A champion of Southeast Asian independent cinema, the Singapore International Film Festival (Sgiff) announced three commissioned short films anchored on the theme of celebration, by Southeast Asian directors Yeo Siew Hua (Singapore), Mouly Surya (Indonesia) and Anucha Boonyawatana (Thailand) today. This is the first commission series for Southeast Asian filmmakers in the history of Sgiff, which furthers its support to growing the regional film scene.
Exploring the complexity of human connections, Yeo Siew Hua’s short film Incantation (2019) returned to his experimental roots where he explored the age-old rituals of ancient spells, spirits and the idea of resurrection during Hungry Ghost Festival. Mouly Surya’s Something Old, New, Borrowed and Blue (2019) uses wry humour to present a forward-looking take of gender roles in today’s society through the intimate interactions between a mother and a bride-to-be at a traditional wedding procession; while Anucha Boonyawatana’s Not A Time to Celebrate...
Exploring the complexity of human connections, Yeo Siew Hua’s short film Incantation (2019) returned to his experimental roots where he explored the age-old rituals of ancient spells, spirits and the idea of resurrection during Hungry Ghost Festival. Mouly Surya’s Something Old, New, Borrowed and Blue (2019) uses wry humour to present a forward-looking take of gender roles in today’s society through the intimate interactions between a mother and a bride-to-be at a traditional wedding procession; while Anucha Boonyawatana’s Not A Time to Celebrate...
- 10/8/2019
- by Adriana Rosati
- AsianMoviePulse
If These Walls Could Catcall: Khoo’s Sex Omnibus Fails to Tantalize
Singaporean auteur Eric Khoo returns with his latest feature, In the Room, a decades spanning, multi-character chamber piece revolving around the inhabitants of a single hotel room and the private moments of love and intimacy that transpire there. Less titillating than the sum of its parts, documenting various acts across a range of orientations with a sort of unhurried inevitability, only the aural cues of creaky bed springs manage to wrench any tactile examination of humankind’s basic physical co-mingling.
Conservative, even rather rigid in its visual purveyance of sexual practices and traditional interactions, in Khoo’s preferred universe of multiple storylines, perhaps this time around he casts too many stories into the pool (unlike his celebrated 2005 title Be With Me, which consists of three separate stories), since despite the use of a unifying thread, the film’s...
Singaporean auteur Eric Khoo returns with his latest feature, In the Room, a decades spanning, multi-character chamber piece revolving around the inhabitants of a single hotel room and the private moments of love and intimacy that transpire there. Less titillating than the sum of its parts, documenting various acts across a range of orientations with a sort of unhurried inevitability, only the aural cues of creaky bed springs manage to wrench any tactile examination of humankind’s basic physical co-mingling.
Conservative, even rather rigid in its visual purveyance of sexual practices and traditional interactions, in Khoo’s preferred universe of multiple storylines, perhaps this time around he casts too many stories into the pool (unlike his celebrated 2005 title Be With Me, which consists of three separate stories), since despite the use of a unifying thread, the film’s...
- 10/1/2015
- by Nicholas Bell
- IONCINEMA.com
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