Singapore Panorama Shorts 2 @SGIFF 2015 was a showcase of four distinctly
local, Mandarin short films by young filmmakers. Here are our thoughts on them.
‘Afloat’ (斗鱼) by Reuben Foong
Afloat is an unflinching take on the realities faced by a similar mother-and-daughter pair thrown into the choppy waters of an alien, unforgiving society, with nothing but each other to cling to.
Xiao Wen, a
withdrawn, introspective seventeen-year-old, is picked on by her younger
classmates and relies on two pet fighting fish for companionship (the Chinese
title of the movie translates as “fighting fish”). Her mother is a steely,
determined woman, working as a masseuse to support both of them.
The acting
of both main characters is brilliant, and scenes with the two of them have
moments of tangible tenderness. In one scene, Xiao Wen’s mother buys her a
hearty meal at a fast food restaurant, eating nothing herself. She appears to
take pleasure just in watching her daughter eat, even if this is a particular
indulgence given their limited means. However, when she asks hopefully if Xiao
Wen is enjoying the meal, the homesick girl artlessly replies that it is okay
but that it doesn’t taste as good as a similar meal back in their home country.
The short exchange speaks volumes.
With a
focus on realism underscored by Foong’s liberal use of long takes, Afloat is a true example of showing
rather than telling, refraining from moral judgments and letting the actions of
the characters speak for themselves. Despite an ending that is somewhat
predictable (yet still distressing), it is all around excellent.
‘Happily
Ever After’ (祝你幸福) by Shaun Neo, Apple Hong and Pek Hong Kun
The premise is simple: three weddings over three generations. Defying conventional narrative
structure, these are almost isolated snapshots of families taking wedding
photos in the ‘60s, ‘80s, and 2015. The thinnest thread connecting them is revealed
in the finale.
The simple structure
of Happily Ever After works surprisingly
well to the directors’ advantage, like a blank canvas on which they layer a wonderful
complexity. It’s obvious that considerable thought has been put into the little
words and expressions of each unnamed character, subtly conveying the nuances
of family relationships. This makes the film worth re-watching to unearth new
details.
While
ostensibly portraying joyous occasions, as co-director Neo said during the post-screening
discussion Happily Ever After is
intentionally ambiguous about whether the families are truly happy, and leaves
viewers to draw their own conclusions.
‘Freak’ (怪物) by Nelicia Low
Freak is extremely creepy. Centring on the disappearance
of Mrs Wang’s second husband and the suspiciously cheerful reaction of her
daughter (Xiao Ma) to it, this is an oddball drama with a unique premise. The
terror and despair of Mrs Wang are palpable, and in one instance I actually
jumped in my seat. But is she driven to paranoia with grief and distress (along
with emotional trauma from possible spousal abuse), or is her protective
daughter actually the perpetuator of a dark crime? Who betrays whom in the end?
The film denies us resolution and leaves us craving for more.
As a side
note, this is not the first time Low has explored the idea of a strange
mother-daughter relationship, with jealousy over the mother’s romantic
relationships as a central theme.
‘Open Sky’ (其实哪里都好) by Tan Jingliang
Open Sky is the longest of the four films.
Unfortunately, the extra time does not translate into more engaging plot
development. Afflicted with slow pacing and stilted dialogue, it is difficult
to relate to the two main characters as they ramble through various urban
landscapes – a ramen shop; a night market; a rooftop – musing about work,
family, their dreams, and the possibility of leaving the city.
The film
may suffer due to the fact that the theme of disillusioned youth is
well-covered in all forms of art, making it easy to fall into clichés. There is
a lot of staring into space and contemplative silence especially by the female
lead, yet any deeper meaning behind this melancholy is elusive. And while the
actors are reasonably convincing in their roles, their on-screen chemistry as
supposed long-time friends falls flat.
Missing the
poignancy and light touch that Tan showed in Strangers, Open
Sky comes across overall as aimless and slightly bored: much like its
central characters.
Review by Melissa Zhu