Singaporean filmmaker Lei Yuan Bin’s latest subject is local Opera Tang, who has made a mark on the local drag scene since debuting in 2020.
Through vignettes of Tang’s life, the film, which plays in the Singapore International Film Festival’s Singapore Panorama strand, chronicles the performer’s queer journey: from coming-out as a fledgling drag queen, falling in love, competing in drag pageants, to dressing up her supportive 90-year-old grandmother in drag.
Lei’s last film “I Dream of Singapore,” an observational documentary on the continuous labor flow from Bangladesh to Singapore, and the bonds that blossom between social workers and migrant laborers, premiered at the festival in 2019.
“As I produce, direct, shoot and edit my own documentaries, my filmmaking process involves me spending months, if not years, with my subjects, and no other crew members on set. Therefore, I choose to document people that I will enjoy...
Through vignettes of Tang’s life, the film, which plays in the Singapore International Film Festival’s Singapore Panorama strand, chronicles the performer’s queer journey: from coming-out as a fledgling drag queen, falling in love, competing in drag pageants, to dressing up her supportive 90-year-old grandmother in drag.
Lei’s last film “I Dream of Singapore,” an observational documentary on the continuous labor flow from Bangladesh to Singapore, and the bonds that blossom between social workers and migrant laborers, premiered at the festival in 2019.
“As I produce, direct, shoot and edit my own documentaries, my filmmaking process involves me spending months, if not years, with my subjects, and no other crew members on set. Therefore, I choose to document people that I will enjoy...
- 11/24/2022
- by Naman Ramachandran
- Variety Film + TV
Opera Tang makes her debut as a drag queen in 2020, during the global pandemic. She performs in drag with the support of her drag sister Ada Heart. Her 90-year-old grandmother helps her with drag costumes, and her lover Simon provides her with emotional and physical support in and out of drag. Together with her biological and chosen family, Opera navigates a rapidly changing landscape of queer acceptance in Singapore. Baby Queen is a documentary portrait of a young drag queen’s everyday life, and a testament to the social attitudes towards queerness in contemporary Singapore.
A Tiger Tiger Pictures Production, ‘Baby Queen’ is the third feature after ‘Some Women’ by Quen Wong, and Lei Yuan Bin’s ‘I Dream Of Singapore’, which is part of the Unseen series, created by Glen Goei to give voice to marginalized communities in Southeast Asia.
A Tiger Tiger Pictures Production, ‘Baby Queen’ is the third feature after ‘Some Women’ by Quen Wong, and Lei Yuan Bin’s ‘I Dream Of Singapore’, which is part of the Unseen series, created by Glen Goei to give voice to marginalized communities in Southeast Asia.
- 10/4/2022
- by Don Anelli
- AsianMoviePulse
Queer and transgender communities in Singapore are – and remain – marginalized by a prevailingly conservative and paternalistic culture. But that does not mean that they must stay silent or remain unseen.
Film and theater director, producer and activist Glen Goei and film director Quen Wong are behind “Some Women,” an autobiographical documentary film by and about Wong, a trans-gender Singaporean woman. It will have its world premiere at the weekend as part of the Singapore International Film Festival.
While the prime focus is on Wong who, at age 46 years of age close to marriage decides to come out of her stealth mode, it also stretches out to connect with two other generations of trans women, one older, one younger and feistier. Using a mix of new footage and archival material, “Some Women” unearths some of the buried queer history of Singapore’s Bugis district during its heyday and the political consciousness of a frustrated Gen Z.
Film and theater director, producer and activist Glen Goei and film director Quen Wong are behind “Some Women,” an autobiographical documentary film by and about Wong, a trans-gender Singaporean woman. It will have its world premiere at the weekend as part of the Singapore International Film Festival.
While the prime focus is on Wong who, at age 46 years of age close to marriage decides to come out of her stealth mode, it also stretches out to connect with two other generations of trans women, one older, one younger and feistier. Using a mix of new footage and archival material, “Some Women” unearths some of the buried queer history of Singapore’s Bugis district during its heyday and the political consciousness of a frustrated Gen Z.
- 12/1/2021
- by Patrick Frater
- Variety Film + TV
Lei Yuan Bin’s Singapore International Film Festival world premiere “I Dream Of Singapore” is the first part of a multi-volume documentary series on overlooked local non-governmental organizations. It is produced by Glen Goei’s Singapore production house Tiger Tiger Pictures (“Revenge Of The Pontianak”).
The film is an observational documentary on the continuous labor flow from Bangladesh to Singapore, and the bonds that blossom between social workers and migrant laborers.
“When I was approached by Glen Goei and Tiger Tiger Pictures on this series, I was immediately drawn to explore the work of the Singapore Ngo Transient Workers Count Too (TWC2), its beneficiaries of mainly Bangladeshi migrant workers, and the subject of the hope-filled Bangladesh-Singapore labor flow – from one of the poorest to richest countries, respectively,” Lei told Variety. “This is because even as a Chinese-majority Singaporean, my films (both the documentary “03-Flats” and fiction films “Fundamentally Happy...
The film is an observational documentary on the continuous labor flow from Bangladesh to Singapore, and the bonds that blossom between social workers and migrant laborers.
“When I was approached by Glen Goei and Tiger Tiger Pictures on this series, I was immediately drawn to explore the work of the Singapore Ngo Transient Workers Count Too (TWC2), its beneficiaries of mainly Bangladeshi migrant workers, and the subject of the hope-filled Bangladesh-Singapore labor flow – from one of the poorest to richest countries, respectively,” Lei told Variety. “This is because even as a Chinese-majority Singaporean, my films (both the documentary “03-Flats” and fiction films “Fundamentally Happy...
- 11/30/2019
- by Naman Ramachandran
- Variety Film + TV
The Singaporean film industry is experiencing an unprecedented production boom. At least 14 homegrown films are due to release this year, a 50% increase from 2018, with another 15 in development, per the Singapore Film Commission.
Last year saw unprecedented success for Singapore cinema, with Yeo Siew Hua’s “A Land Imagined” winning the Golden Leopard at Locarno, and several more awards globally. The film was released theatrically in Singapore in February 2019 and enjoyed a successful box office run. Jon M. Chu’s Singapore-set blockbuster “Crazy Rich Asians” led to a global uptick in interest in the island country; auteur Eric Khoo’s culinary themed “Ramen Shop” won plaudits at Berlin and Tokyo; and locally, horror films from Gilbert Chan (“23:59: The Haunting Hour”) and Jacen Tan (“Zombiepura”) found favor with audiences.
Local superstar Jack Neo had a 2018 Lunar New Year release with comedy “Wonderful! Liang Xi Mei” from regional powerhouses MM2 Entertainment and J Team Prods.
Last year saw unprecedented success for Singapore cinema, with Yeo Siew Hua’s “A Land Imagined” winning the Golden Leopard at Locarno, and several more awards globally. The film was released theatrically in Singapore in February 2019 and enjoyed a successful box office run. Jon M. Chu’s Singapore-set blockbuster “Crazy Rich Asians” led to a global uptick in interest in the island country; auteur Eric Khoo’s culinary themed “Ramen Shop” won plaudits at Berlin and Tokyo; and locally, horror films from Gilbert Chan (“23:59: The Haunting Hour”) and Jacen Tan (“Zombiepura”) found favor with audiences.
Local superstar Jack Neo had a 2018 Lunar New Year release with comedy “Wonderful! Liang Xi Mei” from regional powerhouses MM2 Entertainment and J Team Prods.
- 3/19/2019
- by Naman Ramachandran
- Variety Film + TV
“Why should I use you as my actress?” Daniel (Glen Goei) asks the sensitive young woman sitting in front of him, who is hoping to land a role in his new stage play. The response Vicky (Yang Yanxuan) comes up with sounds deep and heartfelt, but all the time she’s talking the hateful director is wondering to himself, "Why isn’t she taking off her clothes yet?"
That’s the intro scene to Daniel Hui’s Demons, which questions the violence behind artistic creation and the pound of flesh art exacts, putting it on a par with cannibalism....
That’s the intro scene to Daniel Hui’s Demons, which questions the violence behind artistic creation and the pound of flesh art exacts, putting it on a par with cannibalism....
- 2/27/2019
- The Hollywood Reporter - Movie News
“Why should I use you as my actress?” Daniel (Glen Goei) asks the sensitive young woman sitting in front of him, who is hoping to land a role in his new stage play. The response Vicky (Yang Yanxuan) comes up with sounds deep and heartfelt, but all the time she’s talking the hateful director is wondering to himself, "Why isn’t she taking off her clothes yet?"
That’s the intro scene to Daniel Hui’s Demons, which questions the violence behind artistic creation and the pound of flesh art exacts, putting it on a par with cannibalism....
That’s the intro scene to Daniel Hui’s Demons, which questions the violence behind artistic creation and the pound of flesh art exacts, putting it on a par with cannibalism....
- 2/27/2019
- The Hollywood Reporter - Film + TV
Paris-based sales company adds Chained For Life, Demons to slate.
Paris-based sales outfit Reel Suspects has added several titles to its slate ahead of the upcoming European Film Market (Efm) in Berlin.
Among the additions are two films which will have their world premieres in Berlin: Aaron Schimberg’s satire Chained For Life, which will screen in Berlin Critics’ Week, and Daniel Hui’s psychological thriller Demons, which will be presented at Berlinale Forum.
Reel Suspects will also be screening footage of Bartosz Konopka’s polish historical drama The Mute. The director’s previous credits include Fear Of Falling and...
Paris-based sales outfit Reel Suspects has added several titles to its slate ahead of the upcoming European Film Market (Efm) in Berlin.
Among the additions are two films which will have their world premieres in Berlin: Aaron Schimberg’s satire Chained For Life, which will screen in Berlin Critics’ Week, and Daniel Hui’s psychological thriller Demons, which will be presented at Berlinale Forum.
Reel Suspects will also be screening footage of Bartosz Konopka’s polish historical drama The Mute. The director’s previous credits include Fear Of Falling and...
- 1/25/2019
- by Tom Grater
- ScreenDaily
Paris-based company boards Singapore drama.
Demons, the Singapore psychological drama that had its world premiere at the 2018 Busan International Film Festival in October, has been boarded for world sales by Paris-based Reel Suspects.
Daniel Hui wrote and directed the film, his debut narrative feature after 2014 documentary Snakeskin. Demons follows an actress who starts experiencing eating and speech disorders after landing her first lead role. Eventually, she realises that the film shoot is a place where silent abuse and sadistic violence is accepted as artistic passion.
Yanxuan Vicki Yang and Glen Goei star. Director Hui also produced alongside Bee Thiam Tan.
Demons, the Singapore psychological drama that had its world premiere at the 2018 Busan International Film Festival in October, has been boarded for world sales by Paris-based Reel Suspects.
Daniel Hui wrote and directed the film, his debut narrative feature after 2014 documentary Snakeskin. Demons follows an actress who starts experiencing eating and speech disorders after landing her first lead role. Eventually, she realises that the film shoot is a place where silent abuse and sadistic violence is accepted as artistic passion.
Yanxuan Vicki Yang and Glen Goei star. Director Hui also produced alongside Bee Thiam Tan.
- 12/4/2018
- by Tom Grater
- ScreenDaily
Terence Chang, Philippe Bober and Naomi Kawase are among the producers of the 30 projects selected for this year’s Hong Kong Asia Film Financing Forum (Haf, March 23-25).
Bober, one of the Europe’s most respected producers and distributors, is teaming up with award-winning Chinese director Lou Ye to produce Riddle from Zhou Hao, whose debut The Night screened at Berlinale 2014.
Chang, the longtime producing partner of John Woo, is co-producing coming-of-age drama That Summer, to be directed by new mainland Chinese talent Zhou Quan. Meanwhile, Kawase is serving as producer on a project to be directed by Cuba’s Carlos Machado Quintela, which is being made in collaboration with the Nara International Film Festival.
The Haf line-up also includes five projects from Hong Kong filmmakers of different generations. Following Doomsday Party, Ho Hong is returning to Haf with suspense drama Lost In Border, while Gilitte Leung is attending for the first time with inspirational sports drama Breathing...
Bober, one of the Europe’s most respected producers and distributors, is teaming up with award-winning Chinese director Lou Ye to produce Riddle from Zhou Hao, whose debut The Night screened at Berlinale 2014.
Chang, the longtime producing partner of John Woo, is co-producing coming-of-age drama That Summer, to be directed by new mainland Chinese talent Zhou Quan. Meanwhile, Kawase is serving as producer on a project to be directed by Cuba’s Carlos Machado Quintela, which is being made in collaboration with the Nara International Film Festival.
The Haf line-up also includes five projects from Hong Kong filmmakers of different generations. Following Doomsday Party, Ho Hong is returning to Haf with suspense drama Lost In Border, while Gilitte Leung is attending for the first time with inspirational sports drama Breathing...
- 2/4/2015
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
Mda-backed Sgiff (Dec 4-14) is part of Singapore Media Festival.
The 25th Singapore International Film Festival (Sgiff) has announced its line-up with 147 films from 50 countries. After a hiatus of two years, the Sgiff will open as part of the Singapore Media Festival, which also comprises the Asia TV Forum & Market (Atf), ScreenSingapore (SS) and Asian Television Awards (Ata).
Hosted by the Media Development Authority (Mda), the Singapore Media Festival (and Sgiff) will run Dec 4-14.
Sgiff will open with Ken Kwek’s Singaporean thriller Unlucky Plaza, which premiered in Toronto last month. Making a feature directorial debut with the film, Kwek previously was screenwriter on films such as Glen Goei’s The Blue Mansion and Kelvin Tong’s It’s A Great, Great World.
The festival will close with Lucky Kuswandi’s Indonesian film In The Absence Of The Sun. A film the follows three women in the megacity of Jakara, it is Kuswandi...
The 25th Singapore International Film Festival (Sgiff) has announced its line-up with 147 films from 50 countries. After a hiatus of two years, the Sgiff will open as part of the Singapore Media Festival, which also comprises the Asia TV Forum & Market (Atf), ScreenSingapore (SS) and Asian Television Awards (Ata).
Hosted by the Media Development Authority (Mda), the Singapore Media Festival (and Sgiff) will run Dec 4-14.
Sgiff will open with Ken Kwek’s Singaporean thriller Unlucky Plaza, which premiered in Toronto last month. Making a feature directorial debut with the film, Kwek previously was screenwriter on films such as Glen Goei’s The Blue Mansion and Kelvin Tong’s It’s A Great, Great World.
The festival will close with Lucky Kuswandi’s Indonesian film In The Absence Of The Sun. A film the follows three women in the megacity of Jakara, it is Kuswandi...
- 10/28/2014
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Unlucky Plaza to open festival; 147 films from 50 countries.
The 25th Singapore International Film Festival (Sgiff) has announced its line-up with 147 films from 50 countries.
After a hiatus of two years, the Sgiff will open as part of the Singapore Media Festival, which also comprises the Asia TV Forum & Market (Atf), ScreenSingapore (SS) and Asian Television Awards (Ata).
Hosted by the Media Development Authority (Mda), the Singapore Media Festival (and Sgiff) will run Dec 4-14.
Sgiff will open with Ken Kwek’s Singaporean thriller Unlucky Plaza, which premiered in Toronto last month. Making a feature directorial debut with the film, Kwek previously was screenwriter on films such as Glen Goei’s The Blue Mansion and Kelvin Tong’s It’s A Great, Great World.
The fest will close with Lucky Kuswandi’s Indonesian film In The Absence Of The Sun. The film the follows three women in the megacity of Jakara, it is Kuswandi’s second feature after [link=tt...
The 25th Singapore International Film Festival (Sgiff) has announced its line-up with 147 films from 50 countries.
After a hiatus of two years, the Sgiff will open as part of the Singapore Media Festival, which also comprises the Asia TV Forum & Market (Atf), ScreenSingapore (SS) and Asian Television Awards (Ata).
Hosted by the Media Development Authority (Mda), the Singapore Media Festival (and Sgiff) will run Dec 4-14.
Sgiff will open with Ken Kwek’s Singaporean thriller Unlucky Plaza, which premiered in Toronto last month. Making a feature directorial debut with the film, Kwek previously was screenwriter on films such as Glen Goei’s The Blue Mansion and Kelvin Tong’s It’s A Great, Great World.
The fest will close with Lucky Kuswandi’s Indonesian film In The Absence Of The Sun. The film the follows three women in the megacity of Jakara, it is Kuswandi’s second feature after [link=tt...
- 10/28/2014
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Exclusive: At ScreenSingapore, local production house 13 Little Pictures has announced cinematographer Christopher Doyle is attached to shoot director Glen Goei’s upcoming Yellow Flowers, a.k.a. The Hangman’s Breakfast.
Written by awardwinning playwright Haresh Sharma, the 2011 Asian Project Market (Apm) film will be produced by mm2 Entertainment and 13 Little Pictures.
Touching upon the controversial issue of Singapore’s long-time hangman, Yellow Flowers tells the story of a multiracial group of Singaporeans: middle-aged single mother Eleanor, on death row for unknowingly smuggling drugs into the strict city state, her rebellious only child who refuses to visit her, Eleanor’s young lawyer Nadya who also has issues with her own mother, and the prison’s reluctant executioner Gopal, who develops a friendship with Eleanor.
Originally a theatre director and actor whose credits include playing opposite Anthony Hopkins in M. Butterfly in London, Goei’s debut feature Forever Fever (1998) was the first Singaporean film to go to Sundance...
Written by awardwinning playwright Haresh Sharma, the 2011 Asian Project Market (Apm) film will be produced by mm2 Entertainment and 13 Little Pictures.
Touching upon the controversial issue of Singapore’s long-time hangman, Yellow Flowers tells the story of a multiracial group of Singaporeans: middle-aged single mother Eleanor, on death row for unknowingly smuggling drugs into the strict city state, her rebellious only child who refuses to visit her, Eleanor’s young lawyer Nadya who also has issues with her own mother, and the prison’s reluctant executioner Gopal, who develops a friendship with Eleanor.
Originally a theatre director and actor whose credits include playing opposite Anthony Hopkins in M. Butterfly in London, Goei’s debut feature Forever Fever (1998) was the first Singaporean film to go to Sundance...
- 12/4/2013
- by hjnoh2007@gmail.com (Jean Noh)
- ScreenDaily
Singapore director Glen Goei’s upcoming film, The Blue Mansion has been selected to open in the “Window on Asian Cinema” at the 14th Pusan International Film Festival (Piff) this year. Glen’s first feature film That’s The Way I Like It / Forever Fever was one of Singapore’s earlier films which had its world rights picked up by Miramax, and it’s been a long 11 years since for his second feature film to be made and to hit the big screen.
With a cast of thespian talent from both Singapore and Malaysia, and backed by an international production crew, I’m having quite high hopes for this film, possibly the final local film to be released this year in Singapore, scheduled for October 22nd. But for those who will be heading toward Pusan in early October, you’re in luck to catch its World Premiere there!
Here’s...
With a cast of thespian talent from both Singapore and Malaysia, and backed by an international production crew, I’m having quite high hopes for this film, possibly the final local film to be released this year in Singapore, scheduled for October 22nd. But for those who will be heading toward Pusan in early October, you’re in luck to catch its World Premiere there!
Here’s...
- 8/25/2009
- by Stefan
- Screen Anarchy
Watching Glen Goei's "That's The Way I Like It" is like buying one of those discount Top 40 compilation CDs and discovering that the cuts aren't recordings by the original artists, but you decide to keep it anyway because you enjoy hearing the songs.
In other words, while the semi-autobiographical comedy set in disco-era Singapore may borrow liberally from the plots of "Saturday Night Fever", "Strictly Ballroom", "The Purple Rose of Cairo" and "Play It Again, Sam", you're still taken with the filmmaker's considerable moxie. It may be a knockoff, but it's a charming knockoff.
Shot in English, the Miramax release could earn a little following with its generous servings of East-meets-West kitsch, not to mention all those booty-shaking cover tunes.
Singapore-raised Goei provides an interesting historical context for his debut directorial effort by setting it in his hometown during the years following its independence from Great Britain. Described as a melting pot where people held a cup of Earl Grey tea in one hand and a pair of chopsticks in the other, Singapore's search for its identity is echoed by that of the film's characters.
For Hock (Adrian Pang), a twentysomething underachiever who works as a grocery clerk and lives at home with his critical parents, salvation comes in the form of the local movie theater, where his beloved kung fu movies have been replaced by something called "Forever Fever".
It is here where an enterprising Goei, obviously unable to secure rights to "Saturday Night Fever", has simply created his own version, complete with a vague Travolta look-alike who for some reason plays Tony Manero with a Southern drawl.
Tony talks to Hock, literally, stepping out of the screen and serving as his mentor. Soon Hock finds himself swapping Bruce Lee for The Bee Gees (or, at least, sound-alikes), taking dance lessons with his childhood friend Mei (Medaline Tan) and entering a disco contest with a cash prize big enough to buy his dream bike.
Meanwhile, back at home, Hock's seemingly perfect, fine-featured brother Leslie (Caleb Goh) returns from med school with a revelation that doesn't exactly sit well with Dad (Lim Kay Siu): He's going to have a sex-change operation as soon as he can come up with the money.
With his family in turmoil, Hock, now wearing pants so impossibly tight that one fears for the well-being of future generations, determinedly presses onward with a little encouragement from his supportive younger sister, Mui (Pamela Oei).
While it's possible to play connect the dots with all the pilfered plotting, writer-director Goei nevertheless manages to infuse "That's the Way I Like It" with an infectious amiability. Even his uneven cast, all speaking the local dialect known as Singlish, make up in personality what they might lack in experience.
Technical contributions add a bit of polish to the cultural color courtesy of cinematographer Brian Breheny ("The Adventures of Priscilla, Queen of the Desert"), editor Jane Moran ("Strictly Ballroom") and production designer Laurence Eastwood ("Phar Lap"), while costume designer Ashley Aeria has a disco ball dusting off all that vintage polyester.
THAT'S THE WAY I LIKE IT
Miramax
A Tiger Tiger Films presentation
in association with Chinarunn Pictures
Director-screenwriter: Glen Goei
Producers: Glen Goei, Jeffrey Chiang, Tan Chih Chong
Director of photography: Brian Breheny
Production designer: Laurence Eastwood
Editor: Jane Moran
Costume designer: Ashley Aeria
Choreographer: Zaki Ahmad
Music: Guy Gross
Color/stereo
Cast:
Hock: Adrian Pang
Mei: Medaline Tan
Julie: Anna Belle Francis
Richard: Pierre Png
Boon: Steven Lim
Mui: Pamela Oei
Leslie: Caleb Goh
Father: Lim Kay Siu
Running time -- 92 minutes
MPAA rating: PG-13...
In other words, while the semi-autobiographical comedy set in disco-era Singapore may borrow liberally from the plots of "Saturday Night Fever", "Strictly Ballroom", "The Purple Rose of Cairo" and "Play It Again, Sam", you're still taken with the filmmaker's considerable moxie. It may be a knockoff, but it's a charming knockoff.
Shot in English, the Miramax release could earn a little following with its generous servings of East-meets-West kitsch, not to mention all those booty-shaking cover tunes.
Singapore-raised Goei provides an interesting historical context for his debut directorial effort by setting it in his hometown during the years following its independence from Great Britain. Described as a melting pot where people held a cup of Earl Grey tea in one hand and a pair of chopsticks in the other, Singapore's search for its identity is echoed by that of the film's characters.
For Hock (Adrian Pang), a twentysomething underachiever who works as a grocery clerk and lives at home with his critical parents, salvation comes in the form of the local movie theater, where his beloved kung fu movies have been replaced by something called "Forever Fever".
It is here where an enterprising Goei, obviously unable to secure rights to "Saturday Night Fever", has simply created his own version, complete with a vague Travolta look-alike who for some reason plays Tony Manero with a Southern drawl.
Tony talks to Hock, literally, stepping out of the screen and serving as his mentor. Soon Hock finds himself swapping Bruce Lee for The Bee Gees (or, at least, sound-alikes), taking dance lessons with his childhood friend Mei (Medaline Tan) and entering a disco contest with a cash prize big enough to buy his dream bike.
Meanwhile, back at home, Hock's seemingly perfect, fine-featured brother Leslie (Caleb Goh) returns from med school with a revelation that doesn't exactly sit well with Dad (Lim Kay Siu): He's going to have a sex-change operation as soon as he can come up with the money.
With his family in turmoil, Hock, now wearing pants so impossibly tight that one fears for the well-being of future generations, determinedly presses onward with a little encouragement from his supportive younger sister, Mui (Pamela Oei).
While it's possible to play connect the dots with all the pilfered plotting, writer-director Goei nevertheless manages to infuse "That's the Way I Like It" with an infectious amiability. Even his uneven cast, all speaking the local dialect known as Singlish, make up in personality what they might lack in experience.
Technical contributions add a bit of polish to the cultural color courtesy of cinematographer Brian Breheny ("The Adventures of Priscilla, Queen of the Desert"), editor Jane Moran ("Strictly Ballroom") and production designer Laurence Eastwood ("Phar Lap"), while costume designer Ashley Aeria has a disco ball dusting off all that vintage polyester.
THAT'S THE WAY I LIKE IT
Miramax
A Tiger Tiger Films presentation
in association with Chinarunn Pictures
Director-screenwriter: Glen Goei
Producers: Glen Goei, Jeffrey Chiang, Tan Chih Chong
Director of photography: Brian Breheny
Production designer: Laurence Eastwood
Editor: Jane Moran
Costume designer: Ashley Aeria
Choreographer: Zaki Ahmad
Music: Guy Gross
Color/stereo
Cast:
Hock: Adrian Pang
Mei: Medaline Tan
Julie: Anna Belle Francis
Richard: Pierre Png
Boon: Steven Lim
Mui: Pamela Oei
Leslie: Caleb Goh
Father: Lim Kay Siu
Running time -- 92 minutes
MPAA rating: PG-13...
- 10/15/1999
- The Hollywood Reporter - Movie News
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