Tagged: Singapore Film

Ilo Ilo (Singapore-Taiwan-Japan-France 2013)

retratos-de-familia

Bonding in adversity

Might be the conjunction of the planets but there’s been a few interesting films on free-to-air UK TV recently. Ilo Ilo (the title, the Guardian’s reviewer says, is a “Mandarin phrase meaning “mum and dad not at home” – but the director says it’s title comes from the name of the province in the Philippines) is a family melodrama focusing on the impact of the economic crises for the ‘tiger economies’ in the 1990s. Coincidentally, similar to the film in my last post (The Olive Tree), economic issues form the context but the grandfather-grandchild is not so central in this Singaporean film. Angela Bayani plays Terry, the Filipina maid brought in to help with the badly-behaved 10 year-old, Jiale. Although wringing the child’s neck seems a reasonable reaction to his actions, it is clear that mum and dad’s problems have left him neglected. If there is one weakness in the film it’s the transition from antagonism to friendship in the relationship between Terry and Jiale is a little abrupt but everything else in writer-director Anthony Chen’s debut feature is convincing.

In one particularly effective scene a neighbour in the high-rise flats commits suicide from the building’s top. We experience this from Terry’s perspective; the shock she feels is palpable. Although we are not told why the person gave up his life it is likely the economic insecurity that led to his actions. Like in Falling Down (US, 1993), Jiale’s dad goes to work each day even though he doesn’t have a job. The American film was one of a number that reflected American anxiety at the rising economic power of East Asia; 20 years on it seems everyone is in decline (except China and India).

The film’s also emotionally engaging in terms of the plight of migrant workers. At best, they are treated as second class citizens – Terry’s passport is immediately confiscated by Jiale’s mother – and her desperation at being away from her baby is clear.

I noted in my post on The Olive Tree that melodrama is not an effective genre for instigating political action but is good for raising awareness. Ilo Ilo does this, for those of us in the west, about ordinary people’s lives in South East Asia. The insecure job market is endemic, as is the poor treatment of migrants. In the UK we are embarking on what will no doubt, if today’s disgusting (even by its standards) Daily Mail is allowed to set the tone, be a vicious election campaign where the right wing will shout down any compassion for others. Watching films from other cultures is one of the few ways we can learn to empathise with others as they are, of course, just like us.

_95695698_dmfrontpage19aprilThe contempt for democracy, which requires dissent, is obvious in the headline but I wonder whether whoever chose the image of PM Teresa May realised how demonic she looks.

LFF 2015 #7: In the Room (Singapore-HK 2015)

Damien (Ian Tan) the singer/composer and Imrah (Nadia Ar) the maid.

Damien (Ian Tan) the singer/composer and Imrah (Nadia Ar) the maid.

LFFThis was the one film I chose because of the auteur name attached. Eric Khoo is a respected director from Singapore who through his company Zhao Wei Films has also helped commercial co-productions with Malaysia to develop, especially horror productions. I managed to interview him in Oslo a few years ago. I booked this film ‘blind’ and was a little surprised by what it turned out to be – and even more surprised when I read some background after the screening.

Co-produced with Hong Kong producer Nansun Shi (ex-partner of Tsui Hark), In the Room seems to have been inspired by memories of erotic films of the 1970s and 1980s such as Emmanuelle and 9½ Weeks which were presumably hits in Hong Kong and Singapore, although with some cuts for cinema viewing I expect. In the Room is a set of encounters/liaisons in the same hotel room at different times over many years. The fictional Singupura Hotel is first seen in 1942 as a British planter is about to leave the island before the Japanese take over. He tries to persuade his lover, a married Chinese man who runs a rubber wholesaling company to leave with him. In the same Room 27 we then see a succession of guests from across South and East Asia involved in various liaisons. Eric Khoo has suggested that this format had the great advantage of fostering his co-production plans with actors from Thailand, Malaysia, South Korea and Japan. It was also a production that allowed him to shoot on a sound stage for the first time (all his previous work being location-based).

It seems odd to recall the erotic films from the past in the era of internet porn and the rather desperate attempts of Lars von Trier to present ‘explicit’ sexual content in his Nymphomaniac films. In the Room‘s sexual activity isn’t particularly arousing and I actually found much of it to be quite tender and moving. The professional critics at various festivals have been rather dismissive, claiming the script (most of the stories are written by Jonathon Lim) as the weakest element. I find this a bit strange since the scenes are mostly dialogue-driven and each scene, bar the first, is subtitled because the language is different. Perhaps the subtitles are not very good? They seemed fine to me. On the other hand, there is quite a lot of praise for the set design which I thought was OK but that the first set, filmed in Black and White, didn’t work for me.

There were indications in the film that it is in some ways ‘personal’ for Khoo. The Japanese woman is I think reading a manga by Tatsumi Yoshihiro (Eric Khoo made his animated feature Tatsumi (2011) about the manga artist/writer). The film is dedicated to Damien Sin who wrote Khoo’s first feature and in the film ‘Damien’ is a character in a 1970s (soft) rock band who dies of an overdose and then haunts Room 27 over the rest of the film. This supernatural narrative strand also includes a young woman who works as a maid in the hotel and who meets Damien on the fateful night.

The question of censorship is interesting because reading through the reviews of North American screenings, it’s apparent that the print for the LFF has been shorn of what sounds like a more explicit/outrageous segment in which a bar-room ‘madam’ performs the old trick of ‘firing’ table tennis balls from her vagina – a nod to the brothels inhabited by British soldiers in Singapore and Malaysia in the 1960s perhaps? The LFF print is presumably the one that is intended to be released in South East and East Asia. I can’t say this film is up to Eric Khoo’s earlier standards but it’s better I think than the reviews so far suggest. I even quite liked the music and the song that Damien composes.

The trailer for Toronto:

Films From the South #12: Tatsumi (Singapore 2011)

Tatsumi is a rather wonderful film that was released domestically in Singapore after winning plaudits at various festivals. It’s an unusual animated film that successfully manages to combine a biography of a Japanese manga author with representations of several of his stories to produce a coherent narrative. But as director Eric Khoo remarked after its screening here in Oslo it still has to go to the Tokyo International Film Festival and that will have a bearing on how the film fares in the Japanese market. It’s due out in the UK in January 2012 via Soda and international sales are stacking up via the German agents The Match Factory.

The Oslo screening was accompanied by an exhibition of the original artwork used in the film and introduced by Eric Khoo himself.

Eric Khoo introduces his film with some of frames from the exhibition visible behind him.

Eric Khoo was once himself a comic book artist but he had not thought that he had the patience to undertake an animated production . . . until he read the autobiographical manga, The Drifting Life by Tatsumi Yoshihiro published in 2009. See this website for previews of Tatsumi’s work in new Canadian published editions. Tatsumi (born 1935) became associated in Japan with a new form of manga dealing with much more realist themes and named gekiga, a term Tatsumi is said to have originated and which was taken up by some other writers. This might be seen as similar to the development of ‘graphic novel’ as a term in North America. Khoo’s problem was that he didn’t speak Japanese and he knew he must get full co-operation from Tatsumi himself. He managed to arrange an interview via a friend at Fuji Film and managed to convince Tatsumi that any film that he made would be faithful to the Tatsumi drawing style.

To produce the film, Khoo’s company Zhao Wei films  worked with Infinite Frameworks (ifw) a company based in Singapore and the Indonesian island of Batam (only 40 miles away by fast boat) with whom Khoo had made several previous films. This local co-operation produced Tatsumi relatively quickly and inexpensively – without sacrificing any quality. They developed a very simple animation style that used Tatsumi’s original drawings as a model but also colouring some of the earlier black and white outlines. In this YouTube clip, Khoo and the animators explain how they approached the task (beware it is also an ad for Intel and Hewlett-Packard!):

Tatsumi was a young teenager in the immediate post-war period in Japan under the Allied Occupation. His first success as a manga story-teller came early and he was inspired by both competition from his brother and by meeting one of the leading manga/anime figures of the day Tezuka Osamu. But eventually Tatsumi tired of what he felt were the constrictions of manga aimed primarily at children and he developed the gekiga form in the late 1950s. Interestingly he returned to his memories of the immediate postwar period in his new work. Stories such as ‘Hell’ (the aftermath of the Hiroshima bomb) and ‘Goodbye’ (about a prostitute whose clients are American GIs) set up a tone that is also present in more contemporary (i.e. 1970s) stories about alienation from work and family in ‘Beloved Monkey’, ‘Occupied’ and ‘Just a Man’. I’m fascinated by these two periods of Japanese Cinema (and literature) so I found these stories – and the surrounding material relating to Tatsumi’s struggles to get them published – very engaging. It will be interesting to see what kinds of audience reactions the film gets on its international release. I would hope that it would receive as much attention as Marjane Satrapi’s Persepolis, but I think that film has a much more recognisable story and theme. I would urge you to give Tatsumi a go. I’m sure that you will recognise some of the images from Japanese Cinema and then find the story of Tatsumi the artist as interesting as I do.

London Film Festival #1: Family Melodramas

My first festival day comprised three very different family melodramas. Plans for Tomorrow (Planes para mañana, Spain 2010) is the debut feature of Joana Mancias coming after several well-received shorts. The film comes in a now familiar format comprising four interweaving stories each triggered by the same ‘inciting incident’ with the main events occurring over 24 hours. I don’t want to spoil the narrative tension, but you will have seen this before in the scripts by Guillermo Arriaga, especially Amores Perros. This was pointed out to me after the screening. I was thinking more about the films of Kieslowski, Tykwer and Medem, but on reflection these directors are aiming for something more narratively and thematically complex than this modest but engaging film.

Goya Toledo as Inés in Planes para manana

Three of the characters are women of a ‘certain age’. Inés is 39, with a career and an important job when discovers that she is pregnant – much to her long-term partner’s surprise. He doesn’t want a child. Antonia has been married for 20 years but the marriage is not fulfilling and on this day she has an interview for a new job and a phone call from an old lover who is in town and wants to see her. Marian is in a similar marital quandary, but her husband has already provoked a potential split and he has left the apartment, only to violently return when Marian refuses to let him in. Today he makes a scene at the bank where she works as a cashier. Mean while, Marian’s daughter, Mónica and Antonia’s son, Raúl have begun a virtual relationship involving intense exchanges of images and video and webcam dances for each other.

I enjoyed this film a lot and I found all the central characters interesting. The performances are all excellent (the players are all experienced in Spanish film and TV). Cinematography and direction are strong and there are some expressionist touches with blurring of focus etc. There is also a fantasy sequence and strong use of popular music, which I identified as rather soft indie nu-folk/rock, sometimes in English, sometimes in Spanish. I recognised something similar in the French psychodrama Anna M. (2007) but the bands meant nothing to me. I surmise from this that the focus of the film via the music is the teenage couple, though most of the narrative involves their parents’ generation. It may be important that when Monica and Raúl are with their mothers, they are often listening to music or communicating via the computer. Their world may be virtual, but they are ‘connected’ – which is more than the three women are with their partners.

In the bar afterwards I discussed the film with two women. One felt the film was ‘trite’, which always baffles me. It’s a genre film and works via the conventions of certain kinds of dramas. The other was more concerned with what the film ‘means’. I confess that as I reflected on the film, I realised that I’d been rather confused by the timescale and that I may have missed some of the interconnections. Perhaps it doesn’t stand up totally to scrutiny, but nevertheless it is an interesting film with plenty to offer to audiences. I would classify it as melodrama. No specific location was signalled, but I was interested to note that some scenes were shot in Cáceres, Extremadura with some funding support from the region. It opens in Spain next month.

En visits his grandma

Sandcastle (Singapore 2010) is the debut feature of Boo Junfeng and tells the story of three generations of a family over some fifty years. In some ways the approach reminded me of Hou Hsaio-hsien’s Taiwanese melodramas of the 1980s, though with perhaps a less forceful presentation of the politics. The melodrama is also mixed with a ‘coming of age’ narrative. The first Singapore film website I looked at seemed to be put off by the politics and before the festival screening, the young star of the film, Joshua Tan asked us to consider the film as a ‘family story’ and not to focus on the politics. Politics is clearly still a source of tension in what is to outsiders seen as a society in denial and subject to ‘self-repression’. En is a young man who has finished high school and is waiting to be called up for his military service. Events conspire to make this a busy summer. I’m guessing that this supposed to be around 2000 since En has an original iMac running OS 9. His summer promises a first romance with a neighbour but then he is required to go with his widowed mother to help look after his grandma who has Alzheimers. In his grandparents’ house he finds mementoes and hears stories about his father who died when En was still a young boy. En’s mother is a Christian and a schoolteacher and we see her leading a school choir in a rendition of a ‘national song’ (in English). This ‘respectable’ teacher is also in a long-term relationship with a senior officer in the Singapore military – who, of course, is a man designed to irritate En. At one point, when En’s iMac develops a fault, this man buys him a laptop with Windows 98 – no wonder En is pissed off! En’s ‘journey’ is about discovering who his father really was. Was he a student radical and a Communist in the 1950s and early 1960s? Is that why he had to go to Malaysia? Was En’s mother always so conservative and if so why did they get together?

Noha and her elder sister prepare for her wedding

I enjoyed Sandcastle and I’m intrigued by Stray Bullet (Lebanon 2010) which is also a family melodrama but this time placed firmly in the context of conflict. In a community of Maronite Christians in a North Beirut suburb, 30 year-old Noha is still a spinster teacher. It is 1976 when as a title informs us “the Palestinian camps had all surrendered” in what was one of the many periods of the Lebanese Civil War. Noha has already withdrawn from one possible marriage and now a fortnight before she is due to marry a cousin under strong family pressure, she decides to meet an old flame. But as the director, Georges Hachem told us after the screening, Lebanon was then in a ‘time of warriors’ – there was always the possibility of some kind of violence and things soon start to go wrong for Noha and her family. I found the first ten minutes of this film quite hard to follow, trying to work out all the family connections, but the second half developed into a full-blown melodrama. It is quite a short film (only 75 minutes) but very intense. It also has at its centre the wonderful Nadine Labaki as Noha. Her star performance in Caramel is matched here as the stubborn and determined Noha who is not prepared to submit to the pressure to marry – whatever the cost. The cost is high and this is a real melodrama with a non-Hollywood ending. Yet in the interesting Q&A that followed, a Lebanese man in the audience asserted that he thought that the film was a ‘way forward’ in presenting the personal lives of people during the Civil War. Although it is specifically about one Christian community, the story is one with which all Lebanese could identify.

The story behind the film is interesting in that as an independent production, Hachem (who was returning to Lebanon after working in Paris) was lucky to find a local producer, Georges Schoucair, willing to put up the production budget. Unlike most films from the region this didn’t require co-funding, although the French experience of both director and producer was important. I thought all the technical credits were very good for a film on this budget and I especially enjoyed the music. I hope that the film gets a UK release.