Perspectives Film Festival 2012 by Shawn Choy

BREAKTHROUGHS IN CINEMA The fifth installment of the annual Perspectives Film Festival: Breakthroughs in Cinema dives into an exciting and daring new theme: sexuality. This yearâ&#x20AC;&#x2122;s line-up takes the audience on a journey of exploration and enlightenment. The six films shed light on the sensitive topic of sexuality and its impact and influence on elemental aspects of human life such as love, fear, psychology and death. The films also go one step further in applying the concept of sexuality in the exploration of societal issues such as tradition, gender roles and family ties. The films in this yearâ&#x20AC;&#x2122;s programme stand out not only as great cinematic works, but also for their ability to explore challenging topics that society often prefers not to discuss. Perspectives Film Festival 2012 is proud to present these films and confident in their ability to demonstrate how sexuality is not independent of daily life, but rather, an integral part of it. Visit www.perspectivesfilmfestival.com for updates on the festival or follow us on Facebook at www.facebook.com/PerspectivesFF

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CONTENTS

Zenne Dancer

2 4 5 6

PERSPECTIVES FILM FESTIVAL 2012 FESTIVAL SCHEDULE FOREWORD PERSPECTIVES: A HISTORY

FILMS 8 10 12 14 16 18

ZENNE DANCER BELLE DE JOUR THE ROCKY HORROR PICTURE SHOW FIRE THE HOUSEMAID 4 MONTHS, 3 WEEKS AND 2 DAYS

20 21 22 23

TICKETING VENUE THE TEAM ACKNOWLEDGEMENTS & SPONSORS BREAKTHROUGHS IN CINEMA 3

FESTIVAL SCHEDULE All films are screened at the National Museum of Singapore.

8 NOV THU

ZENNE DANCER 8:00 p.m. (R21)

9 NOV FRI

10 NOV SAT

11 NOV SUN

BELLE DE JOUR

ZENNE DANCER

THE HOUSEMAID

THE ROCKY HORROR PICTURE SHOW

4 months, 3 weeks and 2 days

8:00 p.m. (M18)

1:30 p.m. (R21)

1:30 p.m. (PG)

Both screenings of Zenne Dancer feature a post-screening discussion with the directors, M. Caner Alper and Mehmet Binay.

11:55 p.m. (M18)

4:30 p.m. (M18)

FIRE

8:00 p.m. (R21) 4 PERSPECTIVES FILM FESTIVAL

4:30 p.m. (M18)

FOREWORD

4 Months, 3 Weeks and 2 Days

Google sex. Youâ&#x20AC;&#x2122;re bound to get a million definitions, a zillion pornographic websites and no answer. Instead, googling sex is just going to lead you to a never-ending list of questions â&#x20AC;&#x201C; What is homosexuality? Why do people engage in sadomasochism? Where did prostitution and sex slavery originate? So how are you ever going to find out more about sex? The answer is simple: through Perspectives Film Festival 2012. We understand that a picture paints a thousand words. A film, in this case, should showcase a million more. This year, Perspectives Film Festival aims to showcase various depictions of sexuality through the screening of six brilliantly scripted and renowned films. From the sophisticated backdrops of France in the 1960s to the unassuming rural alleys of India in the 1990s, Perspectives 2012 will provide you with insights to the various meanings of sexuality. These six films were selected based on their breakthrough quality and the level of impact they have made in culture, society and in film history. On its opening day in India, some film theatres were attacked by Hindu fundamentalists for allowing Fire to be screened. The film was banned for a short period, but theatre screenings resumed later. When Zenne Dancer made its debut in Turkey, it created waves in the country

for putting the spotlight on homosexuality in a predominantly Muslim country that remains influenced by conservative and religious values and traditions. Meanwhile, the showcase of sexuality and female empowerment in The Housemaid and Belle de Jour have challenged and successfully changed the notion of the fairer sex. The Romanian film, 4 Months, 3 Weeks and 2 Days questions the importance of life and the role sex plays in it. The last film in our line up, The Rocky Horror Picture Show, my all-time favourite, will also bring some light-heartedness to the sometimes-serious topic of sex and exhibit a more colourful side to it. Organised and managed by a team of talented undergraduates from the Nanyang Technological University (NTU), under the angelic guidance of Ms Nikki Draper and Ms Sam I-shan, this exciting arts event is presented by the Wee Kim Wee School of Communication and Information (WKWSCI) and supported by the Wee Kim Wee Legacy Fund. As the Festival Director, I would like to extend my gratitude to all those who are going to embark on this thrilling sex ride with us. At the end of the four-day event, we hope that the film festival will shed some light on this exciting word. Who says you need Google when you have Perspectives 2012?

Kenneth TENG

Festival Director Perspectives Film Festival 2012

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PERSPECTIVES: A HISTORY Since its inception in 2008, Perspectives Film Festival has always been about pushing boundaries of creativity and thought. Whether it’s a new way of looking at our past, questioning the nature of reality or exploring the provocative, the festival raises the bar each year, curating films that inspire and challenge its audiences. Here’s a look at the breakthroughs of the past:

2008

The Film Lover's Guide to Living Well The festival’s inaugural year was a retrospective exploration of Singaporean films from the 60s – the Golden Age of local cinema. Opening with Singapore’s first Chinese 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 Film Festival took a more fun and accessible tone by showcasing horror and monster films to appeal to both young and old. A free outdoor screening of Godzilla vs King Ghidorah kickstarted the festival. Horror classic, Nosferatu, was picked to close the festival featuring an unprecedented collaboration with three local musical groups (Yinstraits Quartet, Iron Egg and Samuel Wong Shenmiao) to produce an original score for the silent film.

2010

Reality vs. Fiction What is real? An age-old question that boggles and often intrigues the mind. Filmmakers in particular have explored this question since the very first moving image was created. From the surrealistic animated documentary Waltz With Bashir to the uncut, single-shot feature film Russian Ark, the festival curated films that blurred the lines of reality through their vivid imagery and mind-bending story-telling.

2011

Films of Controversy In 2011, Perspectives Film Festival presented its most daring collection of films yet – films that were previously banned or considered controversial by contemporary governments and audiences. The festival was very honored to present Stanley Kubrick’s dystopian masterpiece, A Clockwork Orange. A film that had never been commercially screened in Singapore, it was presented in an uncut and fully restored digital print version on the 40th anniversary of the film’s release.

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ZENNE DANCER

SINGAPORE PREMIERE

Zenne Dancer tells the tragic story of three close friends: Yildiz, born to a conservative Muslim family, German photographer Daniel, and exuberant male belly dancer Can, who has a close and supportive relationship with his family. As their unlikely friendship develops, we are drawn into how each character deals with what it means to be gay in contemporary Turkish society. Zenne Dancer is Turkey’s “(We) wanted the first film to depict audience to remember honour killings related the pain that Ahmet to homosexuality. The carried all throughout film questions prevalent his life and the pain he gender hierarchies, felt when he apologised pointing out that when it to his father…he asked comes to sexuality, men for mercy for what he can be as vulnerable to was and who he was.” the impositions of society - Alper and Binay as women. The directors were close friends with the real life Ahmet Yildiz, whose life inspired the film, so they merged his story into a documentary they were filming on male belly dancers. The film drew such widespread

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ANTALYA GOLDEN ORANGE FILM FESTIVAL Won: Best Cinematography, Best First Film, Best Supporting Actor, Best Supporting Actress TURKISH FILM CRITICS ASSOCIATION AWARD Won: Best Film NUREMBERG Turkish/german FILM FESTIVAL Nominated: Best Film

AWARDS

attention that the subsequent media coverage played an important role in increasing awareness about the tribulations faced by transgender and homosexual communities in Turkey’s primarily patriarchal society. In addition, the film explores the degrading process for gay men enlisting in the Turkish army, where men like Yildiz and Can who declare their homosexuality are required to produce graphic visual evidence documenting their sexual activities. Zenne Dancer is truly a moving film that brings light to prevalent issues and perceptions regarding homosexuality in society.

Liberation in a Mixture of Colourful Realism and Dramatic Fantasy

By Brian Bergen-Aurand, Asst. Professor, School of Humanities and Social Sciences, NTU In its address of honour killings, Zenne Dancer follows in a prestigious line of some of the best of Turkish and world cinema. Importantly though, there are differences here. Firstly, Zenne Dancer depicts the story of a father’s preoccupation with his son’s honour, rather than his daughter, to save the reputation of his family. Secondly, rather than pitting the modern state against traditional religion, Zenne Dancer’s critique of honour killings implicates both the police and the military in violence done in the name of tradition. Islam plays a much smaller part than economic deprivation or the trauma of war in

this story. Thirdly, the film complicates gendered expectations through its deployment of female characters – mothers, sisters and lovers – who all have their own relationships and perspectives on these men. The film shows us that patriarchy is a system harmful to women and men, and that they both enforce and challenge it. In the end, Zenne Dancer connects these thematic concerns through a mixture of realist story, dance video, daydream, fairytale, and melodrama in a film ultimately concerned with the care of the self and the meaning of liberation. BREAKTHROUGHS IN CINEMA 9

Belle de Jour is about Severine, a married woman who is unable to bring herself to be physically intimate with her husband. A combination of frustration, curiosity and a disturbed childhood results in her visiting a brothel, and eventually, offering her services as a prostitute. She starts to lead a dual life, working in a brothel in the afternoons, and being a chaste wife to her husband outside her improbable profession. After the film’s initial release, distribution was restricted for many years due to copyright problems. Belle de Jour was rereleased in 1995 through the efforts of director Martin Scorcese. Praised by Alfred Hitchcock as one of the greatest film directors, Luis Buñuel is regarded 10 PERSPECTIVES FILM FESTIVAL

“Of all the supposedly challenging attractions playing locally in our supposedly more enlightened era, the most compellingly erotic and entertaining spectacle is still provided by Belle de Jour Jour.” - Andrew Sarris, New York Observer

Venice film festival Won: Golden Lion, Pasinetti Award for Best Film BODIL AWARDS Won: Best European Film French syndicate oF cinema critics award Won: Best Film BAFTA awards Nominated: Best Actress

AWARDS

as the father of cinematic surrealism. Considered one of his greatest masterpieces, Belle de Jour is a surprisingly revealing and personal venture into the world of eroticism and its deviances. The breakthrough quality comes from its brazen exploration into carnality, sexual deviances and sexuality, which challenged the audiences of its time. Contrary to social expectations, viewers are led by a sadomasochistic housewife rather than the conventional male character. Despite this, there is the common feeling of intrigue and bewilderment that is shared by Severine and the audience, as both are introduced to a mysterious, poetic and provoking world of eroticism, as seen from her perspective.

Belle de jour, a perspective

By Etienne Dessaut, Teacher of French and Cinema, Alliance Française de Singapour Emblematic of the Perspectives Film Festival’s theme, Luis Buñuel’s Belle de Jour is enlightened by Catherine Deneuve’s haunting and demanding performance, which she recalls as a “true torture.” Awarded the Golden Lion in Venice in 1967, the movie was surrounded by an aura of scandal. The debates it triggered emphasised what was at stake during that era: the triumph of personal desire over moral judgements, culminating in the Uprising of May ‘68. Joseph Kessel’s novel, from which the movie was adapted, was accused of being pornographic. Gustave Flaubert’s Madame Bovary suffered the same

infamous reputation, its influence, highly tangible in Luis Buñuel’s Belle de Jour. In Bovarysm, reality and (sexual) fantasies are entangled. The protagonist of Belle de Jour desperately looks for an outlet to sully her virtuous image. Comfort is solicited, yet unbearable, fuelling unspoken violent desires, as expressed in her first dream – “What good is your tenderness to me?” Using surrealistic and psychoanalytic approaches Buñuel dissects the vices of the bourgeoisie. By transposing the action to the prosperous Gaullist era, Buñuel makes the story relevant in modern society, where comfort cannot erase the darkness that lies beneath. BREAKTHROUGHS IN CINEMA 11

THE ROCKY HORROR PICTURE SHOW 9 Nov, 11:55 p.m. & 10 Nov, 4:30 p.m. Jim Sharman | 1975 | USA | 100 min | 35mm M18 (Some mature themes) | English

On their way back from a “Rocky Horror has a life friend’s wedding, newly of its own – it set out to engaged couple Brad Major confound and subvert and Janet Weiss suffer a convention and it’s flat tire and find themselves amazing to think that lost amidst a thunderstorm. it’s still doing that, 35 Spotting a somewhat years on.” dilapidated mansion, they - Jim Sharman (2010) decide to approach its residents for help. Little do they expect that the residents of the mansion are people who are totally out-of-this-world. The duo partake, albeit reluctantly, in the “Annual Transylvanian Convention”, led by Dr. Frank-N-Furter, a bizarre transvestite. With Dr. Frank as the instigator, drama ensues as Brad and Janet’s heteronormative values come under fire as the duo are repeatedly exposed to and tempted by overt displays of hedonism and decadence. 12 PERSPECTIVES FILM FESTIVAL

ACADEMY OF SCIENCE FICTION, FANTASY AND HORROR FILMS, USA Won: Hall of Fame Nominated: Best Horror Film National Film Registry, Library of Congress Inducted in 2005 for Cultural Significance

ACCOLADES

Despite being released almost four decades ago, The Rocky Horror Picture Show remains thematically and culturally relevant, as issues regarding the lesbian, gay, bisexual and transexual (LGBT) communities are increasingly at the forefront of public discourse. In addition, the film has proven itself to be culturally persistent as its many idiosyncrasies continue to captivate new generations of fans. At the time of its release, the film provided a refreshing and quirky take on sexuality due to its interesting mash-up of the horror, science fiction and musical genre.

Part Parody, Part Homage, and All FuN By Thomas Doherty, Professor, American Studies, Brandeis University The Rocky Horror Picture Show is the best rock musical, transvestite romance, horror-science fiction film ever made. Based on the hit British stage musical by Richard O’Brien, directed by Jim Sharman and originally released in 1975, the film opened to meagre box office and tepid – not to say befuddled – reviews before finding a niche audience of likeminded weirdos at the Waverley Theater in New York’s Greenwich Village. Building slowly on word of mouth, it blossomed into a full-blown cult experience, playing at the Waverley for 95 weeks to hordes of maniacal repeat viewers. At some point, spontaneously, fans started to sing along, dance in the

aisles, and dress up as their screen favourites, complete with garish makeup, fishnet stockings, and stiletto heels (the girls too). In an early example of the participatory ethos that anticipated the video satires on YouTube, they also improvised addled rites of off-screen participation - throwing rice, unfurling umbrellas, ringing bells, firing water pistols, and tossing toast in the air. This film is a beloved, joyous, and goodhumoured celebration of the diversity of human – and alien – life. Dress appropriately.

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FIRE

Radha and Sita, who are married to brothers from a middle class family in India, are forced into a life of duty and servitude despite not receiving any love from their spouses. The two women eventually find love and fulfilment with each other. Although both aspire to break free from their roles as loyal wives, the older of the pair, Radha is still caught in the battle between duty and desire. Despite the film creating an uproar in India due to its portrayal of a homosexual relationship within an Indian family, it also received praise and acclaim for this daring exploration. Beyond its open examination of the traditionally taboo topic of sexuality, Fire also questions the institution of marriage. In particular, it looks at the 14 PERSPECTIVES FILM FESTIVAL

needs and roles of women in a marriage and how their sexuality is suppressed. The issues raised by Fire are felt even in modern-day India, where women are still subjected to performing the duties of a loyal wife at the expense of their own desires and needs.

Barcelona international women’s film festival Won: Audience Award for Fiction Film CHIcago International film festival Won: Silver Hugo Award for Best Actress mannheim-heidelberg international film festival Won: Special Prize of the Jury vancouver international film festival Won: Most Popular Canadian Film

- Deepa Mehta

AWARDS

“We women, especially Indian women, constantly have to go through a metaphorical test of purity in order to be validated as human beings, not unlike Sita’s trial by ﬁre. Do we, as women, have choices? And if we make choices, what is the price we pay for them?”

Fire BURNED MY PERCEPTION By Sivakumar Palakrishnan, Actor and Director 1996 was an unforgettable year for many reasons. One of them was Nandita Das. The news of her portrayal of a lesbian in Fire kindled much curiosity and boyish fantasies in me. When I got hold of a copy of the film, the sense of nervousness and anxiety became overwhelming. As I sat down to eagerly watch it: frame by frame, scene by scene, dialogue by dialogue, all I waited for was for the lesbian scene to arrive. Yet as the movie progressed, my excitement and anxiety slowly dissipated. I realised I couldn’t see Nandita Das but only Sita. The environment she was living in, her marriage, the daily chores that she was forced into performing and

the mixed emotions that were waiting to surface within Sita mattered more than the lesbian scene itself. Radha and Sita were in hunger for tender love and care and they only had each other mentally, physically, emotionally and spiritually. Deepa Mehta has given us a masterpiece with absolute truth. Skin was not used to promote this movie, only the truth about what women are experiencing in India. The egoistical, judgemental mind of men drew attention to the movie and made the world notice. While Nandita Das and Shabana Azmi represented every other Indian woman, Deepa made us see the hidden truth behind the walls.

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The Housemaid is a highly acclaimed Korean film. Set in patriarchal Korea in the 1960s, it is a domestic horrorthriller that follows the destruction of a family when a dominant female character is introduced into their peaceful and loving home. Dong-shik, a piano teacher, hires a housemaid to look after his two children and take care of the household chores so as to ease the burden on his pregnant wife. But the femme fatale soon tears the family apart from within. She seduces Dong-shik with her feminine charms, terrorises the whole family and makes their lives a living nightmare. Will the familyâ&#x20AC;&#x2122;s attempts at restoring order in the household succeed? Or will the housemaid establish herself as the new master?

This copy of The Housemaid was restored digitally by the Korean Film Archive with the support of the World Cinema Foundation. It is distributed by Cineteca di Bologna.

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The release of The Housemaid in 1960 called into question many of the fundamental gender roles that were in place in the deeply patriarchal Korean society of that time. It was understood and unquestioned that the male was the leader of the family. But by showing the male lead to be weaker and sometimes even subservient to the female lead, the filmâ&#x20AC;&#x2122;s depiction effectively reverses traditional gender roles. Though Dong-shik

starts out as the dominant player, his sexual transgression overturns his authority. It causes Dong-shik to become subservient to the women in his life as they start controlling his every move. This reversal in power relations brought about by an act of adultery exposes the fragility of masculinity. It proves that though men are said to be the stronger sex, the temptation and desire that female sexuality can create in them may prove to be men’s greatest weakness.

“The discovery of The Housemaid by the West was a marvelous feeling – marvelous not just because one ﬁnds in writer-director Kim Ki-young a truly extraordinary image-maker, but because his ﬁlm was such an utterly unpredictable work.”

- Jean-Michel Frodon, Editor-in-chief, Cahiers du Cinema

Are men ALWAYS to blame?

By Eternality Tan, Film Blogger and Festival Director, Perspectives Film Festival 2011 The renaissance of contemporary Korean cinema as spearheaded by luminaries such as Kim Ki-duk, Park Chan-wook, Bong Joon-ho, and Lee Chan-dong owes a huge debt to Kim Ki-young’s The Housemaid (1960), perhaps one of the most daring and greatest of films to emerge from a conservative country still scarred by the devastation of World War II. This Ozu-esque drama conceals a sinister force operating within the confines of the domestic household. It is no monster or ghost, but a submissive female maid, or so it seems.

Men are always mocked for their ease of succumbing to temptations of flesh, like tigers to fresh meat. But really, is it fair to put the blame on one half of the human race? What can be more monstrous than a maid whose first, middle, and last names are lust, greed, and vengeance? Kim’s film is a bone-chilling social commentary, a cultural touchstone in Korean cinema, and yes, tremendously engaging.

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Set in the final years of Nicolae Ceauşescu’s repressive communist regime in Romania, 4 Months, 3 Weeks and 2 Days follows the story of two students, Otilia and Găbiţa, during the course of a day. When a pregnant Găbiţa decides to get an abortion – a procedure banned by the state - the two seek the help of an illegal abortionist, Mr. Bebe. 4 Months, 3 Weeks and 2 Days is considered a key work in the Romanian New Wave cinema of the mid-2000s. The films of this movement are aesthetically united by an austere and often minimalist style, 18 PERSPECTIVES FILM FESTIVAL

“Filmmakers in countries of the former Soviet bloc have been using their new freedom to tell at last the stories they couldn’t tell then.”

- Roger Ebert

Cannes Film Festival Won: Palme d’Or EUROPEAN FILM AWARDS Won: Best Film Best Director GOYA AWARDS Won: Best Film

AWARDS

which is evident in Mungiu’s gritty and raw visuals. Illegal abortions in Romania had been a pertinent issue in 1960s. By the end of the communist era, an estimated 500,000 women had died as a result. In spite of the many risks faced by the characters in the film, their sheer tenacity to go through with their choices makes for a harrowing yet incredibly powerful viewing experience.

THE PERFECT BLEND OF COMPLEXITY AND BEAUTY By Vladamir Todorovic, Assistant Professor, School of Art, Design and Media, NTU Unfortunately, the majority of films from Central Eastern Europe (CEE) come with an exotic etiquette: they are dark tales from repressed countries with or without schizophrenically cynical humour. Film critics and festival programmers from the West are very open to this style, so they expect most of the films from the CEE region to reflect that. This film perfectly fits into the category of a dark tale but one that rather lacks the cynical humour. We notice a masterful mise-en-scène almost throughout the film, with cinematography beautifying the pastel colours of the decay that Ceauşescu’s Communist regime left everywhere; the beauty of old ochre buildings, cheap hotels with sticky carpets, the grays of student housing, all-pervasive dark corridors… These fragments are seen through the eyes of a camera that is

on the border of over-romanticising this picture. But Mungiu and his collaborators are careful not to cross that line. In my opinion, what makes it a special film is that he gets us very close to the dilemmas and personal space of two Romanian students whose youth is trapped in a terrible dream that only a totalitarian regime can provide and design. Then one might ask: why would getting close to the characters be considered as a compelling filmmaking method? The only answer I can provide is that often the memories from a person who has lived in a repressed regime can be painful and difficult to deal with. Christian Mungiu has managed to relive and archive these moments, and they are all beautifully packed and assembled for you and your viewing pleasure. BREAKTHROUGHS IN CINEMA 19

TICKETING

The Rocky Horror Picture Show

ZENNE DANCER R21

THE ROCKY HORROR PICTURE SHOW M18

8 Nov, Thursday | 8:00 p.m. 10 Nov, Saturday | 1:30 p.m.

9 Nov, Friday | 11:55 p.m. 10 Nov, Saturday | 4:30 p.m.

BELLE DE JOUR M18

THE HOUSEMAID PG

9 Nov, Friday | 8:00 p.m.

11 Nov, Sunday | 1:30 p.m.

FIRE R21

4 months, 3 weeks and 2 days M18

10 Nov, Saturday | 8:00 p.m.

11 Nov, Sunday | 4:30 p.m.

All films are screened at the National Museum of Singapore.

PURCHASE TICKETS Tickets are available online at www.sistic.com.sg and from all SISTIC counters. Tickets for all films are priced at $10. Students with valid IDs enjoy a discounted price of $8. All prices exclusive of SISTIC booking charges. For ticket availability at the door, please call 6348 5555.

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VENUE NATIONAL MUSEUM OF SINGAPORE 93 STAMFORD Road, Singapore 178897

By Bus

By Train

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

Five-minute walk from Bras Basah MRT station. Ten-minute walk from Dhoby Ghaut and City Hall MRT stations.

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

Limited on-site parking available. Parking is available at the following locations near the museum: YMCA, Singapore Management University and Fort Canning Park

By Car

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THE TEAM

FESTIVAL Kenneth Teng DIRECTORS Sophial Foo PROGRAMMING Adam Osman (Head) Grace Hong Mohammed Shafie

FESTIVAL Wong Jing Ying (Head) MANAGEMENT Louisa Chiew John Joel Seow

EDITORIAL Ahmad Khan (Head)

Sivanessan Victor Chin Viknesh Kobinathan

PUBLICITY & Grace Chen (Head) SPONSORSHIP Agnes Ho Karen Koh Jayne Toh

DESIGN Chan Long Teng (Head) Shawn Choy

INSTRUCTORS Nikki Draper Sam I-shan

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SPECIAL THANKS Dr Benjamin H. Detenber (WKWSCI, NTU) Dr Brian Bergen-Aurand (HSS, NTU) Mr Eternality Tan (Film Blogger) Mr Etienne Dessaut (Alliance Fran莽aise) Dr Pieter Aquilia (Tisch School of the Arts, NYU) Mr Sivakumar Palakrishnan (Actor/Director) Dr Thomas Doherty (Brandeis University) Dr Vladimir Todorovic (ADM, NTU) Mr Warren Sin (NMS) Mr Zhang Wenjie (NMS) Singapore Art Museum Swiss么tel Merchant Court

Perspectives Film Festival is a practicum of WKWSCI.

SUPPORTED BY