The Next
Frame
April 3rd, 2009
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.