Our new breed of underground film talents unveiled.
By Baey Shi Chen, Theresa Tarpey and Terry Ong.
Move over, Royston Tan. A new breed of younger, eager and edgier filmmakers, most in of them still in their 20s, has been bubbling to the surface of our local film industry. They include directors Kan Lume and Loo Zihan, who worked together on the controversial and dark film Solos, about two gay lovers; and Lei Yuan Bin, whose languid debut White Days, inspired from his working experience with Taiwan-based, Malaysian film director Tsai Ming-Liang (Goodbye, Dragon Inn and The Wayward Cloud), is one of the highlights at this year’s Singapore International Film Festival (SIFF). “This newer and edgier set of filmmakers are pushing the boundaries of what is possible in local film … challenging the notion of what makes a Singapore film,” says SIFF director Zhang Wenjie. “They are less swayed by commercial sensibilities, and their ideas come across stronger than more mainstream filmmakers,” he adds. Not forgetting their acting counterparts such as Sunny Pang, whose indie cred has been sealed after appearing in smaller but credible films like Lucky 7 and Perth in recent years.
I-S presents our new generation of local filmmakers to watch out for. They are the future voice of the local underground (if not the current voice), and we hope they will further hone their craft to continually make leftfield, edgy content that will put us on the regional and international film map.
The Rising Radical
Loo Zihan, actor-director
Why him? This 26 year-old director is definitely one to watch. With his use of heavy symbolism and contrasts, his works are unflinching and hard-hitting in their depiction of themes such as homosexuality and repression. His debut, Solos (2007), a collaboration with director Kan Lume, is notorious for its frank depiction of homosexuality and was banned from the 20th SIFF. Other works include the deeply personal and moving Autopsy (2007) and the innovative dance short, 3:77 (2007). Loo also acted in Thai-Singaporean director Ekachai Uekrongtham’s skin flick Pleasure Factory, which the actor bared all for, and in recent years has ventured into theater.
Sound Bites: “I think subversive content is good for filmmakers. It makes you think about how to serve the story. Exploring gay themes in my films wasn’t difficult. The nudity was a bit challenging, but I will do things as an actor that I expect an actor to do for me if I am the director. I don’t understand how violence can be passed in a film but not two people having sex. I can also relate to straight films—people do not question why straight people make straight films, so why should people question gay people who make gay films?”
What’s your dream project? “To combine what is strongest about both theater and film into a single project, so that there is a conversation between the two forms.”
Breaking Boundaries
Kan Lume, director
Why him? With a professional moniker that means “Leader of Light,” 33 year-old Lume is known for his uncompromising approach towards filmmaking. He is no stranger to controversy either. Two of his films—Solos (2007), co-directed with Loo Zihan; and Female Games (2009)—were pulled from the 20th and 22nd SIFFs respectively for homoerotic content. His other works include the acclaimed $300 The Art of Flirting (2005) and Dreams from the Third World (2008).
Sound Bites: “Making films is like an itch you have to scratch. I am tenacious once I spot a challenge—I have bulldog grip and I won’t let go until I make a film about it. A lack of resources does not stop me. It is the responsibility of the artist to break personal boundaries. Films that push boundaries carry a spirit—they are like a bomb that causes damage, but leads people to think differently. I believe they inspire society to be more cultured. I’ll keep making films in my perspective, even if they are banned or simply stored away in the archives. I believe that one day, the rules will change.”
What’s your dream project? “To direct a film with a crew of 1,000.”
The Unstoppable
Sunny Pang, actor
Why him? This 37 year-old veteran indie actor moves audiences with his theatrical range and depth, like in his roles in provocative films Perth and Lucky 7. Pang, a former bouncer, body double, body guard, party organizer, martial arts practitioner and teacher, can be seen in pioneer director James Lee’s film, Call Me If You Need Me. The film is a nominee of SIFF’s Cinema Today section and its two screenings are already sold out. Pang’s latest projects include directing the film Mark of the Beast and acting in an international drama called Knife.
Sound Bites: “Young and dangerous—that’s a good persona for me. Because I’m not going to stop; I’m going to keep on going. Even if the industry here is young, I still believe the local guys, regardless of race, and our nation, can do amazing things. It’s just how we look at things and how we deal with the ego. If we can put the ego aside and believe in ourselves, Singapore will grow into something great.”
What’s your dream project? “Doing a huge battle scene like in Red Cliff and inspired by Braveheart. This kind of scene motivates me. It would be the ultimate death match and would also be historically based. For example, all the major races would come together, fight for one common cause and die with honor, side by side.”
Underground Girl
Evelyn Maria Ng, actress
Why her? Certainly one of the most interesting actresses to emerge from our local film scene, this hardworking 29 year-old, who first starred in TV shows like Light Years and @Moulmein High, has two “cult” films on her credit: Tzang Merwyn Tong’s dark fantasy A Wicked Tale, and Kan Lume’s explicit lesbian love story Female Games. In the latter, Ng manages to shed all inhibitions and go au naturale in her daring love scenes with fellow co-star Shen Qiaoyun. The film, about two female models on the run from dodgy casting agents in Penang, just got banned from this year’s SIFF—showing Ng’s penchant to pick edgy material that may not necessarily garner her commercial fans, but could instead build a possible cult-following in the long run.
Sound bites: “I was rather shy and insecure (about doing a nude scene) but decided not to think too much about it and just do it. Kan (Lume) being a one-man crew helped as it would have been overwhelming to have a whole set of crew there. Doing the scene taught me to be more comfortable in my skin and accept my body as it is. …I wanted to explore all genres of acting to be versatile; therefore I went for castings for underground edgy films as these would push the boundaries of my acting skills. Yes, I believe (these films) are platforms to be seen as a more serious actress.
What’s your dream project? “To work with Johnny Depp and Tim Burton.”
The Experimenter
Liao Jiekai, director
Why him? A graduate of the prestigious Art Institute of Chicago, 25 year-old Liao started out as a visual artist before graduating to filmmaking. His short film Clouds in a Shell (2008) was shown at the 13th Asian American Showcase in Chicago, and his latest film, The Inner City (2008), competed at the 2nd Asian Berlin Hot Shots and was screened at the 3rd Singapore Indie Doc Fest. Liao also co-founded Half Elephant, a regional film and video artist collective. With his measured style and experimental approach, Liao is set to become one of the frontrunners in the most innovative crop of local directors to look out for.
Sound bites: “I think a good film is one that can find its own audience. I’ve never had a massive vision of what I wanted to do. I just wanted to convey simple moments that people can relate to. My work is very personal—the little stories and incidents in the films are taken from my experiences. I try to make films that are more challenging—it’s not about making arthouse films, but provoking the audience. The audience cannot leave their brain at the door for my films. There are things to ponder, and hopefully, the audience will make the effort.”
What’s your dream project? “I hope to make a film set in another country. One reason why I really admire director Hou Hsiao Hsien (Three Times) is because he has made both a Japanese and a French film and it’s very hard to make a film outside your own culture. I once tried to when I was still in the States but it was still too foreign to me. It made me realize then that I can only make films in Singapore, because that is what is closest to me, but I will keep this idea for the future.”
The Big Thinker
Lei Yuan Bin, director-cinematographer
Why him? Having collaborated with home-grown indie director Anthony Chen as well as with Tsai Ming-Liang on his latest film, Face, this 31 year-old director/cinematographer is well on his way to a making a name for himself both locally and internationally. His debut feature film, White Days, is one of the entries under the Singapore Panorama section at this year’s SIFF. Currently, Lei is working on his second full-length feature and is also preparing to do the cinematography for local directors Daniel Hui and Liao Jiekai.
Sound bites: “I often think about film and its ability to teach us things that life itself cannot-because real life always seems more interesting than the stories we see in the cinema. But sometimes through cinema, we can de-familiarize ourselves from reality and see life from a different perspective. Films can affirm the best in us—our ability to hope, believe, love and see beauty.”
What’s your dream project? “To shoot a very long film in one take that tells of the four major phases of life of a human being—birth, old age, sickness and death—all in one single shot.”
The Sound Artist
Darren Ng, music composer
Why him? With his mellow electro-acoustics, experimental minimalist noise art and his innovative sound design, 30 year-old Darren Ng is one of the most requested sound artists and music composers. The list of industry names he’s worked with is long and includes filmmakers like Kan Lume, Loo Zihan, Boo Jun Feng and Anthony Chen in films like Haze and Solos. He was named Best Sound Designer at the 6th and 8th Straits Times Life! Theatre Awards 2006 and 2008 and was also commissioned by the National Museum of Singapore and Asian Civilisations Museum for sound design installations.
Sound bites: “The most challenging project I’ve ever worked on was the film Solos. The film itself had two or three lines of dialogue and the rest consisted of my music and sound design. …It’s really easy to overdramatize and get carried away when it comes to music. A composer must always hold back when combining tune, semiotics and rhythm to create and carry the emotions of the story.”
What’s your dream project? “To work with Ryuichi Sakamoto or any of my heroes.”
Serious Animator
Tan Wei Keong, director-animator
Why him? The local animation scene is set to soar with this fresh new talent. A student at the School of Art, Design and Media at Nanyang Technological University, 24 year-old Tan’s second-year school project, White, was selected for the 20th Singapore International Film Festival in 2007. Possessing an affinity for serious and sad stories that are subtle but heartfelt, Tan cites Japanese animation, especially Isao Takahata’s Tombstone for the Fireflies as an inspiration. His latest work, Hush Baby (2009), which incorporates a gamut of techniques such as live action, stop action, 2D drawing and 3D modeling, will be shown in competition at this year’s SIFF in the Singapore Short Film category.
Sound bites: “I would like people to understand that animation is not just children’s entertainment or a cute art form. I like animation because it can be
as large as your imagination allows it to be. It’s also story-driven and visually engaging—photorealism isn’t necessarily what appeals most to the eye, even though that’s the style in which most films are made.
What’s your dream project? “Something that will throw people off. I’d love to make a narrative feature film that the market has not seen yet.”
Online Maverick
Jacen Tan, director
Why him? His comedy short Tak Giu (Kick Ball), which he shot in 2004 with a borrowed camcorder and a tripod he dug up from home, became an online sensation, garnering over 100,000 views following its web release. Since then, 26 year-old Tan has been keeping busy making more short films—Kwa Giu (Watch Football), Zo Peng (Go Army), Zo Gang (Go Work) and Zo Hee (Make Movie)—and branching out to the music video scene, working with promising local bands Lunarin, Zero Sequence and Rudra. One more reason to love Tan—all his works are available for free viewing online.
Sound bites: “The number of filmmakers in Singapore showcasing their work on the web is low. There are those who go to all the film festivals and other highbrow, artsy events, but in the end, you never get to see their films because you have to pay. My films are for everyone; they’re free, which is cool because I can share my work with more people.”
What’s your dream project? “One that takes me around the world. One day I hope to make a documentary and film the Singapore Lions when they play in the World Cup!”
The Reluctant Director
Michael Tay Hong Khoon, director
Why him? He’s fresh from this year’s Sundance Film Festival, where his short film Wet Season was featured as an official selection in the International Short Films category. Twenty-five year-old Tay’s next short, Respirator—a 20-minute sci-fi drama—is slated for completion in April.
Sound bites: “I have a love-hate relationship with filmmaking. I enjoy telling stories and bringing a message across. Also, having audiences react to my films—when they laugh, are disturbed, are sad—helps keep me doing what I do. I suppose it’s the prankster in me that likes to throw these things at people and then get them to feel and think.”
What’s your dream project? “To make a full-length musical—a wow one for Singapore. It would be based on some important historical event that happened here. And of course it would be multilingual; this is Singapore after all.”
Singapore Edge
Our film industry has been producing some pretty interesting feature films over the years—we’re talking about darker and edgier films that deal with issues such as necrophilia, murder and prostitution, and not just regular Jack Neo comedies that may be hits at the box-office, but are about as creative as a Celine Dion ditty. Here are some of our favorites:
Mee Pok Man (1995)
This Eric Khoo film is most probably his best. The sweet-natured Michelle Goh is perfect as prostitute Bunny with a heart of gold, who gets killed in a road accident and is later preserved by her stalker, the ubiquitous Mee Pok Man, played by musician Joe Ng. This is the first film to put Singapore in the international arthouse movie map.
Bugis Street (1995)
Love it or hate it, this box-office flop is one of our most riotous local films—flaws and all. Headlined by Heaven and Earth’s Hiep Thi Le, it centers on the heyday of Singapore’s Bugis Street, when prostitutes, pimps and transvestites ruled that world—pretty much like our Geylang of today.
15 (2003)
This controversial Royston Tan film is a visceral tour de force about three young local hoodlums, and marks the young director’s debut feature film effort. It was screened in Singapore with over 20 cuts, and remains one of our most-talked about films after all these years.
Perth (2004)
Director Djinn’s homage to Taxi Driver is in a class of its own. Thespian Lim Kay Tong, who plays a security guard and taxi driver trying to find meaning and redemption in life, is never better, while the film’s edgy mood is sustained throughout, thanks to tight direction and an overall stellar cast.
A Wicked Tale (2005)
This small indie flick has all the ingredients of B-grade movie classic. Director Tzang-Merwyn Tong took the premise of the fairytale The Little Red Riding Hood and turned into a memorable psycho-sexual-thriller about a nymph and her prey, with a suitably sick “twist” ending to boot. We like.
What local films are film buffs checking out at this year’s SIFF?
Mabel Tay, 40s, brand consultant
Quite a few local films: A Big Road directed by Alec Tok, because the complex plot appeals to me. Also 12 Lotus, directed by Royston Tan, because I’ve always enjoyed his works; 18 Grams of Love directed by Han Yew Kwang, because this film won an award at the 13th Lyon Asian Film Festival, so it must be pretty engaging; The Days, directed by Boi Kwong, because my friends directed and produced it; Lucky 7, directed by seven filmmakers, because it’s different and could be an interesting approach to story telling; and Hush Baby, directed by Tan Wei Keong, because I’d like to see for myself the depth and quality of local animation.
Victoria Bay, 29, sales and marketing manager
This Too Shall Pass—as sad as the film might be, I think it would be interesting to see how the patriarch of a typical Singaporean family fulfils his familial responsibilities right up to the very end. I’m also looking forward to Invisible Children with Karen Tan. Aside from being a Karen Tan fan, I have always enjoyed local films that explore the themes of alienation and the search for a sense of belonging, from Eric Khoo’s 12 Storeys to Kelvin Tong’s Eating Air. The films dare to articulate what many of us grin and tolerate, and I am hoping this will be no different.”
Sharon Wong, PR manager
Shingaporu Monogatari. I’ve seen documentaries of the war with recounts from old Chinese women, Japanese etc, but it would be interesting to hear it from a Malay man. No one’s really asked the Malay community. I suppose the emotions and experience might seem similar, but his narrative would be interesting, if done right. Also A Month of Hungry Ghosts directed by American Tony Kern. It will be interesting to see if there’s been a Western spin put on this topic, or if it’s been made into even more of a cultural clichè.
Yong Shu Chiang, marketing manager
I’m really looking forward to A Big Road by Alec Tok and Hashi by Sherman Ong, both of which touch on the lives of women—across generations and circumstances—and tackle stories from outside of the local milieu. I am also intrigued by This Too Shall Pass by Ang Aik Heng, a seemingly small, intimate film about dealing with impending death, and Invisible Children, by Brian Gothong Tan, whose exploits in theater and visual art I’m aware of, but whose foray into film could mean something special and fresh.