Teh, Eric Khoo's latest ode to food, family and love.

"Last year, I count Ramen Teh and Lee Chong Wei: Rise Of The Legend as my two most fulfilling projects. For this film, director Teng actually met me in Taiwan years ago and mentioned this film to me and asked if I would like to be involved. Three years later, there was no news, and I thought to myself - it's true, Malaysians cannot be trusted. (laughter in the room) Then last year in March, he finally called me and said 'do you remember I asked if you wanted to act in this movie?' I said yes I remember. I was going to be filming Ramen Teh at the time this movie was going into production, but we sorted out the dates eventually.
"In this film, I act as Lee Chong Wei’s father. I have actually not met his father so I could only rely on the script and my discussion with the director on how to take on the role. So Teng said the father is someone who loves his son but does not know how to express it. Due to certain reasons, he disapproved his son taking up badminton, yet he liked the sport itself, so it was a dilemma. So the direction I got from Teng is to show some ‘tough love’ to my son. And strongly oppose this child’s pursuit of badminton…...Sometimes, I would check myself and ask if I look too fierce? Because I don't look cute when I am fierce (more laughter in the room). The director also said I could try a bit of humour to make the father a bit more endearing. So there is humour in the sternness," recounted Mark.

Of course, no Lee Chong Wei movie would be complete without mention of his rivalry with Lin Dan of China. The movie ends with what has been acknowledged as one of the best badminton matches ever played, also one of Lee’s most famous victories, his historic win against Li Dan at the 2006 Malaysian Open final. When asked about whether Lin Dan knows about this movie being made, Lee said yes, Lin Dan did ask him about it, and where and when he is able to watch it. The producers are still in discussions with distributors in China and feedback so far has been positive.

Lee has tasted an equal share of defeat as much as triumphs in his sporting career, including once in which he issued a Twitter apology to his fellow countrymen for losing a match.


Lee Chong Wei and Lin Dan

When asked about how he dealt with defeat, Lee shared, " Of course, I will feel down whenever I lose a match. I will try to think of the times when I won, and use that as a motivation to drive me back to the court. Of course, nobody likes to lose but there is always a victor and a loser in a match. So the most important thing is how you pick yourself up after your loss and find a new breakthrough…...So when we were back, we would replay the losing match and analyse what went wrong and what we can do better. Why did we lose?"


Lee's story aside, the movie brings home a familiar message about chasing your dreams and overcoming the odds. When asked if Lee will allow his own children to pursue whatever they want, he said, ”No matter what, I will let my child choose what he wants to do, because after what I have gone through myself, I think I want to respect what my child wants."
Relating to this, Mark, also a father himself, had this to add, "I feel that if we know our children love to do something with a lot of passion and they have the ability to do it really well and make it to a career, as parents, we must support them fully. We have seen and known many parents who want their kids to become doctors and lawyers, and force them to study. But in the end, after they come back, they become actors. This is totally different from what they studied and I feel is a waste of learning time. If they like music, we should let them go learn music. Who knows, when he is back , he might be even more successful than Jay Chou!"

Here is the move trailer.

Lee Chong Wei: Rise Of The Legend  opened in Singapore and Malaysia on 15 March and is still showing. Go grab your tickets now.

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BUS-STOP Apr 2018: Your Monthly SG Film Calendar

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Festival frenzy heats up in Singapore in April offering audiences an esteemed selection of films with critical acclaim hitting the screens. Fans of Swedish director Ingmar Bergman will have a field day at The Projector. The third edition of the Swedish Film Festival places the spotlight on some of his most seminal works, including the not-to-be-missed classic The Seventh Seal. Following the Swedish Film Festival is the Polish Film Festival which features a small but powerful selection of award-winning works. Film has become a fixture at the Singapore International Festival of Arts (SIFA) and this year SIFA continues to programme fiercely independent fare as part of the festival. Many of these gems, which have screened at overseas films festivals, are actually having their Singapore premieres as part of SIFA. In fact, there is a total of 12 Singapore premieres and one Asian premiere, all under the Singular Screens special programme. The Singapore Chinese Film Festival is also back end of April so stay tuned for its line-up of films this year. Meanwhile, be sure to catch Eric Khoo's ode to food and friendship, the cross-cultural Ramen Teh, still serving in cinemas.


  1. Ramen Teh
Ramen Teh may sound like Eric Khoo watered-down, if one is used to his edgier, grittier works, but it is actually a reasonably flavourful piece of work just like the fusion dish, Ramen Teh. The producers and Eric had a more than a handful of elements to blend together - two different cultures, a popular contemporary star in the form of Takumi Saitoh, the gigantic presence of 80s Japanese pop star Seiko Matsuda and of course, the unmissable Mark Lee. Thankfully, these elements melded together rather harmoniously in the film. Just in case, you were wondering Ramen Teh is now an actual dish that is available at Keisuke Tokyo, Suntec City till the end of April. Don't miss either the dish or the film! Watch Ramen Teh in cinemas islandwide.


  1. Swedish Film Festival

The third edition of the Swedish Film Festivalplaces the spotlight on one of the most important auteurs of the last century – Ingmar Bergman. 2018 actually marks the 100-year anniversary of Ingmar Bergman’s birth. Over 6 decades, Bergman has written and directed more than 60 films. This tribute to Bergman by The Projector  is part of the Bergman centenary celebrations taking place around the globe, and is supported by the Embassy of Sweden and the Swedish Institute.
Director of POP AYE, Kirsten Tan, who is a devoted fan of Bergman, is the curator of this special tribute, which coincides with the late Swedish director’s 100th birthday. She has selected 8 iconic films for this festival, all celebrating his enduring influence and iconoclasm. Swedish meatballs and Scandinavian beers will be served throughout the festival, which will happen from 12 to 15 April.

Here are some of our recommended titles to catch.

12 April, 8pm
Cries and Whispers (1972)
(M18), 91 min

Crimson rooms, an extraordinary visual spectacle, a dying woman taken care of by her two sisters and their maid in a red-drenched mansion.

Cries and Whispers demonstrates Bergman’s complete clarity of vision as a true master of cinema. Featuring his representative ensemble of actresses (Liv Ullman, Harriet Andersson and Ingrid Thulin), their haunting performances coupled with Bergman’s painterly wizardry come together in laser sharp focus to illuminate his signature obsession of mortality and female familial bonds.

A striking piece of pure cinema (that swept awards from Cannes to the Oscars), Cries and Whispers is a potent and unforgiving study of the strengths and defects of the human spirit in the face of death. An unflinching gaze into the deepest reaches of the human heart, Cries and Whispers is a powerful film that will sit with you long after the lights have come on
Trailer


14 April, 2pm
Summer with Monika (1953)
(NC16), 97 min

Considered a sexually risqué work of 1950s European arthouse cinema—and once notoriously marketed in the US as a skin flick—Summer with Monika remains one of Bergman’s most important early works. Inspired by the earthy sensuality of a young Harriet Andersson, the film is a story of heady, escapist teenage love, swiftly brought down to earth by the harsh realities of growing up. Summer with Monika is the beginning of a lifelong collaboration between Ingmar Bergman and Harriet Andersson
Trailer


14 April, 8.30pm
Persona (1966)
(NC16), 85 min
Thoroughly unmissable, Persona demonstrates Bergman’s timeless, stylistic genius. This is the work of a master using imagery at his freest and most daring, without ever having it feel inconsequential or excessive.

The premise is simple enough—a famous actress (Liv Ullmann) refuses to speak; a nurse (Bibi Andersson) is assigned to take care of her; they spend time alone on a cottage by the sea. From that point, we delve into complex themes of identity, and subconscious repressions brought on by their symbiotic relationship. The film is radical yet completely literal, experimental yet utterly comprehensible.

We are propelled from moment to moment with probing imagery and mysterious yearnings. At the end, like a perfect full circle, you feel like you have understood nothing and yet the experience is enigmatically complete. Persona is an experimental psychodrama that is considered one of Bergman’s fines.
Trailer


15 April, 4.30pm
The Seventh Seal (1957)
(PG), 96 min

A knight by a black sea, playing chess with Death—we witness early on in The Seventh Seal one of cinema’s most iconic images. This existential and allegorical tale of man’s searching for meaning and God is long hailed as one of the great classics of world cinema.

Set during the Black Death, this seriocomic medieval masterpiece tells the story of a wandering knight (Gunnar Björnstrand), returning home from the Crusades, who encounters Death (Bengt Ekerot) personified. To forestall his end, he challenges Death to a simple game of chess. This clever conceit buys him just a bit of time to dive into life’s deepest question: to what purpose are we put on this earth? This earnestly soul-searching quest is accompanied by some of cinema’s most powerful and enduring images.

The Seventh Seal is widely considered by critics to be one of the most important works of cinema ever made.
Trailer


  1. Singapore International Festival of Arts - Singular Screens

Singapore International Festival of Arts 2018 (SIFA 2018) celebrates independent voices across the world with an international line-up of 13 new films in the programme Singular Screens— one Asian premiere and 12 Singapore premieres. Singular Screens is curated by the Asian Film Archive,
Opening Singular Screens on 28 April is A Man of Integrity (Lerd) by Iranian film director Mohammad Rasoulof who is known for his socially and politically engaged works. 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.

A Man of Integrity (Lerd) leads a line-up of 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, from the adversity of fictive or real-life icons to the positions of the marginalised.

Here are some of our recommended titles to catch.

28 April, 4pm
3 May, 7.30pm
A Man of Integrity (2017)
Director Mohammad Rasoulof, Iran
117 min, Farsi
Reza, having distanced himself from the urban quagmire, leads a simple life along with his wife and son in a remote location in northern Iran. He spends his days working in his gold fish farm. Nearby, a private company with close links to the government and local authorities, has taken control of nearly every aspect of the regional life. Resisting the pressure from the growing power of corruption, Reza faces a series of biblical setbacks to maintain his moral compass and keep his integrity.

28 April, 7.30pm
I’ve Got a Little Problem (2017)
Director Zhang Ximing, China
44 min, Mandarin  
In our world, the human nude figure is ubiquitous, from classic art to pornography through hyper-sexualized advertising. On the other side of the planet, though, in China, nudes are banned. Ren Hang, a young photographer, poet and artist in search of his own artistic voice and freedom stumbles against this taboo and pays the price of his own mental health in this film with an infectious visual energy that is, ultimately, a sign of optimism.
30 April, 7.30pm
1 May, 7 pm
Die Tomorrow (2017)
Director Nawapol Thamrongrattanarit, Thailand
75 min, Thai

Death often comes unexpectedly - what happens the day before is usually ordinary. Documenting the last day of six individuals in Bangkok, Die Tomorrow combines their stories with documentary-like interview footage, news reports, sound recordings, statistics and archive material. Yet, Die Tomorrow celebrates the present in all its small and ordinary moments, presenting a sweet, melancholic and philosophical reflection on fate and the ephemerality of life.

1 May, 4pm
14 Apples (2018)
Director Midi Z, Taiwan, Myanmar
84 min, Burmese
Wang Shin-hong is suffering from insomnia and encounters many problems in his life. His mother goes to a fortune-teller for advice. The fortune-teller asks Shin-hong to get fourteen apples and take them to a temple in the rural area in Central Myanmar. He will live as a monk for fourteen days, eating an apple a day.
14 Apples is a disturbing documentary about the seductive power of a Buddhism whose ideals are not merely humanist in this era of globalization.
5 May, 7pm
Team Hurricane
Director Annika Berg, Denmark  
96 min, Danish
A punk chick flick about teen girls that mixes highly stylized fictional elements with documentary material: loneliness, pussy-power, Kawaii, electric green, hentai, graffiti, vibrators, friendship, teddy bears, resting bitch face, ART, fire, fear, bubble-gum, mom & dad, anorexia, cactuses, homemade piercings, nail art, cherries, cutting, dolphins, Lolita, secret diaries and daydreaming. Radical girls in an ordinary world.
Tickets for SIFA Singular Screens go on sale on 28 March 2018 at sifa.sg and all SISTIC authorised agents.


  1. Polish Film Festival

A selection of films by well-known and respected new generation of Polish filmmakers at The Projector. Catch critically acclaimed films on longing for love, the sense of loneliness, disturbing family life, coming-to-age-stories and endurance of the human spirit. From 27 to 29 April 2018. the Polish Film Festival 2018 is co-presented with the Embassy of the Republic of Poland with the support of LOT Polish Airlines, as part of Poland Shiok!

Here are some of our recommended titles to catch. Dates TBC

Carte Blanche (2017)
Director: Jacek Lusinski
106 min, Polish with English subtitles
Inspired by incredible but true events, Carte Blanche is the uplifting story of a charismatic high school history teacher named Kacper who hides his progressive blindness from everyone around him in order to keep his dream job and help his students prepare for their final exams.
Winner of Best Director at São Paulo International Film Festival and Shanghai International Film Festival.
Trailer

All that I Love (2009)
Director: Jacek Borcuch
95 min, Polish with English subtitles
A Shakespearean tale of forbidden love set against the tumultuous era of communist Poland – a young punk musician finds himself helplessly in love with a girl despite their differing backgrounds. Will their love endure the social turmoil that threatens their families and friends?
This film was selected as the Polish entry for the Best Foreign Language Film at the 83rd Academy Awards.
Trailer



The Last Family (2016)
Director: Jan P. Matuszyński
123 min, Polish with English subtitles
An unconventional film about an equally unconventional artist - renowned Polish surrealist painter Zdzislaw Beksinski and his complex family. As painter Beksinski tapes everything with his beloved camcorder, a 28-year family saga unfolds through disturbing dystopian paintings, near-death experiences, dance music trends and funerals….Director Jan P. Matuszyński recreates the real-life story of the fractious Beksinskis family like no other biopic.
Winner Best Actor (Andrzej Seweryn) - Locarno International Film Festival.
Winner The Grand Prix Golden Lions, Best Film - Gdynia Film Festival
Trailer


  1. Singapore Chinese Film Festival

The 6th Singapore Chinese Film Festival will take place between 27 April to 6 May. It is the second largest film festival in Singapore with over 50 films screened across 11 days. Founded in 2013 by Singapore University of Social Sciences and SFS, the festival aimed to fill the gap in the screening of Chinese films in Singapore. Festival line-up will be announced on 10 April. Stay tuned!

Marrow Drama

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The inevitable peril of films that depict or evoke the creative processes of other art forms almost always concerns the terms of engagement; too hung up on the methods and you have yourself a documentary, a teaching aid, or even a DIY guide (itself perfectly benign but rarely an art). Too focused on the product, and you either make advertisements, or run the risks of losing the art to the artwork—a real point of contention for practitioners who do not have the institutional benefits of death (no money no problem when you are just bones and ashes) and need the press attention to ensure bookings and/or attendance, and thus income.

Culinary cinema, unlike its brethren the dance films, the musicals, and the sports films, is thus a genre fraught with both the pitfalls of an effusive identity as well as an unclear purview of exactly what it means to make cinema culinarily. Films about dance and dancers may not necessarily be dance films (Aronofsky’s Black Swan and both installments of the Magic Mike series come to mind), but films about food and its preparation whether as a central figure or as character-building process are certain to be culinary cinema, even those as distinctively disimilar as Ratatouilleand Eat Drink Man Woman. For the love of movies, a term better and less redolent of classic elitism for this entire topical category could just have been food films, or if one is so inclined, movies à la munchies.

Ramen Teh, by now the seventh feature of pioneering Singaporean filmmaker Eric Khoo, is a welcoming return to form after two works of major contentions, the erotic anthology drama In The Room, and Cinema, a segment in the multi-director nation-building anthology 7 Letters, Singapore’s bid for the Academy Awards in 2015, though it remains rather a let down with no traces of the conscious artistry Khoo had bothered to inject into his earlier works such as his debut Mee Pok Man and his sophomore 12 Storeys—both cinematic landmarks in a landscape where there were formerly none.

Masato (Takumi Saito) is the estranged son of Kazuo (Tsuyoshi Ihara) who once prepared kaiseki-ryōriin Singapore during the heydays of the Nineties’ economic boom before the financial crisis, and together they run a small ramen store with the help of Akio (Tetsuya Bessho), Masato’s uncle who tries his best playing mediator. As is common with the general trend for mother-less nuclear families to resent each other onscreen, Masato is simultaneously aching for and disdainful of the company he might find with his father, who works a lot and drinks a lot too. Just outside of the picture is Mei Lian (Jeanette Aw), Kazuo’s dead Singaporean wife and Masato’s mother, whose ghost still looms over her still grieving husband, though remains not more than a warm memory for her son.

After Kazuo dies of a sudden stroke one fine day, Masato is struck by his own abrupt stroke of inspiration for some soul-searching, and embarks on a trip to Singapore guided by Japanese food blogger Miki (Seiko Matsuda), based in the sunny isle herself, to find the remainder of his extant family and learn the truth of their disconnect.

What follows is a serendipitous sequence of events masquerading as a plot, when it is really ostensibly an advertorial for moneyman Singapore Tourism Board: Masato and Miki eats their way across Singapore with Miki’s mellow verbal recitations of standard definitions and travel guide write-ups in tow, searching for Masato’s maternal uncle and his esteemed bak kut teh (pig bone soup) while visiting monuments captured in photographs of his parents’ youth with an improbable geo-locating acumen for a tourist with limited English capabilities.

Naturally, the two bumps into Masato’s uncle Ah Wee (Mark Lee) by eating at his restaurant, an upgrade from the dingy eatery of Mei Lian’s expositional diary flashbacks and Masato’s own childhood impressions, and the two hit it off like there never were decades-old gulf separating them. Indeed, it is almost magical how Masato could comprehend the rapid-fire creole of Uncle Wee when his own responses were stunted in comparison. One thing leads to another and before long, Masato has moved in with the family and learnt the joys of South East Asian cooking.

Soon enough, Masato meets Grandma (Beatrice Chien) who tosses him out the door emotionally with all the ferocity of a World War II survivor. There were attempts to reconcile the two nations’ tumultuous history via a television broadcast of a very real debate concerning the titling of a Japanese Occupation exhibition at a local museum, which supposedly moves Masato, but the feeble script ensured that the agonizing conflict within himself on his troubled heritage came across as petulance, as he bangs on Granny’s door at night, drunk, angry, and verbally incontinent in Japanese. To all of Masato’s efforts, Miki follows up with her usual chipper saccharine encouragement: “You’re just like ramen; a mix of the best parts of Chinese and Japanese culture,” and introduces him to Keisuke Takeda, the restaurateur who plays himself as a local ramen don both onscreen and off it.

The two makes peace eventually, of course, as Masato sought to redeem himself in the eyes of the grande dame by devising a dish for her himself: the ramen teh, a portmanteau of his own ramen and his uncle’s bak kut teh, a supposed blend of the best of both worlds. Granny eats it and cries, overtaken with guilt for rejecting her daughter over her marriage to a Japanese devil and, presumably, sending her to an early grave. Peace and long lost familial love restored in one fell swoop, Granny then takes Masato grocery shopping and after that cooks and feeds him an authentic Cantonese meal. They cry again, and after everything, Masato moves to Singapore and opens his own restaurant dedicated to his unique creation. Little boy lost has found himself at last; God is in his heaven, all’s right with the world.

If this review feels as though it might have glossed over certain portions, it only portends the exact same that the film had done. At a runtime of only ninety minutes, there is a certain sense of incompletion that courses through the veins of the entire movie. In a bid to move from narrative point A to B via the shortest route, Khoo has, perhaps unwittingly, missed out on the humanistic story of the processes of assimilation and reconciliation that the pathos of a film dealing with topics as heavy as grief and historical prejudice would hinge on, and form the bulk of its honest moments.

Show don’t tell, the oldest adage of storytelling goes, but Ramen Teh has done nothing but show—there were no tenderness to the courtship of Mei Lian and Kazuo, displayed ad infinitum and nauseam in robotic flashbacks via Mei Lian’s diary, just quick perfunctory affections spoken in shoddily written lines, no lapses into private jokes nor intimate rituals between lovers; there were no steady easing into Masato’s re-integration with his uncle’s family, there were no awkward pauses of cultural divide and unfamiliarity amidst the big love. One scene had Ah Wee introduce him, and by the next, he is already as thick as thieves with his nieces. The biggest question begged: however did a decades-old hurt be healed instantaneously with lukewarm noodles and some ribs in a tingkat(South Asian lunch box)? Therapists, mental health professionals, dispute resolution specialists should have all migrated into full-time cooking as a vocational choice en masse.

Moreover, it remains incredulous that out of the two, the level-headed and mellow young man should be the one to lapse into histrionics when the obstinate old lady is the one who had suffered two losses to the same people—her husband during the War, and her daughter to a stranger of indeterminate motivation—he had no idea and he could still yell like a champion.

Having shown previously at the Berlinale in the Culinary Cinema sidebar with his superior docu-drama Wanton Mee in 2016, Khoo’s second entry has embraced all of the gloss but learnt none of the nuances that a genuinely moving picture would have to convey the complexities of culture and human interactions through food—the most basal impulse of all. What makes productions like Babette’s Feast and Like Water for Chocolateor even the TV serial Hannibal great is not the glory of the food or what it represents directly, but rather the processes and little stories that go into each step of the cooking that allows the completed meals to standalone as characters in their own rights, and not just set pieces to an overcrowded dining table, for the audience to ogle with a voyeuristic bent. If films about food aim to be Anaïs Nin, Ramen Teh is one of those beasties that end up as Jeff Koons circa 1989.


In earlier press engagements for Ramen Teh, the eponymous dish was revealed to be an actual product available at Ramen Keisuke, the namesake restaurant of the chef who cameoed as himself to provide Masato with some guidance. Journalists were welcomed to sample the product, and having tasted it, one would be convinced that the film was exactly like the food it painstakingly strove to construct: passably tasty, suitably artificial, and lacking both the bite and the richness that made its original inspirations such iconic cultural artifacts in the first place.



ShoutOUT! The 6th Singapore Chinese Film Festival

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The Singapore Film Society(SFS) and Centre for Chinese Studies, Singapore University of Social Sciences (CCS@SUSS) announced on Monday the 6th edition of the Singapore Chinese Film Festival (SCFF2018) which will be held from 27 April to 6 May at Golden Village Suntec City, Golden Village VivoCity, Capitol Theatre, The Projector, National Museum of Singapore and LASALLE College of the Arts. 

This year's selection consists of 58 films in four main sections: Chinese Panorama (25 narrative feature films), Documentary Vision (12 documentaries), Chinese Shorts Showcase (17 short films) and a Tribute to Leslie Cheung (4 classics).

Among the 58 films, a total of 44 will be making their Singapore Premiere, of which four will be presented in original Cantonese-dialogue for the first time in Singapore. SCFF2018 will also feature panel talks with international festival guests and local filmmakers.



开幕片:《曼菲》 
OPENING FILM: MANFEI 

Manfei is a biographical documentary film on late Taiwanese dancer and choreographer Lo Man-fei. Through the lens of veteran cinematographer and director En Chen (A City of Sadness, A Life That Sings), Lo Man-fei’s life story and her dedication to her chosen art form are vividly captured for the cinema. The film captures the legacy and impact that she has had on many people, including her friends, family, and student dancers who today still speak fondly of her. Manfei made its world premiere at the 19th Taipei Film Festival’s closing film. Director Chen will be present for both screenings on 27th April (opening ceremony) and 29th April. 



华夏风情画
CHINESE PANORAMA



Every year, SCFF features a selection of socio-realist dramas by young directors that reflect current social issues and political climate. The artistic integrity of these films have been recognized by prestigious film festivals and awards from around the world. This year's selection includes:


  • From China: Old Beast (54th Golden Horse Best Actor Award – Tu Men), Walking Past the Future (70th Cannes Film Festival – Un Certain Regard), Last Laugh (First Youth Film Festival 2016 – Best Feature, Best Director), and The Foolish Bird (67th Berlinale);
  • From Taiwan: Missing Johnny (54th Golden Horse Best New Performer – Rima Zeidan), The Island That All Flow By (19th Taipei Film Festival Best Actress – Ivy Yin), The Last Verse (22nd Busan International Film Festival – New Currents);  
  • From Hong Kong: The Empty Hands, Adieu, In Your Dreams, Somewhere Beyond the Mist, Tomorrow Is Another Day – these indie feature films have received multiple nominations at the upcoming 2018 Hong Kong Film Awards.


This year, several neo-noir crime thrillers are presented, including: 
  • Taiwan’s darkest and most highly regarded drama this past year The Bold, The Corrupt and The Beautiful. The feature makes its Singapore premiere at SCFF2018 after sweeping major accolades at the 54th Golden Horse Awards, including Best Picture, and Best Actress for Kara Hui’s uncanny performance as a political fixer;         
  • Stained, original mini-series-turned-movie, is from Hong Kong, which has a long tradition of investigative crime drama. This also marks the festival’s acknowledgement of hybrid formats between cinema and television. 
  • From China: Ash, The Looming Storm, and Wrath of Silence.

Other Chinese Panorama highlights include:

  • First-time inclusion of a new wuxia feature film – Brotherhood of Blades II: The Infernal Battlefield, winner of the Best Action Choreography at the 54th Golden Horse Awards; 
  • Malaysian director Saw Teong Hin’s autobiographical family drama You Mean the World To Me in original Hokkien dialect. The film is an adaption of a stage play and was shot by renowned cinematographer Christopher Doyle;
  • On Happiness Road (Taiwan), which was the Closing Film at the 54th Golden Horse Film Festival, and winner of Best Animated Feature at the recent Tokyo Anime Awards 2018. 

Visiting Chinese Panorama filmmakers will participate in the following panel talks: 

To Dub or To Sub: The Importance of Presenting Original Dialogue and Local Dialects in Film  
1 May, 4:30pm @ LASALLE College of the Arts, Block F, Room F202 
Speakers: Cheong Keat Aun (Cemetery of Courtesy), Saw Teong Hin (You Mean the World to Me), Sung Hsin-Yin (On Happiness Road) 

Young Writer-Directors: Crafting Your First Feature 
(In partnership with Programme Partner SCAPEmedia Hub)
5 May, 2pm @ SCAPE Gallery
Speakers: Chapman To (The Empty Hands), Rita Hui (Pseudo Secular), Tseng Ying-Ting (The Last Verse)

纪录片视角
DOCUMENTARY VISION


The two main areas of focus in SCFF2018's documentary programme are “Bio-Documentary” and “Eco-Documentary”. 

The Bio-Documentary segment includes opening film Manfei, followed by I’ve Got the Blues, where filmmaker Angie Chen interacts with Hong Kong artist Yank Wong. Singaporean filmmaker Lei Yuanbin takes an experimental approach in portraying our home-grown artist Tang Ling Nah in Dreaming in Black and White. 

In the Eco-Documentary segment, tribute is paid to the legacy of director Chi Po-Lin, and his unfailing spirit and activism for environmental causes. Director Chi passed away last year in a helicopter crash while filming the sequel to Beyond Beauty: Taiwan From Above (50th Golden Horse Awards Best Documentary). In addition to re-screening Beyond Beauty at GVmax VivoCity, the programme consists of documentary films that touch on environmental themes and issues, including Black Bear Forest, Ocean, The Disappearing Hills and Plastic China. 

Other documentary highlights include: 

  • Inmates (China), a five-hour long magnum opus that offers deep psychological insights into the lives and experiences of patients in a mental institution in Northeast China. The film won Best Documentary at the 54th Golden Horse Awards, and director Ma Li will be in attendance for the post-screening Q&A
  • Snuggle (Hong Kong), by director Wong Sui Pong, touches on issues facing an aging urban population in Hong Kong; 

There are two panel talks on documentary filmmaking:

Bio-Documentaries: Exploring the Relationship Between Subject and Filmmaker 
28 April, 2pm @ LASALLE, Block F, Room F202
Speakers: Angie Chen (I’ve Got the Blues), En Chen (Manfei), Lei Yuanbin (Dreaming in Black & White)

Eco-Documentaries: A Tribute to Chi Po-Lin 
6 May, 2pm @ National Museum of Singapore, Gallery Theatre 
Speakers: Amy Tseng (producer of Beyond Beauty: Taiwan From Above), Ke Chin-Yuan (Ocean), Yeo Kai Wen (The Disappearing Hills) 


华流短片展
CHINESE SHORTS SHOWCASE



There are three sections in the Chinese Shorts Showcase, including:

Chinese Shortcuts 

This well-loved section features award-winning Chinese Short Films from various territories. The selection this year includes Qiu Yang’s A Gentle Night- 70th Cannes Film Festival – Palme d’Or, Short Film; Jovi Lee’s Babes’ Not Alone (54th Golden Horse Awards – Best Live Action Short Film); Lu Po-Shun’s Wild Tides, which won him Best Director at the 19th Taipei Film Festival, a rare achievement for a short film director, and Malaysian-radio-DJ-turned-filmmaker Cheong Keat Aun’s experimental short film Cemetery of Courtesy which was selected from last year’s Busan International Film Festival (Wide Angle).

Singapore Shorts 

Five short films recently made by home-grown talents will be screened. These include Rehearsal – Jonathan Choo’s latest collaboration with his father, veteran actor Choo Houren, in an experimental treatise on screen-acting; Shoki Lin’s Changi, which touches on the dilemma of a new immigrant mother. Changi was awarded Best Picture at the National Youth Film Awards 2017; Melodi, by film lecturer and director Michael Kam, touches on the special friendship between a bullied foreign domestic worker and her would be rescuer, a young 10-year-old neighbour; Liao Jiekai’s Nocturne(film still below), commissioned as part of the 667 omnibus and recently in-competition at Hong Kong ifva Awards, and Eva Tang’s well-received The Veiled Willow, also a part of the 667 omnibus 



Animated Shorts

For the first time in SCFF, Animated Shorts from China, Hong Kong, Taiwan, and Singapore are presented. The selection of eight shorts includes Stories About Him (19th Taipei Film Festival – Best Animated Short); Losing Sight of a Longed Place (54th Golden Horse Award – Best Animated Short); Between Us Two (28th Singapore International Film Festival – Best Singapore Short Film); Singlit adaptations Loop by Chong Jia En, Tiger Baby by Sarah Cheok and The Giant by the Zhuang brothers.


挚爱张国荣
LOVING LESLIE – A TRIBUTE TO LESLIE CHEUNG



This year, SCFF pays tribute to Hong Kong cinema legend Leslie Cheung, who passed away 15 years ago on 1st April 2003. Relive four of Leslie’s iconic roles in A Chinese Ghost Story (director Ching Siu Tung, producer Tsui Hark), Rouge (director Stanley Kwan, producer Jackie Chan), A Phantom Lover (director Ronny Yu) and Wong Kar Wai’s Happy Together, selected as the closing film.  

Co-Director of the SCFF2018, Professor Foo Tee Tuan (Director, CCS@SUSS) notes the especial significance of screening Happy Together at the Capitol Theatre: It will only be its second public screening since 1998, when it rounded off the Singapore International Film Festival at the same venue. Caution about the film's homosexual content had prevented its commercial release in Singapore two decades earlier.  

A sign of the times! 

电影节票价
GENERAL TICKETING INFORMATION

Advance sales starts from 12th April 2018.

S$13*:General Public
S$10*: SFS Film Addicts and SUSS Members 
(Only for tickets purchased over the counter with presentation of valid membership card)

* SISTIC booking fee of S$1 per ticket will apply.

Tickets for sessions at GV Suntec City and GV VivoCity are available at the GV box office and www.gv.com.sg

Tickets for sessions at the Capitol Theatre, National Museum of Singapore, The Projector, and LASALLE are available at all SISTIC outlets and www.sistic.com.

Admission to all panel talks is free. Reservations can be made at www.scff.sg. 

电影节套票
TICKET PACKAGES

SCFF CINEPHILE: Catch any six films presented at Capitol Theatre, The Projector, National Museum of Singapore, and LASALLE for S$60. The pass and more information can be purchased at www.singaporefilmsociety.com.

There will also be three (3) ticketing packages that can be purchased from SISTIC:

  • LOVING LESLIE PACKAGE

Purchase tickets to any two films from this package and enjoy a 20% discount
A Chinese Ghost Story, The Phantom Lover, Rouge, Happy Together

  • INDIE TRIO PACKAGE

Catch all three films to enjoy 20% off
Inmate, Pseudo Secular, The Last Painting


  • ECO DOCUMENTARY PACKAGE

Catch both screenings to enjoy 20% off
Black Bear Forest, Ocean + The Disappearing Hills


Review: 'DUKUN' (2018)

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Malaysian director Dain Iskandar Said’s ('whose latest film was Interchange) first feature Dukun was birthed from the sensational real-life court case of a female witchdoctor, a ritual-gone-wrong and a dismembered body.

Unfortunately, the movie was stillborn before its first release date in 2007. Astro shelved the movie with no official reason given, but probably for being too controversial at the time and bound to offend public sensibilities given its portrayal of black magic.


12 years later, Dukun is finally seeing the light of day with a theatrical release in Malaysia and Singapore.

The trial involving Mona Fandey (and her husband and lackey) has been well-documented, and although the character of Diana Dahlan is obviously based on her (played by Umie Aida), the film presents itself as entirely fictional. It takes as inspiration only the basic trifecta of witchdoctor, ritual and murder. It disregards all else, and gleefully runs with it.

Diana Dahlan (Umie Aida) is a 'Dukun' (shaman) on trial for murdering a businessman. Karim (Faizal Hussein) is a retired lawyer and single father searching for his daughter, Nadia, who ran away from home. Diana and Karim meet when he agrees to represent her in court. Diana convinces a reluctant Karim to be her lawyer by promising that she can locate his daughter. For a short while their paths are entwined, seemingly by fate, but Karim is about to find out that there is a puppeteer behind the scenes, manipulating forces he cannot explain.


There is also an ongoing investigation into various murders around the city, pitting characters against one another, and allowing some of their biases and prejudices to show.

Although it was produced in 2007, it doesn’t quite look its age. There are oddly beautiful shots scattered among the mundane shot-reverse-shot of a court trial.

When it comes to the plethora of dead bodies unearthed by the investigative team, including the dismembered head of a certain businessman, the practical effects look convincingly good and shocking. There is one particularly stunning piece involving the body of a woman wrapped in white tree bark etched with ritualistic inscriptions.

The acting is stellar, bolstering a solid albeit formulaic script. While Faizal Hussein holds his own in the film as a distraught father and stern lawyer, Umie Aida completely steals the show. She inhabits a body that moves like a serpent, that writhes and undulates on the stage, seductive and repulsive all at once. While she is evil incarnate, she is also the epitome of femininity performed to an extreme, her sexuality wielded as a tool to disarm men.


There is a clear boundary set up between the sexes—in the realm of the law, the men are investigators and knowledge-seekers, the women silent victims or lacking agency. In Diana’s realm of witchcraft, however, the hierarchy is flipped. Diana dominates every room she enters, and the spotlight is literally on her when she performs in her club, but she also serves as spectacle. It’s an uneasy, slippery sort of control. 

The pace of the movie can be meandering at times, and some events don’t take on significance until much later, but be patient because everything ties together at the end. The film does show its hand a bit too late, and the stakes are high, but not realised until it’s far too late to change anything.

Overall, /Dukun/ can be viewed several ways. It is a horror movie with a sensational premise. It is about greed and the struggle for control. It is a portrayal of Muslim faith over belief in the dark arts. It is an introspective look at holding onto faith and keeping love alive.

Review by Jacqueline Lee

DUKUN opened in cinemas in Singapore on 19 April.

Here's the chilling trailer.

The Art of Death: An Interview with Anucha Boonyawatana

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Making ripples quietly in its own terrain while its Western LGBT counterpart Call Me By Your Name is still bobbing along on the crest of its popularity is Malila: The Farewell Flower. To label it a gay film is of course a reduction of what it is and how it's been hypnotizing audiences with its spiritual wisdom and beauty.

Malila: The Farewell Flower is a contemplative and soulful meditation on beauty, ephemerality and loss. The film follows late-stage former lovers Shane and Pich as they reunite to contend with Pich’s ebbing mortality. A redolent and arboreal odyssey, the film explores mortality through the lens of Buddhist philosophy and ‘Bai Sri’, a Thai white jasmine flower ornament whose creation is inextricably tied with its creation; the flowers are folded and twisted to construct the ornament, the jasmine flowers are on the cusp of destruction as they are made anew.

Malila is directed by rising star Anucha Boonyawatana, who first made her debut in Berlin with 2015’s The Blue Hour. With its hallucinatory dreamscapes and deft intermingling of the sacred and the profane, Malila bears a kindred resemblance to the work of another Thai maestro, Tropical Malady’s Apichatpong Weerasethakul.

The film has picked up several international film awards over the past 8 months since its world premiere at the Busan International Film Festival (BIFF) in 2017. This included the special Kim Ji Seok Award in BIFF, and the Best Director Award at the 2017 Singapore International Film Festival as well as the 2017 Kerala International Film Festival.


Picking up the Best Director Award at the 2017 Kerala International Film Festival

Picking up the Best Director Award at the 2017 Singapore International Film Festival


Anucha deliberating her steps on set of 'Malila'

Clearly a rising
star in the independent film circuit, Anucha Boonyawatana has a distinctive voice not seen in the film circuit. With a film that deals with big questions like death, love and Buddhism, we applied the same big questions to Anucha herself and got her to share her views about romance and Buddhist philosophies. We also asked if she is afraid of death.

What inspired you to make this film?
The film is like the collection of things I experience and adore. For Malila, It’s very personal and every elements in the film are came from my memory. I had a chance to study Thai flower making (Baisri) and found that it’s very pain staking. Baisri is very beautiful but it’s also fragile and will wither soon and it made me feel the word “absurd” and began to question about value of love and life. And once in my lifetime, I use to be in the monkhood. I wander through forest and had to do a lot of meditation practices. These experience make me understand the mentality of monks and inspire me to make Malila.


What was your initial idea like? How did it evolve to become this final product we see?
At first the film will be more surreal or magical realism. Malila is a very long time project, it should be my first feature but back in that time, I can’t find enough money to make this film. So I made the Blue Hour and after that so many years I’m grow older and I need Malila to be more realistic approach. But you may sense that film still has many dreamlike, magical and surrealism elements.

How was the experience of filming in the jungle? 
I love to film in the forest, and also my main actor. It’s very tough but relax at the same time. Everything in the forest is very hard to control especially for an art direction. Actually, the real forest is extremely green color but I don’t want that green, so we try to control the leaves like cut some leaves and fill in  the dry grasses.  You also have to be very brave, because sometimes it can be dangerous and haunting like we film in the actual location where the villagers dump dead bodies there. In that time, you have to be a strong pillar for all of the crews.
How did you work with the actors to get them to deliver such soulful performances?
We do a lot of workshop for their character’s back stories, I’ll let them do improvisations for many scenes that did not appear in the script like the scene that the first met each other, make love,  first kiss, fighting and saying good bye and also for the scene that related to their family and society. When they are on set they can draw the feeling from all of these memories to deliver their performance. Apart from acting workshop, we just use a very simple and fundamental techniques. Before we start filming I’ll let my actor walk for a while in the location, they will feel the atmosphere and all of the senses like wind, light, heat and some odor that emit from the location. Luckily they are very sensitive persons, so they will use all of these feeling to create the performance.

Do you think the concept of Buddhism and romance are conflicting? (because Buddhism teaches you to detach)
I don’t think that they are conflicting, They are different ways of living and detaching can be done in many levels. Buddhism also understand that every normal human wants love and romance but Buddhism will teach you to aware that all of these is impermanence and will lead you to suffering at the end.
The white Jasmine flower is beautiful but temporary. Do you think things are beautiful only because they don't last?
I really don’t know this. In my opinion, things like flowers are all beauty in every state from blooming to withering.
The film has travelled to a few countries. What were the reactions from foreign audience? Any interesting feedback?
I think the feedback is quite different and it’s also reflect the society of those countries. For example, in the countries those are still not open for LGBT, there will be a question like : why your characters have to be gay? Many people will think that LGBT film will have to talk about fighting for rights or something very activist. So they are very surprise that my film didn’t seem to have anything like that.


What are some of your favourite films? favourite Thai films?
I like classic Hollywood films and also old school Asian cinema from Akira Kurosawa and Hou Hsiao-Hsien. For Thai film,  Apichatpong’s films is my favorite. Also the film like Mulholland Dr. and Peter Greenaway’s work.
What do you think about death? Are you afraid to die?
I’m always think about death. Someone has told  me that I have death drives. I always let my self to be in a very risky situation and deathly relationships like having relationships with Hitman or veteran soldiers. Somehow their dark world story and background interest me and they are interested in me also. I have to say that I’m afraid to die like everyone. It’s ultimate fear and fragile that I want to overcome and vice versa it’s so charming and obsessive.  

Interview by Koh Zhi Hao



Check out the film trailer here:


'So, We Meet Again': An Interview with Umie Aida on 'Dukun'

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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!

ShoutOUT! Submit your films to Singapore Shorts now

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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.
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