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BREAKTHROUGHS IN CINEMA 3rd to 6th October at the National Museum of Singapore
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BREAKTHROUGHS IN CINEMA
”In my mind, it’s not really a film – it’s a declaration or a statement of who I am and how I was living.” – Martin Scorsese on his film, Mean Streets. This year, Perspectives Film Festival: Breakthroughs in Cinema presents Independent Cinema. The curated films went against the conventional mould and were made independently. As Scorsese put it, independent filmmaking is “a declaration” of one’s self – telling stories that these filmmakers wanted to tell and filming it the way they wanted to. Independent cinema has allowed filmmakers the freedom to do what they do best – producing creative films stamped with the directors’ individual style and vision, thus providing unique cinematic experiences for the audience. The five features curated this year often had a long journey to the big screen, fighting budgetary constraints and challenging cinematic norms. Perspectives 2013 is also expanding the feature film programme to include ancillary activities. There will be postscreening dialogue sessions for the films Television and Black Silk, as well as a showcase and dialogue with homegrown independent film collective, Akanga Film Asia, and a masterclass by filmmaker Fran Borgia. Launched in 2008, Perspectives Film Festival is an annual practicum course run by the faculty of Wee Kim Wee School of Communication and Information. Perspectives is organised by undergraduates from the Nanyang Technological University, and supported by the Wee Kim Wee Legacy Fund.
CONTENTS PAGE 2 4 6
Festival Schedule Introduction History
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Television (PG) Mean Streets (NC16) Akanga Showcase (R21) The Boys from Fengkuei (NC16) Black Silk (PG) Shallow Grave (M18)
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Akanga Masterclass Ticketing Venue The Team Special Thanks Sponsors
FESTIVAL SCHEDULE 3rd October, Thursday Television (PG) 7.30pm Post-screening dialogue with director Mostofa Sarwar Farooki
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Singapore Premiere
4th October, Friday Akanga Masterclass: Independent Film Financing, by Fran Borgia 4 - 6pm
Mean Streets (NC16) 7.30pm
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5th October, Saturday Akanga Showcase (R21) 4 - 6pm Post-screening panel discussion with local filmmakers Yeo Siew Hua, K. Rajagopal and Boo Jun Feng
The Boys from Fengkuei (NC16) 7.30pm
6th October, Sunday Black Silk (PG) 1.30pm Post-screening dialogue with Chalida Uabumrungjit, Deputy Director of Thai Film Archive and Zhang Wenjie, Head of National Museum of Singapore Cinémathèque Shallow Grave (M18) 5.30pm
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INTRODUCTION
So, independent cinema. What is it? To some it’s about the aesthetic, like in Wes Anderson films, with their pastel colors and quirky intertitles. To others it’s defined by budget or the fact that it represents a sort of anti-Hollywood – the other cinema. But it is a lot deeper than that. The idea of the independent filmmaker has been in existence since the beginning of cinema itself. When Auguste and Louis Lumière first developed the technique for the moving image in the late 19th century, it was a revolution that laid the foundations for many other cinematic movements to emerge in decades that followed. Eisenstein’s montage theory, Italian Neorealism, the French New Wave. These defining milestones in cinema were made possible by an audacious desire to change the status quo, to take the medium of film and define it all over again.
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Allow me to posit that independent cinema need not be defined or categorised. It’s not a genre or subset. It is a spirit that pervades all forms of cinematic or film expression. Independent cinema gives the individual the unrestrained power to create the movie he or she wants to make, in the way he or she wants to. Independent cinema acts as the counterbalance that will and should constantly exist to keep the film industry in check – to remind the industry of what it lacks and what it can stand to achieve. This year, Perspectives Film Festival proudly presents five features from around the world that celebrate and champion the spirit of independence, including the critically acclaimed Bangladeshi film Television, a made-for television feature that was selected as the closing film for the recent Busan International Film Festival, and a rare 35mm screening of The Boys from Fengkuei, by Hou Hsiao-Hsien, a leading figure of the Taiwanese New Wave. On top of that, this year, for the first time ever, we are holding a short film showcase and exclusive dialogue session with local filmmakers from the homegrown independent film collective Akanga Film Asia. On behalf of the team, I would like to thank Ms. Nikki Draper and Mr. Eternality Tan for their expert mentorship. This labour of love would not have been possible without the support of every single person who has believed in us over the past few months. I sincerely hope this cinematic voyage that you are about to embark on will give you a greater understanding of the indispensible role that independent cinema plays in our world. Viknesh Kobinathan Head of Programming Perspectives Film Festival 2013
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HISTORY Since its inception in 2008, Perspectives Film Festival: Breakthroughs in Cinema celebrates innovative and unconventional filmmaking.
2008 The Film Lover’s Guide to Living Well The festival’s inaugural year was a retrospective exploration of Singaporean films from the 1960s – the Golden Age of local cinema. Opening with Singapore’s first Chinese -language film, Lion City, and closing with Seniman Bujang Lapok by the legendary P. Ramlee, the festival curated films that stand as cinematic landmarks in our homegrown industry.
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2009 Monster Mania Returning for its second installment, Perspectives showcased horror and monster films. A free outdoor screening of Godzilla vs King Ghidorah, introduced by Eric Khoo, kickstarted the festival. The 1922 horror classic Nosferatu closed the festival and featured an unprecedented collaboration with ADM faculty member Permagnus Lindborg and three local music groups (Yinstraits Quartet, Iron Egg and Samuel Wong Shenmiao) to produce an original score for the silent film.
2010
2011
2012
Reality vs. Fiction
Films of Controversy
Sexuality
In the third installment, Perspectives was curated with an age-old question in mind: What is real? From the surrealistic animated documentary Waltz with Bashir to the uninterrupted single-shot 99-minute feature Russian Ark, the festival curated films that blurred the lines of reality through vivid imagery and mind-bending storytelling. Four out of the five films shown were made in the 2000s, making this installment of Perspectives more contemporary than its predecessors.
Perspectives presented films that were banned or considered controversial. The programme highlight was the Singapore premiere of an uncut and fully restored digital print version of Stanley Kubrick’s dystopian masterpiece, A Clockwork Orange, to a full house at Singapore’s largest cinema hall. Other films shown include The Blue Kite, which was banned in China, and the Singapore premiere of the Berlin International Film Festival award winner, Caterpillar.
2012’s festival shed light on sexuality and its influence on love, fear, psychology and death. Headlining the festival was cult film The
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Rocky Horror Picture Show In keeping with tradition, the screening was held at midnight and audiences were invited to dress up and participate in the musical numbers. P e r s p e c t i ves also presented the Asian premiere of Turkish movie Zenne Dancer. The directors were present for a post-screening dialogue.
Awards Busan International Film Festival 2012 (Closing Film) , Dubai International Film Festival 2012 (Special Mention: Muhr Competition)
3rd October, 7.30pm Singapore Premiere
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TELEVISION Mostofa Sarwar Farooki | 2012 | Bangladesh | 106 min | HD Cam Bengali with English subtitles | PG (Some Religious References)
A village elder bans all forms of images, moving or still, so all television programmes are also banned. This incites a variety of reactions from members of the community. Television explores the issue of freedom of information, and what happens when this is taken away in a Bangladeshi community. Mostofa Sarwar Farooki started out his career telling stories in the form of telefilms and worked his way to making feature films fit for the cinemas. This Dhallywood (nickname for the Bengali film industry) trend of developing homegrown movies from telemovies is a unique one in the film landscape. Lee Yong Kwan, director of the Busan International Film Festival (BIFF) where Television screened, commented, “A new trend can be industry-related or artistic, and the fact that a country is creating domestic films through telecinema is monumental. BIFF felt compelled to showcase this movement”. According to Lee, Bangladeshi cinema was not ready to be featured in international film festivals but with more young and adventurous filmmakers like Farooki, this is set to change. Television‘s comic moments, and bright and colourful cinematography make it even more satirical, as opposed to the dark visual tone and style that characterize the cinema of that region.
ABOUT THE DIRECTOR Mostofa Sarwar Farooki is considered to be one of the leading figures to bring realism and modernism into Bangladeshi film. His second feature film, Third Person Singular Number (2009) premiered at the Busan International Film Festival, and had its European premiere at the International Film Festival Rotterdam. His films address a range of themes – from middle class angst to the frailty of the individual.
There will be a post-screening dialogue with Mr. Farooki
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Special Mention National Film Registry, Library of Congress (Inducted in 1997 for Cultural Significance)
4th October, 7.30pm
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MEAN STREETS Martin Scorsese | 1973 | United States | 112 min | 35mm English | NC16 (Some Nudity)
Charlie Cappa is just another young Italian-American trying to juggle career, love and friendship. Working for his mobster uncle, he has a hard time reconciling his strong Catholic faith with his mafia ambitions. In love with Teresa who suffers from epileptic seizures, and loyal to Johnny Boy who is always in debt, Charlie has a penchant of putting others before himself. When Johnny Boy incurs the wrath of a loan shark, the three of them struggle to escape the grim life of Little Italy. First released in 1973, this is the 40th anniversary of Mean Streets. The film was independently financed, and even though Martin Scorsese had worked on the script for seven years, he only had only 27 days to shoot the entire film. Based on his experiences growing up in Little Italy, Mean Streets is arguably the director’s most personal work to date with standout performances from Harvey Keitel and Robert De Niro. The film was also noted for its rock-and-roll soundtrack, for which Scorsese reportedly spent half of the film’s budget to obtain licensing rights. The film was not a commercial success in its initial release, but has since received acclaim for its portrayal of the gritty details and daily struggles in the life of a small-time thug.
ABOUT THE DIRECTOR Martin Scorsese is an Academy Award-winning director, best known for films such as Taxi Driver (1976), Raging Bull (1980) and Goodfellas (1990). His works often explore themes of violence, guilt and redemption. Scorsese is also known for his distinctive filmmaking style of gritty realism and cinematography, with Mean Streets often regarded as his directorial breakthrough feature. His most recent features include The Departed (2006), Shutter Island (2010) and Hugo (2011).
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4th October, 4- 6pm
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AKANGA SHOWCASE Akanga Film Asia Akanga is Singapore’s most groundbreaking independent collective. Created in 2005 to support arts activities from filmmaking to theatre, they have produced award-winning projects and are currently developing several feature films. The showcase is a dedication to the work that Akanga has done and its contribution to Singapore film. KATONG FUGUE Boo Junfeng | 2007 | Singapore | 10 min | English | PG A boy with a hidden life and a mother desperately trying to reach out. This is a film adaptation of a short play of the same name by Singaporean poet-playwright, Alfian Sa’at. Boo Junfeng is one of Singapore’s most prolific young filmmakers. His works often center on themes of alienation, kinship, love and sexuality. Junfeng’s debut feature, Sandcastle (2010), was the first Singaporean film to be invited to the International Critics’ Week at the Cannes Film Festival. GEZEITENTÜMPEL Yeo Siew Hua | 2012 | Singapore | 6 min | English | Rating TBC
GEIZEITENTÜMPEL is a collection of visual poems and questions about the brevity of life and the vastness of time. The film reconstructs the silent images of Philipp Aldrup and enchants it with an original score written and performed by The Observatory. Yeo Siew Hua’s debut film In the House of Straw (2009) was presented at the 34th Sao Paulo International Film Festival in 2010 and lauded by critics as a significant work of the Singapore New Wave. TIMELESS K. Rajagopal | 2010 | Singapore | 16 min | English | R21 (Homosexual Content)
Timeless is a visceral experience which disrobes the human condition over three epochs, drawing upon searing images inspired by Francis Bacon’s triptych series. It examines the question: “Time changes but do people change?”, and if people do change, why does HIStory repeat itself? K. Rajagopal has worked on stage and in film for over fifteen years. As a filmmaker, he won the Singapore International Film Festival’s Special Jury Prize for three consecutive years with I Can’t Sleep Tonight (1995), The Glare (1996) and Absence (1997). There will be a post-screening panel discussion with Boo Junfeng, Yeo Siew Hua and K. Rajagopal
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Awards Nantes Three Continents Film Festival 1984 (Golden Montgolfiere Award)
5th October, 7.30pm
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THE BOYS FROM FENGKUEI Hou Hsiao-Hsien | 1983 | Taiwan | 101 min | 35mm | Taiwanese and Mandarin with English subtitles | NC16 (Some Coarse Language)
Three friends from the fishing village of Fengkuei have finished school and spend their days idling, drinking and fighting. They decide to move to the port city of Kaohsiung to look for work. Away from the familiar community of their hometown, the three friends must now face the harsh realities of adulthood and living in a big city. Celebrating the 30th anniversary of its release this year, Hou Hsiao-Hsien regards The Boys from Fengkuei to be his personal favourite in his filmography as he felt he had complete artistic control over the film. It was considered Hou’s first auteur film, where he began to experiment with long takes, wide-angle shots and melodrama-free plotlines. Similar to how the boys in the film experience new changes as they grow up, Hou’s craft undergoes a developmental process as well. This coming-of-age film shows Hou’s minimalist style that is emotionally charged with highly nostalgic imagery. It is reminiscent of the Taiwan of his youth, with Hou confronting the economic and social changes of his homeland. The film is ultimately a delicate balance between a social commentary and a heartwarming tale of family and fraternity.
ABOUT THE DIRECTOR One of Taiwan’s most prominent and respected directors, Hou Hsiao-Hsien was a leading figure of the Taiwanese New Wave cinema movement in the 1980s, a response to the rising popularity of Hong Kong cinema. Hou’s films have won awards at the Berlin International Film Festival and the Venice Film Festival such as A Time to Live, A Time to Die (1985) and A City of Sadness (1989) respectively.
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Awards Berlin International Film Festival 1961 (Nominated for Golden Bear)
6th October, 1.30pm
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BLACK SILK Rattana Pestonji | 1961 | Thailand | 119 min | 35mm Thai with English subtitles | PG
Prae is a young widow who, still grieving over the death of her husband, refuses to start life anew with her lover. Desperately in need of money to convince Prae to marry him, Thom finds himself in the middle of a murder and an elaborate scandal. Prae is unwillingly dragged in as a victim, and the couple gets entangled in a web of deceit and heartbreak as things spiral out of control. Black Silk, widely regarded as Thailand’s first film noir, was director Rattana Pestonji’s second colour film. Due to budget constraints, the director took on most of the production roles, including writer, producer, cinematographer and editor. His daughter was also cast as the main actress Prae. Pestonji constantly pushed for innovations in the Thai film industry, shooting Black Silk in 35mm when most filmmakers were still using 16mm. One of Pestonji’s best works, Black Silk was also one of the first Thai films to be screened in competition overseas, earning the Golden Berlin Bear nomination in 1961.
ABOUT THE DIRECTOR Rattana Pestonji is considered by many as the father of contemporary Thai cinema. A champion of local independent cinema, Pestonji had numerous run-ins with the government because of their conflicting ideals, and continued to lobby for independent cinema in Thailand till his last breath. He died on August 17, 1970, while giving a speech appealing to Thai government officials and film producers for more support for local films. The Thai Film Promotion Board was set up a few days later in his honour to promote and encourage investment in Thai films. Post-screening dialogue with Chalida Uabumrungjit, Deputy Director of Thai Film Archive and Zhang Wenjie, Head of National Museum of Singapore Cinémathèque
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Awards BAFTA Awards 1995 (Alexander Korda Award for Best British Film)
5th October, 5.30pm
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SHALLOW GRAVE Danny Boyle | 1994 | UK | 92 min | 35mm English | M18 (Violence and Some Nudity)
Three housemates find their roommate dead from a drug overdose and steal the suspiciously large amount of money that he left behind. Fueled by self-absorption and cynicism, the trio make bad decisions that lead to grim consequences. The release of Shallow Grave in 1994 was a muchneeded jolt for British independent cinema. At the time, England was going through the “Cool Britannia Movement” – a movement celebrating an increased pride for British culture that was more youthful and fashionable. Films were veering away from the lavish period costume dramas that were often adapted from well-known literary sources. Shallow Grave marked the directorial debut of Danny Boyle, establishing his trademark dynamic storytelling and kinetic visuals that have been a staple in most of his later works. With its black humour and nastily cynical characters shot in gritty locations, the film was made on a tight budget because Boyle felt that it gave him a greater sense of control. The film also features the acting debut of Ewan McGregor, who would go on to star in the new Star Wars trilogy (1999, 2002, 2005) and Moulin Rouge! (2001).
ABOUT THE DIRECTOR Danny Boyle is known for his cult hit Trainspotting (1996), acclaimed films such as Slumdog Millionaire (2008) and 127 Hours (2010), and was responsible for directing the 2012 Olympics Opening Ceremony. He is also known for his versatility, working in a wide range of genres and often circumventing their conventions, yet his dynamic visual storytelling remain consistent in all of his films.
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THE AKANGA MASTERCLASS Selected Participants (Applications close on 16th September) 4th October, 4 – 6pm at the National Museum Singapore, Seminar Room 1 $15 for students, $25 for non-students
Perspectives is organizing a Masterclass conducted by Fran Borgia, the founder of Singapore’s leading independent film collective – Akanga Film Asia. This Masterclass is tailored to educate prospective filmmakers on how to finance a film and the possible routes that they can take to get their films financed. The 30 successful applicants, who are selected based on their interest in film, will get the chance to interact with Fran, and gain valuable insights from his past experience as a producer. Perspectives hopes that this Masterclass will help potential independent filmmakers in Singapore to understand the local film landscape, and that those participating will take with them useful knowledge related to film financing and production. Fran Borgia, Founder of Akanga Film Asia Born in southern Spain, Fran Borgia studied filmmaking in London, Barcelona and Singapore. In 2004, Fran wrote and directed his first short film Asia. He released his second short film Para Asia in 2007. Fran is known for being a very accomplished producer. He was the Producer and Editor for Here, Ho Tzu Nyen’s first feature film that wowed audiences at the 41st Directors’ Fortnight at the 2009 Cannes Film Festival. Fran was also the Producer and Editor for Earth, presented at the 66th Venice Film Festival in 2009 and the 39th International Film Festival Rotterdam in 2010. Send an email to info@perspectivesfilmfestival.com stating in 300 words or less, why you want to be in this masterclass. You may choose to send in your film CV or resume along with the write-up. For students, kindly send a scanned copy of matric card or equivalent proof that you are a student. The deadline for application is 16th September 2013
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TICKETING INFORMATION Tickets are available on the SISTIC website and from all SISTIC counters. Tickets for all films are priced at $10 each. Students with valid IDs, senior citizens above age of 55, and Singapore Film Society members enjoy a discounted price of $8. There will also be 30 exclusive festival passes available at $35 each. Each festival pass allows the patron to watch any of the five films, and will automatically reserve a seat for the patron at the Akanga showcase. Please note that screenings with age restrictions apply. Patrons who are underage will be denied entry at the door. All prices are exclusive of SISTIC booking charges. Tickets for the Akanga Showcase Tickets to the Akanga showcase are free and can be reserved through the PeaTiX website (http://perspectives.peatix.com). Each person is allowed to reserve a maximum of four tickets. For ticket availability at the door, please call 6348 5555. Patrons may also check Perspectives’ Facebook page for ticketing updates.
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GETTING THERE
SMU
Bras Basah Road
Singapore Management University
Orchard Road
SMU
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YMCA
WE ARE HERE
Stamford Road
Bencoolen Street
Dhoby Ghaut Station
Prinsep Street
Bras Basah Station
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NATIONAL MUSEUM OF SINGAPORE Fort Canning Park
National Museum Singapore 93 Stamford Road Singapore 178897
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Cityhall Station
By Train Two - minute walk from Bras Basah MRT station. Ten-minute walk from Bugis, Dhoby Ghaut and City Hall MRT stations.
By Bus
By Car Limited on-site parking is available. Parking is also available at the following locations near the museum: Waterloo Street, NTUC Income Centre, Queen Street, Plaza by the Park and Singapore Management University.
YMCA Bus-stop (08041) SBS: 7, 14, 14e, 16, 36, 64, 65, 111, 124, 128, 139, 162, 162M, 174, 174e, 175 SMRT: 77, 106, 167, 171, 190, 700, 700A, NR6, NR7 SMU Bus-stop (04121) SBS: 7, 14, 14e, 16, 36, 111, 124, 128, 131, 162, 162M, 166, 174, 174e, 175 SMRT: 77, 106, 167, 171, 190, 700, 700A, 857, NR7
Wheelchair Access The National Museum of Singapore provides parking for handicapped-labeled vehicle. There is lift access to upper floors, and fully accessible washrooms located at each floor of the museum.
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THE TEAM Course Coordinators Nikki Draper Eternality Tan
Festival Directors Chrystal Ng Eileen Lim
Programming Viknesh Kobinathan (Head) Filzah Bte Yahaya Vivienne Chang Katherine Tan
Festival Managment Kimberly Haley Wang (Head) Shiah Jing Yun Stefany Loo
Publicity & Sponsorship Nur Iznina Bte Zainudin (Head) Grace Chow Emily Tan Noel Ng
Editorial Fadzeera Fadzully (Head) Michelle Ann Kwara Beatrice Tan Hariz Baharudin Benjamin Lim
Design Samantha Branson (Head) Jemimah Seow
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SPECIAL THANKS Throughout the process of putting together the festival, many individuals have taken care to help us out. We would like to express our sincere gratitude to Fran Borgia, Boo Junfeng, K. Rajagopal, Yeo Siew Hua and Mostofa Sarwar Farooki. We are thrilled to have such great and emerging film talents as guest speakers in the festival this year and look forward to seeing more of their work in the future. A heartfelt thank you to Chalida Uabumrungjit and Sanchai Chotirosseranee from the Thai Film Archive for taking the time to share their insights and ideas. Special thanks to the National Museum of Singapore (NMS) for being our long standing venue partner. This event would not have been possible without the full support of NMS representatives, Warren Sin, Zhang Wenjie and Low Zu Boon. We would like to thank Dr Mithun Kumar Saha and the Singapore Bangladesh Society for their support and advice in coordinating the additional free screening of Television for migrant Bangladeshis. We would also like to thank the following people: Professor Liu Hong, Assoc Prof Stephen Teo, Assoc Prof Kenneth Feinstein, Assoc Prof Neil Murphy, Luke Kwek, Dorice Koo, Dinesh Parasurum, Catherine Ho, Melannin Quaimbao, Terence Kek and Irene Ong. Their guidance is greatly appreciated. Thank you also to Junwei for his patience and effort in helping us realise the Perspectives website design. Finally, a massive thank you to the Wee Kim Wee School of Communication and Information and the Wee Kim Wee Legacy Fund for their generous support.
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SUPPORTED BY
SPONSORED BY
SPECIAL THANKS
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