“Cinema is the ultimate pervert art. It doesn’t give you what you desire – it tells you how to desire.” ― Slavoj Žižek
That’s right. Desire. The human experience of wanting something and anticipating getting it has to be one of the most rapturous human experience.
Inclusive of today, we have 6 more days to experience the Singapore International Film Festival 2016 before it concludes on 4 December.
The Singapore International Film Festival 2016 seeks to present the best in independent cinema. In particular, the festival’s desire to bridge the connection between audience and filmmakers brings forth loads of great stories waiting to be discovered by you and I.
I went on a short marathon with a girlfriend over the last few days. We caught Little Cheung, Durian Durian, Dumplings before wrapping up the week with Wet Woman in The Wind on a balmy Sunday morning. Coincidentally, the first 3 films which we chose based on the timing which is most convenient to us are all by filmmaker Fruit Chan, this year’s Honorary Award recipient.
Little Cheung brings to the table a poignant story of how the innocence of youth entangles with the everyday life practicalities of the working class in Hong Kong. On the other hand, Durian Durian showcased a fascinating dance around the topic of prostitution. I appreciate how Dumplings adeptly uses soft horror laced in mystery to facilitate the illustration of the human lustful desire for youth. I also love how Fruit Chan managed to weave humour so sleekly into the scenes through the serious undertones of societal issues he’s trying to highlight in all his films.
The range of emotions and thoughts invoked through the films we picked were unexpected. How far or low will one go in the pursuit of wealth, dignity, honour, respect and status? What do we lose or gain in the draining yet necessary process of chasing our dreams? Do we follow our heart? Will we ever gain balance or contentment in the pursuit of happiness? Perhaps we will never truly get answers but I believe that having a curious desire to understand will get us somewhere.
If you are keen to check out Fruit Chan’s films, the next available film is The Midnight After showing today, 9:30PM at the National Museum of Singapore.
Wet Woman in The Wind by Akihiko Shiota was perfectly playful, lustful, absurd and intense. The bordering psychotic behaviour of characters in the film drew my curiosity in keeping up with the plot every second until the end. It was also pretty hard not to pay attention to the settings and objects within the film. I find it particularly interesting how the audience expresses their
awkwardness appreciation for some scenes by injecting giggles, laughs and in turn, the film was engaged with live humour.
Good news, you can still catch Wet Woman in The Wind on 3 December, Saturday, 9:30PM at The Arts House.
With over 130 Film Screenings and Public Programmes at the 27th Singapore International Film Festival, I wish I had more time to view other films from USA, Europe and other independent films from countries that I’m less familiar with, such as the Estonian animation shorts, Nepalese shorts and Latin American Cinema.
To avoid any disappointments, run a check over at SISTIC if tickets for your selected films are still available. Tickets are moving really fast.
Have loads of fun enjoying the perverted art of cinema, my dear friends.
About the Singapore International Film Festival
Founded in 1987, the Singapore International Film Festival (SGIFF) is the largest and longest-running film event in Singapore. It has become an iconic event in the local arts calendar that is widely attended by international film critics, and known for its dynamic programming and focus on ground-breaking Asian cinema for Singapore and the region. Committed to nurturing and championing local and regional talent, its competition component, the Silver Screen Awards, brings together emerging 9 filmmakers from Asia and Southeast Asia while paying tribute to acclaimed cinema legends. With its mentorship programmes, masterclasses and dialogues with attending filmmakers, the Festival also serves as a catalyst for igniting public interest, artistic dialogue, and cultural exchanges in the art of filmmaking.