Annex B List of Singapore Films Selected for The

Total Page:16

File Type:pdf, Size:1020Kb

Annex B List of Singapore Films Selected for The ANNEX B LIST OF SINGAPORE FILMS SELECTED FOR THE CANNES FILM FESTIVAL SINCE 1997 1997: 12 Storeys by Eric Khoo was the first Singapore film to be invited to the Cannes Film Festival in the Un Certain Regard section. 2003: Tan Pin Pin’s Moving House was selected for the Kodak Emerging Filmmakers Showcase at the Cannes Film Festival. 2005: Eric Khoo’s Be With Me, opened the Directors’ Fortnight. 2006: Singapore showcased 12 Singapore films at World Cinema (Tous les Cinémas du Monde). The feature films selected for this showcase include Smell Of Rain (Gloria Chee), One Last Dance (Max Makowski), I Not Stupid Too (Jack Neo) and Perth (Djinn Ong), while the short films were G23 (Anthony Chen), Secret Heaven (Sun Koh), Birthday (Bertrand Lee), Monkey Love (Royston Tan), Sons (Royston Tan), Crocodile Journals (Yeo Lee Nah), 9:30 (Yong Mun Chee) and Blackboard Whiteshoes (Green Zeng and June Chua). 2007: Three Singapore films were selected - Anthony Chen’s short film Ah Ma (Grandma) clinched a Special Mention, while Pok Yue Weng’s short film SuperDONG together with Ekachai Uekrongtham’s feature film Pleasure Factory screened at the Directors’ Fortnight and Un Certain Regard respectively. 2008: Eric Khoo’s My Magic became the first Singapore film to compete for the prestigious Palme d’Or award. 2009: HERE by Ho Tzu Nyen was selected for screening at the 41st Directors’ Fortnight. 2010: Boo Junfeng’s Sandcastle was selected for the 49th International Critics’ Week, making it the first Singapore film to debut in that section. 2011: Eric Khoo’s Tatsumi premiered in the Un Certain Regard section. 2013: Anthony Chen’s Ilo Ilo won the prestigious Caméra d'Or award at the 66th Cannes Film Festival. Singaporean director Jow Zhi Wei’s short film titled After the Winter was selected for the Cinéfondation Selection. Page 1 of 1 .
Recommended publications
  • Dossier De Presse Be with Me F
    Dossier de presse trigon-film BE WITH ME de Eric Khoo, Singapour, 2005 DISTRIBUTION trigon-film Limmatauweg 9 5408 Ennetbaden Tel: 056 430 12 30 [email protected] www.trigon-film.org CONTACT PRESSE Anne Delseth Tel: 079 614 88 84 [email protected] MATERIEL PHOTOGRAPHIQUE www.trigon-film.org ,ICHE TECHNIQUE Réalisation : Eric Khoo Scénario : Eric Khoo et Wong Kim Hoh Producteur exécutif : Jacqueline Khoo, James Toh et Freddie Yeo Producteur : Brian Hong Directeur de la photographie : Adrian Tan Monteur : Low Hwee Ling Son : Kazz Société de production : Zhao Wei Films Pte Ltd Post-production : Infinite Frameworks Pte Ltd FICHE ARTISTIQUE Theresa Chan Ezann Lee - Jackie Samantha Tan - Sam Seet Keng Yew - Security Guard Chiew Sung Ching - Father Lawrence Yong - Son Lynn Poh - Ann FESTIVALS Telluride Film Festival, Toronto International Film Festival, Antalya Golden Orange Film Festival, Vancouver International Film Festival Pusan International Film Festival, Flanders International Film Festival (Prix Sabam, Meilleur scenario), Chicago International Film Festival Haifa International Film Festival, CJ Asian Independent Film Festival Seoul (Prix du Public),Tokyo International Film Festival (Mention spéciale), Torino Film Festival (Meilleur réalisateur, prix CinemAvvenire), Thessaloniki International Film Festival, Gijon International Film Festival, Brussels Festival of Independent Film (Meilleur réalisateur) Stockholm International Film Festival (Prix du Jury FIRPRESCI), Fribourg International Film Festival Mention spéciale du Jury, Prix du Jury oecuménique et Prix du Jury FICC), Mar Del Plata International Film Festival (Mention spéciale), Film Indianapolis International Film Festival, Oporto International Film Festival, (Prix spécial du Jury Fantasporto), Commonwealth Film Festival, Manchester. SYNOPSIS 4e With Me est une mosaïque d‘histoires construites autour des thèmes de l‘amour, de l‘espoir et du destin.
    [Show full text]
  • The Educator's Guide
    Resources A Guide for Secondary School Educators The Educator’s Guide Created in conjunction with the exhibition, SINGAPO人: Discovering Chinese Singaporean Culture Discovering Chinese Singaporean Culture This exhibition examines how the Chinese community in Singapore developed its own distinctive culture. Here, visitors discover and rediscover what it means to be a Chinese Singaporean. The aim is to develop a stronger sense of the Chinese Singaporean identity amongst youths. This will help foster a greater sense of belonging while giving them an understanding of how we are similar to or different from other Chinese communities. This exhibition presents Chinese Singaporean culture through daily life in Singapore – through the things we see, hear, do and eat every day. Therefore, the experience is highly interactive where visitors can touch various stations, play games, listen to stories and have a dialogue with the gallery. Through this exhibition, we will explore ideas of: Chinese heritage Cultural interactions Public policies The exhibition content extends classroom learning and teaching, by complementing History, Social Studies and Character & Citizenship Education subjects taught in secondary schools. It is also self-guided, where students can learn and explore independently. One of the main interactive features of the exhibition is the use of wristband tags. Students can tap their wristband tags to answer questions scattered throughout the space, trigger videos and play games. At the end of the visit, students can print out their own personalised report card which summarises their exhibition journey along with prompts for further cultural exploration beyond the exhibition. This report card serves as a starting point for them to reflect about their identity in relation to everyday life.
    [Show full text]
  • Press Release (Movies, Music and Metaphors)
    MEDIA RELEASE MOVIES, MUSIC AND METAPHORS “华语 COOL” Celebrates the Richness of Chinese Culture 23 October 2006, Singapore – Maintaining its objective of engaging English-speaking Chinese Singaporeans, in particular the post-65 generation, the 27th Speak Mandarin Campaign is encouraging this segment of the population to develop a grasp of the language beyond just its functional use, and gain a better appreciation of the language, Chinese culture and tradition. “We want to encourage the English-speaking post-65ers to go deeper into the use of Mandarin, not just for day-to-day communication, but for a better understanding of the rich Chinese heritage,” said Kenneth Tan, Chairman of the Promote Mandarin Council. He added, “The Campaign will continue to use a lifestyle-oriented approach, revolving around movies, music and metaphors, extending the theme of “华语 COOL”. We are working with our partners to engage the audience in their daily lives, for example tapping into the wide appeal of Mandarin songs and movies, as well as attracting their interest with the beauty of idioms and metaphors.” MOVIES In the area of movies, Eric Khoo’s Zhao Wei Films with director Royston Tan has produced a short clip, which will preview at the upcoming Speak Mandarin Campaign launch on 30 October to promote Mandarin in a creative way. Golden Village will continue to encourage Singaporeans to enjoy and watch Mandarin movies to immerse themselves in the language and via osmosis, learn the language. Page 1 of 3 Singapore’s 5C Films is also partnering the Speak Mandarin Campaign to promote Mandarin in a fun and accessible way.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • Tatsumi Premieres at the 64Th Cannes Film Festival 2011
    TATSUMI PREMIERES AT THE 64TH CANNES FILM FESTIVAL 2011 B A SED ON "A DRIFTING L IFE" AND THE SHORT STORIES OF YOSHIHIRO TATSUMI “Cannes was my dream of dreams. My heart swells with joy and pride, knowing that "TATSUMI" will premiere there. I just want to toast Eric Khoo!!” Yoshihiro Tatsumi “It has been my dream for this to happen, that Tatsumi premieres at Cannes Official Selection so that Yoshihiro Tatsumi, someone I truly admire and love, will finally be on one of the biggest international platforms to share Gekiga, his life and stories with the entire world.” Eric Khoo, Director "We are proud and honored at Infinite Frameworks to have had the opportunity to work on Tatsumi san's legendary artwork and to bring it to life under Eric's unique vision. It is by far the most emotional journey we have undertaken as a studio and the experience will continue to shape us for years to come." Mike Wiluan, Executive Producer TATSUMI PRESS RELEASE 14 APR 2011 Page 0 "It’s been an amazing journey composing for my dad. Starting off in 2008 with the movie, My Magic. I thought it would be a one time thing, but since music meant so much, I decided to continue and will never regret it. The three pieces from Tatsumi, after the arrangement by Christine Sham, have come a long way, and I love each and everyone of them." Christopher Khoo, Composer Yoshihiro Tatsumi started the gekiga movement, because he was heavily influenced by cinema. It's poetically fitting that Eric Khoo has decided to honour this master and his vision by making this film; things have just come full circle.
    [Show full text]
  • California State University, Sacramento Italian 104 a INTRODUCTION to ITALIAN CINEMA I SPRING 2013
    1 California State University, Sacramento Italian 104 A INTRODUCTION TO ITALIAN CINEMA I SPRING 2013 Course Hours: Tuesdays 5:30-8:20 Course Location: Mariposa 2005 Course Instructor: Professor Barbara Carle Office Location: Mariposa Hall 2015 Office Hours: Thursday 2-3, 4:30-6:30 and by appointment (every other Wednesday) This on line syllabus will contain assignments and modifications as we progress. Texts and Materials: History of Italian Cinema 1905-2003, Author: Brunetta, Publisher: Princeton University Press, 2011, Price: 28.75 USD (ISBN 9780691119892) Alternate text: Italian Cinema: From Neorealism to the Present by Peter Bondanella (ISBN 0-8264-1247-5) ***For Italian Minors: Italian Through Film The Classics, Antonello Borra and Cristina Pausini, (Yale University Press) ISBN 0-300-10952-0 Professor Barbara Carle's Web Page: http://www.csus.edu/indiv/c/carleb/ Assignments, Web Resources and Links COURSE GOALS and METHODS: To develop a critical understanding of Italian film, a knowledge of Italian film history and film techniques and an aesthetic appreciation for cinema. To learn about Italian civilization (politics, art, theatre and customs) through cinema. Guiding questionnaires will also be distributed on a regular basis to help students achieve these goals. All questionnaires will be graded. Weekly discussions will help students appreciate connections between cinema and art and literary movements, between Italian cinema and American film, as well as to deal with questionnaires. You are required to view the films in the best possible conditions, i.e. on a large screen in class. Viewing may be enjoyable but is not meant to be exclusively entertaining.
    [Show full text]
  • News Release
    NEWS RELEASE EMBARGOED UNTIL JUNE 20, 2016 Film4Climate Global Video Competition Opens, In Search of Short Videos to Inspire the World Winners to be honored at official awards ceremony at COP22 climate summit in Marrakech, Morocco in November 2016 WASHINGTON, June 20, 2016 – The Film4Climate Global Video Competition formally opens today as the centerpiece of the Connect4Climate initiative to promote sustainability in the creative industries through active engagement with young people in finding solutions to climate change. Announced at the Cannes Film Festival by the World Bank Group’s Connect4Climate global partnership program, the competition will be open for submissions through September 15, with the winners to be announced at a high-profile awards ceremony at the United Nations COP22 Climate Summit in Marrakesh, Morocco in November. The winning entries will receive cash prizes of $8,000, $5,000, and $2,000 for first, second and third place in each of two categories: an under one-minute Public Service Advertisement (PSA) or a Short Film up to five minutes. The competition offers filmmakers a chance to have their work reviewed by a jury chaired by Bernardo Bertolucci, and including other preeminent directors, producers, writers and political leaders. At the competition’s announcement in Cannes, producer and jury member Lawrence Bender said, “In every country, every city, people have different stories on climate change...there are many stories that can be told. If this worldwide film competition creates a critical mass of ideas and energy, it could help tip the balance in terms of focusing people’s attention.” As the next five years will be critical to advancing and scaling up climate action around the world as part of the SDGs, the COP22 climate summit aims to encourage countries to implement ambitious climate actions, with youth playing a vital role in the agenda.
    [Show full text]
  • Cannes Film Shines Light on Chad's 'Torture Factories'
    lifestyle TUESDAY, MAY 17, 2016 Music & Movies Cannes film shines light on Chad’s ‘torture factories’ here is a heart-stopping moment in a new documentary finally be judged later this month at a special tribunal in about the survivors of Chadian dictator Hissene Habre’s neighboring Senegal, where he had fled into exile. One of the Ttorture chambers, when one of the torturers kneels victims featured in the film, Adimatcho Djamai, who was tor- down in front of his victim and begs for forgiveness. “I had to tured so badly he spent more than two decades on the flat of follow orders,” mumbles “Mahamat the Cameroonian”-now a his back in a corrugated iron shack, died the day he was due broken man himself living on the streets as an outcast. “Then to testify at Habre’s trial. Haroun told AFP he wanted to cast a why did you have to beat me so badly?” his victim asks, hand- light on what he calls “this genocide” largely ignored by the ing the former gendarme the rubber pipe he used to flail his outside world “because it was some business of the blacks” prisoner’s leg to a pulp. carried out behind closed doors. “Your superiors told you to stop, but you went on and on,” The director uses Abaifouta as his narrator, visiting his fel- adds the man, who lost the leg. The scene is typical of the low survivors and gently coaxing the horrific stories of their muted but unflinching encounters that fill “Hissein Habre, A torture from them.
    [Show full text]
  • A Yellow Bird a Film by K
    A YELLOW BIRD A film by K. Rajagopal World Premiere Singapore / France – 2016 – 112 – th HD – 5.1 – 1:1.85 – In Competition at 55 Tamil, Mandarin, English, Hokkien International Critics Week, Cannes Film Festival références PANTONE : références CMJN : TRES IMPORTANT ! Pantone fluo 814 Violet C=55% ; M=60 ; J=0% ; N=0% Lors de changement d’échel du logo pensez à agrandir et/ou réduir proportionnellement le flou gaussien qui est de 12 pix pour le symbole “alpha” et de 8 pix pour le mot “violet”. CREW CAST Director Sivakumar Palakrishnan K. Rajagopal Siva Producers Huang Lu Fran Borgia Chen Chen Claire Lajoumard Seema Biswas Jeremy Chua The mother Screenplay Udaya Soundari Jeremy Chua Krupta (the social worker) K. Rajagopal Nithiyia Rao Cinematography Shanti (the wife) Michael Zaw Indra Chandran Editing Suseela Fran Borgia Sound Justin Loh Roman Dymny Production design James Page – 2 – LOGLINE the address of his ex-wife and daughter. There, he is confronted Siva, a thirty eight year old with a heinous truth. How convicted smuggler, is released far will he go in order to redeem from prison after eight years himself from his guilt? and begins a journey to locate his ex-wife and daughter who DIRECTOR’S STATEMENT have left him without a trace. His quest leads him to a heinous Growing up in multi-racial truth. How far will he go in order Singapore, one is constantly to redeem himself from his guilt? reminded of one’s race – through identity cards, media depictions, education, housing and social SYNOPSIS quotas. These policies that seek to appropriate an individual’s It is an unwelcomed homecoming racial status for racial equality for Siva Sudhakar, a 38 year old and promote tolerance for Singaporean Indian man, who the other, somehow dissolves is released from prison after 8 a collective identity.
    [Show full text]
  • Joseph Conrad's Heart of Darkness and Francis Ford
    THE EVIL OF MODERNITY: JOSEPH CONRAD’S HEART OF DARKNESS AND FRANCIS FORD COPPOLA’S APOCALYPSE NOW Michel Maslowski Paris IV Sorbonne Cywilizator, oszalały Kurtz, One of the civilizers, a madman named Kurtz, Miał kość słoniową ze śladami krwi, A gatherer of ivory stained with blood, Na memoriale o światłach kultury Scribbed in the margin of his report Pisał “ohyda” a więc już wstępował On the Light of Culture “The horror.” And climbed W dwudziesty wiek. Into the twentieth century. Czesław Miłosz, A Poetical Treatise, 1956 After December 13, 1981 the front pages of world press showed a photograph of a tank in front of the Moskwa Cinema in gray wintertime Warsaw. A huge inscription on the building announced: “Apocalypse Now.” It was the beginning of martial law in Poland. Apocalypse Now by Francis Ford Coppola, is a fi lm adaptation of Joseph Conrad’s 1899 novella Heart of Darkness, which has inspired many artists and still continues to do so. For Czesław Miłosz it presented a prophetic vision of the 20th c.: the time of world wars, genocides and totalitarianisms. The Zeitgeist from Miłosz’s A Poetical Treatise is wearing a necklace made of cut off heads resembling those stuck on the palisade in Kurtz’s camp. For T.S. Eliot, whose 1925 poem The Hollow Men appears in Coppola’s fi lm, Conrad’s work portends a crisis of humankind by stigmatising the “fragility of the base on which modern people built their dilapidating ark, namely language.”1 The literary critic Juan Asensio points out another example of a work directly inspired by Conrad’s novella: The Portage to San Cristobal of A.H.
    [Show full text]
  • APPENDIX B Information on the Singapore Booth at the Marché Du
    APPENDIX B Information on the Singapore Booth at the Marché du Film, Cannes The Singapore film community is represented at the Marché du Film in Cannes, where the Singapore booth is located within the Film ASEAN Pavilion on the riviera (number 117, Village International). Village International at the Marché du Film is the annual forum for world cinema. Information on part of the Singapore delegation/companies at 69th Cannes Film Festival Company Contact Akanga Film Asia Fran Borgia Akanga is the film company behind the two Singapore films [email protected] (Apprentice, A Yellow Bird), selected for the Cannes Film www.akangafilm.com Festival 2016. Akanga Film Asia is an independent production company created in 2005 in Singapore to produce quality films by the new generation of Asian filmmakers. Our projects aim to create a cultural link between Asia and the rest of the world. Titles produced by Akanga include Ho Tzu Nyen’s Here (Cannes Directors’ Fortnight 2009), Boo Junfeng’s Sandcastle (Cannes Critics’ Week 2010), Vladimir Todorovic’s Disappearing Landscape (Rotterdam 2013), Christine Molloy & Joe Lawlor’s Mister John (Edinburgh 2013), Lav Diaz’s A Lullaby To The Sorrowful Mystery (Berlin Competition 2016 – Silver Bear Alfred Bauer Prize), Boo Junfeng’s Apprentice (Cannes Un Certain Regard 2016) and K. Rajagopal’s A Yellow Bird (Cannes Critics’ Week 2016). Clover Films Lim Teck Clover Films Pte Ltd was established in 2009 and [email protected] specialises in the distribution and production of Asian http://www.cloverfilms.com.sg/ movies, with an emphasis on the Singapore and Malaysia markets.
    [Show full text]
  • FRENCH 3230 - History and Economics of French Cinema from Paris to Cannes
    FRENCH 3230 - History and Economics of French Cinema from Paris to Cannes Instructor: Lynn Ramey, French and Italian Location: Paris, Cannes, and Lyon, France Dates: May 6 – 31, 2019 Due to the participation in the Cannes Film Festival, this course could not be offered on campus. While there are a few simply cultural activities such as a game of pétanque (French lawn bowling) in Lyon, almost all outings are connected to learning about French media history and production. Paris, Cannes, and Lyon all have dedicated museums to film and the history of movie production. We will take day trips to Monaco and Nice where students will visit additional museums and film shooting locations. I have been teaching the history of French film for many years and have led versions of this Maymester twice (all versions have received excellent student evaluations). I study and publish on French media and speak French fluently. I'm delighted to have the opportunity to work 24/7 with students. The TA who will accompany me is not only a wonderfully enthusiastic teacher, he also has a film that has been submitted to the student section of the Cannes Festival. In 1895 the Lumière brothers screened the very first moving pictures in a café in Paris. Today the second largest film exporter after the US, France continues to play a central role in the international movie market. Once a year, in May, the world cinema community comes back to the birthplace of film and celebrates at the Cannes Film Festival. A ten-day extravaganza of film screenings, star sightings, and prize awarding, the Festival (founded in 1946) is considered the most prestigious film festival in the world.
    [Show full text]