Our Predictions for First Film Fest and some other noises from us

Jeremy Sing: what's the one you remember most out of the 11?
Alvin Choo: I can't decide between 2. 'here i'll always be' and 'paranoia'. my favourites i think. You?

J: I thought you'd like the funny ones. Like Jan. I remember Jan most. Why do you remember the 2 psycho films most? Well, the former's not really that psycho i guess

A: Come to think of it, yeah Jan's probably the most memorable. but not in a favourable way to me. I really liked the conceptualization of both films, multi-faceted and least predictable i felt, of all the finalists
J: You find it too 'skit-ish'? I agree about Here, Ill always be. It's a very different film and its transition to a more poignant scene in the hospital was quite seamless. But just thought they could be more creative with the hallucinatory parts
A: Yeah Jan felt more like a Youtube video-of-the-day then a film competition entry
J: But it's so witty, don't you think? Especially the see Jan in heaven part. No?
A: Nope, i didn't take to it at all. but i get the feeling that films/vids of this nature, you either love it or loathe it. i think i'm the latter. You enjoyed the wit?
J: Yes and the clever use of the same actor but varying the behavior and the pacing and editing were very funky
A: he's the director too, apparently all of 13 years old.
J: Oh! What a prodigy
A: Maybe a kid with lots of guidance
J: Certainly not parental guidance !!! hahaha. if we have Singapore's Got Talent, he must be on it... Thailand's already got their video sensation, he could be the Singapore one.
A: Yeah, i think the reason I didn't take to it might have something to do with some of the humour leaving a bad taste. i.e. him making light fun of cancer, or maybe that's just me being prudish.
J: Yes you are being prudish!
A: But refreshing it certainly was, from the field of similarly themed films.
J: Similar themes certainly…many about madness…losing the mind
A: yeah, jaded-ness..
J: Yes that too
A: I felt i should be a country bumpkin after watching like 3 of them. So which was your fav of the lot?
J: Jan
A: Haha really
J: Maybe I am looking at how the films make the best of the 3 mins. But many other films come close. I like Hide and Seek, Here, I'll always be, Citylapse.

A: Here I'll always be' takes the cake for me. Leaves me impressed how the director could convey such a complex storyline in all of 3mins. But yeah, if there was a talking point of this competition, guess it'll have to be Jan.
J: Yeah... i like the bittersweetness of here. How did you find Hide and Seek?
A: Came across feeling over-dramatized.
J: I liked the premise and can be potentially very moving and cutting. But the delivery was not sharp enough. Too easy an ending too.
A: The opening scenes made it feel more like what it turned out to be. It felt a little downhill after that. The camerawork and music, almost makes you prepped for a psycho-thriller.
J: Don't you find City Lapse familiar?

A: Yup we last saw it...Panasonic film fest right?
J: No. It was the civic life 90 sec competition. There was one entry that had this diorama effect. Ddo you remember?
A: Yup i do. How do you think this director did?
J: I liked it, in fact this time round, he sharpened his diorama visuals even more, making familiar city-scapes look like toys
though unfortunately, I wished more craft was put into the narrative.
A: Yeah my thoughts exactly. perhaps the issue with leaning too much on technical brillance is that compromise on narrative/flow...i think i felt the same w that previous film. You think? (Previous meaning the civic life one)
J: Yes, the storytelling component moved only inch between that and this. So what else did you fancy?
A: I thought paranoia made great storytelling use of the 3mins too. Not easy considering the buildups needed of a psycho-drama genre. How did you find it?
J: The biggest things that caught me was the cinematography. The shots were nicely lit and framed and I bet the final product had been colour graded. Sorry, story wise, found it too predictable….like you could guess how it would end after the first 30 secs.
A: Probably true, but good execution nevertheless. Which else do you like?..,…besides the love-it-or-hate-it Jan.
J: Hahah…I liked the initial 1st minutes of Square One. It's the Stephanie Sun music video look….white washed colours, Saturated, emotive shots.... but.....

A: So more an aesthetic appeal than anything else?
J: Yes, cos it kept repeating visual motifs and the grieving voice
A: Yup. I thought it interesting the almost-synonymous moods captured by all these films..
J: The layman will just call it emo. The film educated may label them contemplative. (pause) What did u think of Tabula Rasa?

A: I liked it. I looked up the meaning of that actually. Tabula rasa is the epistemological theory that individuals are born without built-in mental content and that their knowledge comes from experience and perception. -Wikipedia
J: What language is it?
A: Latin, I think. Bet you thought it was Malay?
J: Haha. Yes! Rasa as in Rasa Sayang.....
A: Haha don't worry I did too. How did you find it?
J: I like the film. It's 'inception' with a bit more heart. What did you think?
A: I liked it too, thought the open-to-interpretation ending served it well.
J: It's a thoughfully crafted film that does not overdo the visual 'effects', was afraid David would do a 'Steadfast' (his earlier action flick) on this one. The lighting and camera work also reflect a seasoned pair or eyes and hands
A: yup probably one of the more experienced directors in competition.
J: I noticed many films were visual plays more than narrative pieces.
A: Maybe it's the 3 minute restriction….to save themselves the editing dilemmas, you think?
J: But it echoes a comment a Malaysian filmmaker made some time ago, that Singapore films are very glossy pieces with high production values but rest on weak narratives or stories. I mean entries like Carnival of Animals, Square One, reminisce, city lapse are products of editing wizardry.
A: Yup that comment sums it up quite well. the stereotype, almost of arthouse/indie works in Singapore.
J: How did you find Carnival of Animals?

A: i liked the metaphors concept, thought it worked well...up to a point when it seemed to deviate a little. but overall, a 'like' for the visual narrative. You?
J: I prefer to 'comment' instead of 'like' haha.
A: So what's your comment?
J: I like the moment when the giraffe was trying to feed on the leaves and you can still see the human body frame moving, it was kinda transcendental in a way that it achieves its aim of making you see humans in a different, more primeval way. Vice versa, you discover animals have humanly characteristics too.
A: Felt it was narrowing down to women specifically. The tiger therefore was a nice touch.
J: Haha! Agree! (pause) How did you find My Little Brother?

A: I thought the narrative felt fragmented, like it was going in a number of directions and you as audience never really knew which to follow. One minute it's focusing i assume on childhood ambitions, the next starting a family...felt more like random thoughts than a congruent flow.
J: It was a visual statement having the teenagers play parents but he did not carry that forward to a deeper level, so it remained a gimmick, like his use of text (which was quite distracting while it was interesting). I kept guessing where the text would appear next!
A: I thought it was more the hopes and dreams an older sister had for her brother.. in his ambitions, family et al. yeah it somewhat turned out gimmicky.
J: Here’s something funny about 'Reminisce'…….it's the film I remember least.

A: Haha. And why?
J: From my reminiscence, it was like a prototypical wedding video.
A: Haha, except with darker themes i suppose. But i agree the aesthetic touches made it feel like that.
J: Moving on, we are down to our last film, The Last Job.

A: Haha, you're not done with puns are you?
J: I am done, this film is not that 'punny'. Lol.
A: In one word, ambitious. but I'm not sure whether to put it down to the acting or the script, it was a promising concept that fell rather flat for me.
J: Yes agree, good concept but 'make-shift' execution. I mean I would have preferred the victim to not have worn T-shirt and bermudas. Makes the action flick sleepy.
A: Haha. Like a pajama party roleplay!
J: By the way.... do you notice something missing in The Last Job? And sorry, this is my final pun
A: No what's it?
J: Make a guess la
A: Oh...blood?
J: Bingo.
A: Haha
J: No blood on the last job. No more puns I promise, we are done!

Our Favourite Top 3
Jeremy
1 - Jan
2 - Here, I'll always be
3 - Tabula Rasa
Alvin
1 - Here, I'll always be
2 - Tabula Rasa
3 - Paranoia

Our predicted winner
Here, I'll always be

Review: The Ghosts Must Be Crazy by Boris Boo and Mark Lee

An omnibus of two horror-comedies –‘The Day Off’ by Boris Boo and ‘The Ghost Bride’ by Mark Lee – ‘The Ghosts Must Be Crazy’ proves there is life yet beyond Director Neo’s signature brand of films in the J-Team clique.

The potential upon which the directorial mantle is passed though, isn’t as clear a conclusion. While Neo’s household-favourites tantalize the palates of familiar heartland people and places even before opening day, the same formula adopted by these heirs-apparent, at least on the evidence of ‘The Ghosts Must Be Crazy’, look open to question.

‘The Day Off’, the first film in the omnibus by Boris Boo, starts off the “hor-medy” promisingly enough with a memorable opening cameo by Suhami Yusof (of local sitcom ‘Police and Thief’ fame). Leveraging on the bona-fide Singaporean’s stereotype of army life – think a strict unyielding Officer-in-charge, a loud-mouthed and repetitive Sergeant Major, and a couple of skiving reservist soldiers – and you have a ready-made cast of personalities in the local audiences’ mind.

Add in the key ingredients of humour amid faux-horror scenes and the plot turns itself into the self-tagged, albeit confusing, genre of a horror-comedy… or the innuendo-laced “hor-medy” if you like.

If nothing else, the film brings a refreshing touch to our favourite-heartland film clique with cast members that though easily identifiable, you might not have expected to see.

The comedic Chua Enlai (of local sitcom ‘The Noose’ fame) brings his trademark effervescence to the role of the no-nonsense Officer who has more than a word for everyone who dares ask for any form of leeway off training, legitimate or not. Dennis Chew (perhaps better known as Zhou Chong Qing, DJ on MediaCorp Radio 93.3) turns in a decent performance as the sickly soldier who can’t convince anyone he’s genuinely in need of medical help, before well… he finally does in a whole different set of circumstances.

Probably the kind of film that should have you leaving your dignity outside the door (especially if watching it with a date, though how and why should be subject of an inquest), you’ll find yourself laughing and flowing along with the absurdities of the plot.

Though it has to be said the script did the cast no favours, overdoing lines and themes that stop being funny at about the third consecutive time it’s harped on, the cast did a decent job of making the uncharacteristically haunting (especially the closing scenes), or funny (if you prefer) film a watchable treat.

The only visible similarity of Mark Lee’s directorial debut ‘The Ghost Bride’, the second piece in the instalment, might have been that it too opens in the still of the night. Except this time the main lead Henry Thia (better known as ‘Hui Ge’) has just got jilted and is approached by the director/co-lead Mark Lee.

Starring the two faces/names synonymous with J-Team collaborations, ‘The Ghost Bride’ centers on Ah Hui’s (Henry Thia) inability to achieve anything significant in life, whether holding on to a romantic relationship or winning the lottery. He’s approached by a stranger Ah Hai (Mark Lee) who offers him the opportunity of a turnaround in fortunes, for consequences that he (or you, for that matter) would never imagine.

Sounds promising? Perhaps as much as an audience would get from the film’s synopsis, but if you were looking for a film which falls flat on a lofty or promising premise, you need look no further.

Split into two subplots, ‘The Ghost Bride’ starts off with more questions than answers, mostly centering on why Ah Hai would help Ah Hui (pardon the naming creatives) with turning his life around and what he’d get out of it.

These question marks then slowly morph into exclamation marks as strange things start happening to Ah Hui, whose lucky streak comes to an abrupt halt and is told that he needs to make amends for his unfulfilled promises.

Thereby begins the second subplot of the film, one filled with twists and turns so uniquely horrifying, it might scare you into never watching a similar production again. Though not quite M. Night Shyamalan–esque, the plot’s twists do make you sit at the edge of your seats, cringing and wishing you didn’t have to watch further.

If low-brow (or toilet) humour makes your day, then leave your brains outside the door, step inside the theatre and have a good laugh at ‘The Ghosts Must Be Crazy’. Otherwise, you might get a better thrill turning the lights off in your room and scaring yourself with a flashlight.

Production Talk: I Have Loved (Lai Weijie & Elizabeth Wijaya)

Directed by Elizabeth Wijaya & Lai Weijie
Produced by Tan Bee Thiam & Sherman Lai
Country of production: Siem Reap, Cambodia
Production Company: 13 Little Pictures, E&W Films
Website: http://13littlepictures.com/?page_id=236

Synopsis
Marie has had a whirlwind romance with Harold, the older gentleman who has swept her off her feet. Now married, they are on honeymoon in Cambodia. But things do not go as planned. Over the years, Marie returns alone to come to terms with what happened.

What was the inspiration behind I Have Loved?

The idea came about from a trip we took in 2008. We went from Siem Reap to Phnom Penh, Sihanouville, Kampot, Kep, Bokor Hill and back to Siem Reap. We decided to set the feature in Siem Reap as we were interested in the paradoxes and dynamics of the interaction between the town and the millennial-old Angkor temples.

It's interesting to read about the metaphors of shooting in Siem Reap in your Director's Statement, accentuated by it intended as a "love note to Cambodia". Sounds like it left lasting impressions along the way?

Cambodia definitely left a lasting impression on us. Its a place you don't forget. We've made some wonderful friends along the way.

Any key takeaway lessons/anecdotes you have learnt from scripting/directing this film?

We learnt how important it was for the script to be clear! Being careful about things like "Ext Day" or "Ext Night" makes the shoot more efficient. In terms of directing, I think we both learnt alot on communicating our ideas. We were really happy with the crew as every member was really committed. We were initially concerned about shooting for three and a half weeks in a foreign country. In the end, we were impressed with how well the team worked together. On some days, even when people were ill, they insisted on being on set and carrying on with the work-- that really touched and motivated us.

I understand that this is also your thesis film for NYU Tisch Asia? How has the journey been and how does it feel to have made it this far?

This was a development of Weijie's thesis short film. The experience of being in Tisch was valuable. The experience is probably still too close to home to really reflect on.

What's next for both for you after 'I have loved'?

We are both currently working full-time, Elizabeth as a teacher and Weijie as a producer. We are starting to develop another project, but it is still in the early stages.

Bedtime Chatter on Hearty Films from Civic-Life Part 4

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor
★ ★ ★ ★ ★

Dhoby Shop from maddy on Vimeo.

Jeremy (J): Dhoby Shop is a sweet, homely film, appearing like an Indian take on Royston Tan sentimentalism. It's 2.5, 4, 3.5, 3.5 for me.

Alvin (A): To me, it'll be 3, 4, 3, 4.

J: Sounds like it's one of your favourites

A: Not really, I just think it executed its ideas really well. Particularly its sentiments on the age-old traditions. And the narrator's ideas of its continued place in his heart even with modernization and his own study plans.

J: What struck me most about the film was when the camera zoomed in on the impeccably ironed sheets of cloth…They look like sheets of paper

A: Yes agree with that... it struck a chord with me too. The immaculate folds just seems to bring out the point that some things are worth preserving...I like how he links that to his own plans and ideologies

J: It's a visual moment worth a thousand words

A: Yup.

The Neighbourhood Shops are Where the Heart Is from edwin s on Vimeo.

J: The next film has the longest title in the Top 20. There is a lot going into it as well. Mixed bag of issues and undertones.

A: Yup, doing it in a fresh take as well through animations and metaphors. I rate it 4, 2.5, 4, 4. (pause) Would have to say the stand-out factor for me was more the execution than the narrative itself though.

J: 2.5 for obvious reasons! It has a deliberate dead-pan style of narrating story, a very tongue-in-cheek brand of satire. The plot is actually very simple and linear. It just puts a Singapore social issue into a make-believe context and gives it an entertaining twist. It's a 4.5, 3, 5, 4.5 for me. (pause) In fact, it is one of my most memorable pieces. Creativity almost gets a 5 from me except that....

A: ?

J: I saw a similar concept in another short film… deadpan style with a bit of vocal swagger and simplistic animation like this.

A: Perhaps due to the narrator not sounding local, I'm just wondering if the take on matters is a little skewed due to the fact that he sees elements of Singapore culture that typically evade the rest of us. ie. how the fusion of foreign influences "dampen" the existing ideologies, comfort and culture..

J: I don’t think it evades us. Does it? There had been so much debate about the overflowing of foreigners in Singapore and how it is usurping our claim to the economic and social pie…(pause) Anyway, it must be applauded for being different. Is it one of your favourites?

A: Yes, in terms of its execution and like you say, its out-of-the-box take.

Where my heart was from Stephane Lasserre on Vimeo.

J: Where my Heart Was is a bit of a strangely structured film its mix of being poetic and plain-speaking at the same time.

A: Yes, to be honest it didn't quite come off for me. How do you rate it?

J: 1.5, 2, 2.5, 2.

A: Mine is 2.5, 2, 2.5, 2.5. I see the sentiments are similar. I guess the key missing element is engagement with viewers' empathy on the subject, at least with me. What are your gripes about it?

J: I think the filmmaker cannot decide what he wants - to document an event? to wax lyrical about a happening? a visual tour of concrete textures and shapes? It's all mashed into one.

A: Drawing on the synopsis, I think it's supposed to be a contemplative on collective condo sales in Singapore. But honestly I feel the subject theme itself is a hurdle to engaging any kind of emotions or accessibility. (pause) And the supposed metaphorical scenes and climactic scores just serve to confuse the viewer more, like you said.

J: You hit it right on the nail... It is really a condo sales theme in disguise. (long pause)

I feel that's the challenge of the cinematic language. Many people draw inspiration from daily affairs that they see or read in the papers. But when creating a film out of it, it needs visual and narrative translation. (pause) Watching this film is like seeing those 'word for word' Chinese to English translations in movies.

A: True, and perhaps a need for a greater sense of what the film needs to elicit from the viewer.

J: It's like how do you articulate 7% goods and services tax in a cinematic way?

Portsdown Road from Ashish Ravinran on Vimeo.

A: Moving on, I have to put 'Portsdown Road' as another worthy gem in the competition.

J: Yes, it is different and not in a deliberate or unnatural way

A: The way the filmmaker fuses different elements, from dialogue to old photographs to moving shots, in piecing together his scrapbook of memories works a certain magic. It’s a 4, 4, 4.5, 4.5 for me.

J: You know, in seeking to start some healthy debate out of this dialogue, I think we ended up agreeing on so many points. And I feel it just proves that the fundamentals of what makes a good film are universal and objective

A: Well I guess perhaps it's because essentially these are just 90-second works, which come to think of it, has little middle ground. It either works for or against the filmmakers. It's as if they have to make an impression. Or simply not.

J: That's an excellent point! (pause) Mine is a 4, 4.5, 3.5, 5. A case of the sum being more than its parts. (pause) I really like how underlying the whole strangeness of the photo-vocal account juxtaposition, is a progression towards something…while being transported by the photos into a sepia-tinged 70s, you are also guessing that something will be revealed at the end…which was the grown up son manning the camera. A nice poignant closure.

A: Yes, though I have to say that some parts in the beginning did elude me – i.e. the dialogue implying the lack of photos documenting his growing-up years...but the old photos shown later.

J: To be honest, there were lots of subtle references in the narration, I did not pay attention enough to notice the details.

A: Perhaps like you said, it's a case of the sum being more than its details. Must say the use of bubbles really worked a metaphorical and cinematic magic though, especially in the ending scene.

J: That's why I feel filmmakers do not necessarily try to justify every visual element they put in a film. The audience will find themselves a meaning somehow

A: True.

The Queenstown Secret from Anuj Gulati on Vimeo.

A: 'The Queenstown Secret' seems an interesting one. Intriguing in its seeming intention to reveal something in the closet but not quite saying what. How did you find it?

J: I liked all of it, its baffling quality, its tenderness, its whimsical quality. It gets a 4, 4.5, 2.5, 4 from me.

A: 3.5, 2.5, 3, 3.5.

J: Big difference between how you and I 'feel' about it. I happen to think it stirs my imagination and massages my memory.

A: I think baffling is the best word for me to describe it. Not to say it doesn't work, it does put you in the mode of its contemplative nature and press you to unearth more. Sounds like it engaged you emotionally. How so?

J: I liked how it drew upon the actor's nuanced acting and the simplicity of the plot. The boy represents some kind of fragment of her past, something she yearns for and chases only to know it could only keep her company for a fleeting moment. Memories... that's what they, fleeting... and always sweet for as long as they last. (pause) And why does it not do anything for you emotionally?

A: It's probably because its seemingly esoteric meaning continues to elude me more than anything else. Nevertheless the intrigue that there is something more to it leaves a poignant impression. It was interesting how the transition of the girl's life was managed, that even though one may not get the gist of the film, you sense there's an underlying theme of coming out of the crossroads she finds herself in.

J: Question for you: in all 20 films, did any of the locations/places hold special meaning for you?

A: (Contemplates for a long time) I would say probably Little India in 'When the day begins..' and East Coast Park in 'Small Paradise'

J: Why?

A: In both places it triggers a sense of the familiar, but yet there are so many unseen elements and unfelt emotions.. until these 2 filmmakers brought it out.

J: Wanna guess what's mine?

A: Sounded like one was The Queenstown Secret...and the other, Miniature Town: Potong Pasir?

J: Haha, your 6th sense is good. You got one right. It's Queenstown and the playground. I shall make no secret that I used to pass by this playground as a kid and a teen. (pause) My family always makes regular trips to the Queenstown market for the famous Chicken Rice and I always remember my Dad playing The Beatles in the car en-route to Queenstown.

A: Wow sepia memories...

J: Not exactly sepia, it was the late 80s. It was something I had a fondness for before the school week starts again. And there are many times my parents would be doing grocery shopping in the NTUC Fairprice supermarket and I would wait outside staring at the playground...

Here are parts 1, 2 and 3.

Bedtime Chatter on Hearty Films from Civic-Life Part 3 of 4

Photo: Alvin Pang - civiclife.sg

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor
★ ★ ★ ★ ★

Here's part 3 of our review / dialogue.

When the day begins... from Prashant S on Vimeo.

Jeremy (J): So I am looking at the thumbnail of the karom board and pieces and thinking.... not another foreign worker story. (pause) I mean the the Karom was a giveaway... who plays Karom these days?

Alvin (A): Haha, that's sharp. I didn't figure it out till I read the synopsis.
J: But thankfully for that 90 secs of Little India, it's not too bad. It gives you a comfortable glimpse of the chaos in Little India. Strangely in the way it shot its subject and its choice of activity, Little India seemed more…pretty. How do you score this?
A: 3, 3.5, 3, 3.5
J: Pretty level. Any thoughts?
A: I particularly like the way it starts off at the day's end...because that's when they disappear from the construction sites and places you often see them, to a place where they feel a deeper sense of "home".
J: I agree. The night-day reversal had a good point.
A: Must say it does engage the emotions, perhaps because it brings out the little-seen daily routines of these almost-nocturnal group of people. (pause) How do you rate it?
J: For its eye on unexpected beauty, creativity gets a 3, for its lyrical portrayal of their daily routine, 3.5, technicality does not surface as a feature probably because it is fuss-free documentation, so that's a 2.5. Overall, it gets a 3.

A: I like how the filmmaker makes a conscious effort to make a tribute at the end - "For the migrant workers - who put their hearts into our homes" ...fleshes out the emotional and authenticity of the film.
J: To put it in a cliche, it is a whimsical look at migrant workers
A: I see it as more than that actually...the emotional elements reminds me a little of a film by the renowned Taiwanese director Tsai Ming Liang - 'I don't want to sleep alone'.

Mandarin Gardens 2010 from Eugene Soh on Vimeo.

J: Moving ahead, Mandarin Gardens is home-video made to look exquisite
A: Haha well put, got to agree with that assessment though. How do you rate it?
J: It's a 2, 2.5, 3.5, 2 for me.
A: Mine's is a 2, 2.5, 2, 2.5. (pause) That's a pretty high score for technicality.
J: High? I bet they have a mean camera ok. HD, telephoto lens, aperture/contrast control and all.
A: Personally I felt the unsteady cam served more of a distraction than its assumed intention to bring out the candour of the "home vid"
J: What do you think of the narrative or the content?
A: The dialogue felt scripted at times, though must add the candid shots were a nice touch to even that out...content felt a little shallow for me. How about you? How did it work on an emotional level for u?
J: There was something strange about the set up of the video. I think it's meant to be spontaneous, yet there was a palpable sense that the women were acting it up a bit. There is a strong middle-class corporate executive undertone to their delivery and sensibilities. (pause) For the warmth and wholesome goodness of home that I am supposed to feel, I felt it was a little bland.
A: (On the strong middle-class tones) Hmm well to be fair, Mandarin Gardens isn't what one would call Heartland-ish
J: Haha. Don't you think it's strange nobody wants to watch the middle class on screen. People like either people at the pits or the rich and vulgar. (pause) Eerrm.... actually I just answered my own question!
A: Haha!

Miniature Town : Potong Pasir from togusa chan on Vimeo.

J: Miniature Town Potong Pasir gets a 4, 2, 5, 3.5 from me.

A: This film's an interesting one.. it gets 4, 2, 4.5, 3 from me. Wow but we finally got our first 5!

J: Yes. Perfect execution of the dioramas here.
A: Impressive technicality and creativity, especially seeing the town in miniature models. But how do you think it came together overall?
J: It intrigues me! It works on so many layers. Visually, it compels your attention. It's certainly a labour of love. In fact, almost too good for the scale of this competition. I wish the film lives a long life.
A: I personally felt that besides the "technical showmanship" as it were, the film felt a little fragmented. For example, I didn't quite get/feel the accompanying Japanese soundtrack and thought it disengaged a little with the overall themes.
A: Why just 3.5 for X-Factor then? You sound like it impressed on a greater level.
J: I feel on visuals alone, it's marked out its turf clearly and it's a solid one. But I agree about its fragmented feel. And come to think of it, it does not really answer the brief. It is clear this one's all out to impress and I'm impressed! (pause) By the way, do you think there is any siginificance to it using a diorama?
A: I felt it was to tie in with its "a day in little Potong Pasir" theme... How did you see it?
J: In what way was it a tie in?
A: Perhaps in surfacing the fact (as stated in synopsis) that it's one of the smallest estates in Singapore?
J: Yeah, that's why I found it to be very creative. In fact, I wondered if there was any political reference intended in the way it made Potong Pasir into something anomalous
A: How so?
J: Well, given that Potong Pasir belongs to a different political party, the treatment of the film seemed to be to put it under a different set of lenses…zooming in on details and blurring out the rest of PAP-owned Singapore!

I am home - Jason Chan & Andrew Keegan from Jason Chan on Vimeo.

J: You know, I am really itching to you how you would score the next clip I am Home
I am usually a contrarian and I avoid siding popular opinion. But I give in this time
A: It's another add to my "favourites" shortlist.. 4, 4, 4.5, 5.

J: I have a 5 somewhere, can you guess?
A: I would say X-factor (?)
J: That’s just one. It's a 5, 4, 5, 5.

A: Talk about standing out from the crowd, 'I am home' is definitely one to remember from the 20 competition films…not just in execution and impressive technicals, but the humour element is such a refreshing touch... Curious, why the lower score for emotional aspects?
J: I feel there is always a trade off between poignancy and how scripted the film is. This is scripted to the frame. But executed with precision of course. Good thing they went with humour and not melancholy or nostalgia.
A: Thought so, I would say the script is well-written to flesh out the narrator's emotional journey... and I guess that added dimension - fact that it's not just a physical homecoming but an emotional one as well - really engages the viewer…Self-deprecating humour FTW!
J: You know the idea is almost seamless to me... I will challenge to pick out the flaws. What are they and how would you make it better if that's possible?
A: It would be nitpicking, but in a way you could say the script was over-sapping the homecoming journey...and you?
J: His presenter personality... he sounds too perfect. Using the same idea with an average Joe would resonate more with me

The Stone Table from yanqiu on Vimeo.

A: The Stone Table is one lesson in straining your ears... Mine is a 2, 2, 2.5, 2
A: The direction and treatment as well actually... but maybe not so much a strain as a cringe. Interesting choice of language used in the narration, in short felt it over-glorified the theme. What are your ratings?
J: It's a 2, 2, 2, 2. (pause) I personally felt it was over-intellectualising and the idea stood on wobbly ground. The most interesting thing in the film is a (probably) intended detail - the strewn plastic at the side.
A: Yeah I was wondering why that too
J: I surmise that it is probably deliberate because it remained there after the boys left the void deck, making a subtle statement
A; Yup, perhaps a slight touch to give the shot more authenticity
J: But was it there as an ode to ‘American Beauty’ or even worse, an oversight of the Art Department!
A: Haha, it wasn't swirling in the wind though...Perhaps more the latter then.

Read Part 1 and Part 2. Part 4 will be continued...

Bedtime Chatter on Hearty Films from Civic-Life Part 2 of 4

Photo: Alvin Pang - civiclife.sg

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor
★ ★ ★ ★ ★

Here's part 2 of our review / dialogue.

Dancing on Waterloo Street from David Stewart on Vimeo.

Alvin (A): Dancing on Waterloo St gets a 2, 2, 3, 2.5
Jeremy (J): When do we see a 5?
A: Haha! (pause) Title feels like a bit of a misnomer as first half of the film was on anything but Waterloo Street.
J: I kinda like this one for its visuals really (pause) Why 3 for technicality?
A: Decent music accompaniment and nice shots and cinematography. Though have to say it barely adds much to the film.
J: Mine is a 4 for technicality. The telephoto, dolly and tracking shots are executed with such grace. So it’s 2, 3, 4, 3.5. (pause) For me, it’s a 3 for emotional quality because it marries a stirring score with epic-like visuals quite well.
A: Yup, though I felt there was little continuity from one place/scene to another. Generally felt a little too detached for my liking.
J: I agree that the content of the shots don't add up to a cohesive narrative.
A: That said, I liked how the ending was put together. Beautiful shots of normally-stoic faces come alive in dance. With the music accompaniment, it does stir the emotions like you said.
J: It seems like a hobbyist approach to making the film - David goes around with his expensive machine capturing random moments of beauty without a plot and strings them into visual sequence. (pause) Sometimes, it's hard to strike a balance between a organic approach like David's and single-mindedness of a scripted approach so you may miss out on accidental beauty, like the faces that came alive in dance. (long pause) What do you think of the shot when Quan Yifeng's face on the bus whizzed pas the trishaw rider? …….It happens to be my favourite shot.
A: Hmm, I didn't notice it much honestly. What do you think it added to the film?
J: It was a moment of transcendence. It was like Quan Yifeng, a feisty public figure known for her keen eye on social matters and inter-personal relationships was looking at the trishaw rider. (pause) But that's just my things with Quan Yifeng.

Civic Life - Paintings from David Gan on Vimeo.

J: Paintings happens to be my favourite clip title becaise of the pun and the metaphor, though the film then slipped into becoming very literal. (pause) My scores are 3.5, 2.5, 3, 3.
A: That's interesting. what do you think the pun/metaphor was? (pause) My scores are 3, 2, 2.5 and 3 by the way.
J: I think it is very clever and the use of the word suggests the idea of a veneer which really applies on a social, psychological and even political level. And I always saw HDB flats as a PAP political icon in their blocked, rigid shapes, so the concept of painting over a HDB flat bore an intellectual kick for me. (pause) What do you see in Paintings honestly?
A: I actually did a double-take in "creativity" because initially I didn't understand what the filmmaker was getting at. I noticed then perhaps there was a metaphorical element in the "renewal" of the block's facade, especially in shots contrasted against the "showy" commercial buildings in the distance. (pause) It's also worth noticing how the filmmaker makes meaning out of an otherwise seen as mundane activity. Perhaps it makes you see a block upgrading programme in new light.
J: But does it engage you or is it just a 'oh that's smart!' fleeting thought?
A: It didn't work much on a emotions level with me. Perhaps like you said, it drifting into the literal made it lose some of its lustre. (pause) What do you think? Did it engage you?
J: Only when the film opened and the titled was flashed.

Corridors from Isazaly Mohamed Isa in Vimeo

A: How did you find Corridors then?
J: Ingenious, inspiring and in a league of its own. (pause) Let my numbers talk : 4.5, 3.5, 4, 4.
A: Wow. (pause) Mine would be 4, 2.5, 3.5, 3.5. (pause) How did you find the narrative as a whole?
J: It was toying with the concept of using sound to redefine a banal everyday space. Not much narrative except for a certain sequence of different genres to the sounds that are stringed together. I thnk what I enjoyed about watching it was the fact that it was a very simple idea executed to precision and that simplicity triggers a mental off-shoot or escapade.
A: Must agree its impressive and original creative flair sets it apart from the competition. However it did leave a tingling feeling that it dragged on for more than it should have. And somehow drifted into what felt like a contrived attempt to end it. Nevertheless it's certainly the most well-executed film so far in the collection.
J: Well, it's a slow burn... forces you to observe and take in the details. (pause) If you preferred it not to drag on for that long, how would you have done it differently?
A: In a way the conceptualization of the corridor as simply a place of memories didn't come off that well for me, as it looked very much still a place with life. Thus maybe it might have left a better impression/memory with a more conceivable ending in light of the fact that it's still got life left in it...rather than the seemingly hopeless end it seemed to portray.
J: I didn't see the film as trying to pitch the corridor as a place of memories. It was quite a mixed bag of sounds, some even sounding like someone was watching Saving Private Ryan. So I saw it more as playing with sound and perceptions.

Swing Me Back from mihir desai on Vimeo.

J: You know, after watching Corridors, I felt I was not going to be impressed with 'Swing Me Back' form its thumbnail shot. It looked pretty standard. But I was wrong. It delivered good old nostalgia but with a little visual twist - the writing animation over the photos, giving it a very personal and sincere touch.
A: Besides good use of the said swing as a plot device, it felt a little bare. What’s your score?
J: 3, 4, 3, 3.5.
A: Mine’s 3, 2.5, 2.5, 3. No doubt that the visual touches made it feel like a walk through memory lane, but I must say I wasn't too emotionally-engaged by it. (paused) what were the emotional triggers for you?
J: It was simple portraits of family, which I found easy to identify with. And the photos really captured the family members were 'freezed' in honest and sometimes vulnerable moments. What do you not identify with?
A: Perhaps because of the film's centering on the inanimate swing and old photographs, it didn't quite engage in a way the raw candidness of the photos did for you.
J: But didn't you find anything special about the pictures?
A: Well, I thought the metaphorical use of the swing was well executed as it formed almost-the centerpiece of all the old photographs, in that forms the emotional attachment for me.
J: For me, it was special because it featured an Indian family captured in sepia tinged yesteryear images - something done to death with Chinese families in local films. So it present a different track of history and nostalgia peculiar to Indian families and seen through the eyes of an Indian.

家 from Esna Ong on Vimeo.

A: There is a close tie between Home and Corridors for my favourite film so far. One of few films which I felt had more to offer than pensive reflections of a bygone era. (pause) So, I am giving it a 3, 4, 3.5, 3.5.
J: I like it but it is a little low on creativity. Mine’s a 2.5, 4, 3.5, 3.5. (pause) I felt it answered the competition brief like how the model pupil in class would write a grade a composition….stuck by the rules... kept within parameters... safe... relevant….and conventional.
A: I must say some parts did feel a bit premeditated, especially the dialogue which didn't quite convince the point that the narrator had lived there so many years. And when I compare the narrator's delivery with that of 'Remember', I do see the contrast of emotional engagement between both.
J: Really? I felt the narration was quite sincere, even though the structure was very scripted. I still felt I was listening to a friend speak about her growing up experience. In fact, I felt the narration in 'Remember' though honest, but was a tad clumsy.
A: Is it due to the fact it's spoken in heartland mandarin?
J: No. I think the narrator is quite at ease with herself. Perhaps the tone of voice and choice of language made it more accessible than it might have been. (pause) I appreciate the personal touches like showing where she waited for the school bus though it could be a little less literal. I also found that she had a trained pair of hands in the cinematography, being able to emotionally heighten some moments like skirting around a pillar in the coffeeshop.
A: Good spots. Agree that it generally gave a sense of heartland authenticity, in part due to language used, in part due to the cinematography.
J: You said this is 'more than pensive', how so?
A: It felt more forward-looking, as if the past was just a conduit to where the narrator is now...ending off with a view to the future in the said place.

Read Part 1 here. Part 3 and 4 will be continued...

Bedtime Chatter on Hearty Films from Civic-Life Part 1 of 4

Over the last few days, many people have been tuning into the Civic Life website by the British Council to check up on the Top 20 entries in the 'Home is where the Heart is' competition. SINdie could not resist 'playing God' a little with our review of the 20 films vying for the top prize. So here our 'critical analysis' of the films. We have also created a little rating system as well. So the films are rated in the following 5-point scales in this order:

Is it creative?
Does it engage you emotionally?
Impressive technicals?
The X-factor
★ ★ ★ ★ ★


Small Paradise from Kimberly Ong on Vimeo.

Alvin (A): ‘Small Paradise’ gets a 2.5, 3, 2.5 and 3.
Jeremy (J): For me, it is a 2, 4, 3 and 2.5. (pause) By the way, all pretty dismal scores.
A: Perhaps because its intentionally simplistic nature (to capture elements of childhood) falls short of engaging too much emotion?
J: I on the other hand felt something warm and comforting in that simplicity - the shots of seaweed, water, sunshine.... all very unassuming, yet charming.. hence the title ‘Small Paradise’.
A: Well noted. I like how the title fits in with the film's concept as well.. i.e. small memories in small "paradise".
J: Exactly... but having said that. it is forgettable amongst the entire stable of 20 films cos it is about little everyday moments (which can be captivating) but the images were pretty cliché in this film.
A: Agreed. Perhaps its theme/angle is its Achilles heel then - a tad too whimsical to be etched in the mind.
J: Whimsy is ok... but bad for online competition... the Youtube audience loves to be entertained.

One by Christian Lee from Christian Lee on Vimeo.

A: Moving on, ‘One’ gets a 3, 4, 3, and 3.5.
J: For me, it is a 2, 2, 2, 2.
A: Wow, sounds like you don't fancy it much.
J: You read me... explain your scores.
A: I like how it starts out with the shot/description of the nondescript building and moves on to its deeper significance to the protagonist's life.
J: I agree ... nice progression. (pause) However, if you look at it critically, the idea is in their hobby, which technically is not part of the process of making the film.
A: Well, I still like it better than the first perhaps because it leaves a stronger sense of attachment, through the transition from the inanimate (building/lion head, dance) to a deeper emotional level that brings out the desire of the couple in them wanting to fulfill each other's dreams and desires. That sense of "sweetness" hooks me in.
J: You are so wanting to get married .... lol
A: In absolutely no rush at all. On your point about the hobby, I am not sure if it's their "hobby" or something they (or the husband/narrator in particular) had to go out of his way to do in order to fulfill his wife's unconventional wish. (pause) Perhaps also the fact that it's such an unconventional/peculiar request that makes the memory of this film stick out. I mean who would think of "marrying" (pardon the pun) lion dance and a wedding ceremony?
J: Well... whatever works to make you remember... but just does not hit the right emotional notes in me.
A; I thought it could have been better if the narrator (assumed protagonist) accent was expanded on. Sounds like he isn't local and would have brought an interesting dimension to the culturally-Chinese thing he's doing. Would it have made a difference for u?
J: I think the accent made the video very foreign to me. So yes, totally makes a difference for me.


Boxes and Lines by Reb Ling from Reb Ling on Vimeo.

A: My scores for Boxes and Lines are 3, 2, 2, and 3.
J: 4,1,2,2.5 for me. I gave creativity a 4 for its bold direction. (pause) It stands out from the rest for its strong grip on a visual metaphor. But it falters on all the other aspects. Most of all, they need a better narrator.
A: Agreed. I like how she parallels her sport passion with something probably more familiar to females - relationships. Just reading the synopsis, I was convinced it was something about relationships!
J: Yes... straights lines and circles and trajectories…says so much about relationships!
A: The choice of shots seemed a little myopic to me too. Football is as much a spectator sport (read: couch potato) as a physical sport but there wasn't any emphasis on that.
J: I like how you used the word myopic. (beat) In fact, the cinematic breadth is very limited and it constricts our view of her world. On another note, I also feel I don't have to explain the low score on technicals. The camera was shaking 80% of the time.
A: Bringing up your point on the narrator earlier, why do you think it could do with better?
J: She is expressing using a lot of heavy angsty words but her delivery sounds very level-headed and bland. So she needs to make those words come alive. (pause) I think the upbeat, synthetic-sounding music works against her content as well.
A: I'm just thinking whether it could be attributed to the fact it's a male-dominated sport and thus the composed, non-emotive bassy tones.
J: Yes..... I am picturing her with extremely short hair with an affinity for pants.

Remember from Tang Kang Sheng on Vimeo.

J: ’Remember’ gets a 2, 3.5, 3, 3. (pause) The thumbnail grabbed my attention because it featured something deeply personal. But I felt he could have done a lot more with the old photographic gems.
A: I assume that contributes to the 2 in creativity then.
J: I mean he could have done more with those old gems.
A: I give it a 2.5, 4, 3 and 3.5.
J: It affects you emotionally I see.
A: Yup. I think that's the key takeaway for me in ‘Remember’. (pause) I like how the narrative starts and ends, it divulges a little on the narrator and sounds like he's a bad state. Quote: "As you grow older, you tend to do things you......really regret". Though on the surface it seems so little what present choices/mistakes have to do with his past or with his grandparents, it somehow affects him enough to link it. I love how the narration ends as it started, a pensive look at his life and desire to set it right because of his past.
J: I like how the narration is very sincere. No, raw is a better word. (beat) It's a totally untrained voice that is speaking from the heart. The only pity is the speech rhythm and inflexions seems out of sync sometimes.
A: Yeah I agree on the fact his voice/tone was so raw and untrained. As if it were unscripted…and it was a plus to the authenticity for me.
J: But it's a double-edged sword. The rawness also makes the clip less punctuated…I remember fragments but I don't register a story.
A: That has a strange appeal to me in some way. The narrator brings out enough to imply there are undercurrents but makes one wonder what they are and how they tie in to his past. (pause) It's almost like the viewer is given fragments to piece the puzzle together, though obviously there are many missing pieces.
J: Well, strange is the word. It feels incomplete, raw, a little unsteady, clumsy but you know… perhaps its gaps reinforce the idea of a void.

The Tree from Mary Magdeline Pereira on Vimeo.

A: ‘The Tree’ gets a 2, 2, 2, 2.
J: Wow, that says a lot!
A: Haha, unfortunately the film doesn't.
J: I am going with 1, 2, 1, 2. (pause) It is strange it got into the top 20. The only thing of note (i.e. the narrative) was in short, the clip is overly poetic, scripted, and way overdone for my liking.
J: Poeticism-overkill.
A: Also there was little, if any congruence between the narrative and the shot. "Red berries...squirrel scambering.." But all one sees is a nondescript looming tree barely of note. (pause) At times it seemed the disoriented camera was confused of what to capture and I don't think you can expect the viewer to be any more enlightened.
J: Yes, it's a strange case of the words serving the visuals rather than the visuals serving the words. And the shots were very literal too, giving the impression of poet making a clumsy cross-disciplinary crossover.

To be continued with Part 2, 3 and 4...

(What do you think? Share your views with us below.)