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  • 27 Feb 2014

    Berlin Despatch 1

    Far out there in memory, distances are relative. And maybe that’s why cinema has always sought to conquer space and time, reaching across vast lands to find a truth internal to us. Daniel Hui discusses Kelvin Kyung Kun Park’s A Dream of Iron and Jung Yoon-suk’s Non-Fiction Diary.

  • 27 Feb 2014

    Berlin Despatch 2

    How do we show exile? How do we capture the act of forgetting, so inherent in remembering? Daniel Hui discusses René Frölke’s Le Beau Danger and Tan Pin Pin’s To Singapore, With Love.

  • 13 Jan 2013


    Mizoguchi’s film reveals its dramatic structure, and its physical as well as visual scheme—it is a drama of three people, each of them forced to suppress his or her desire and emotion, unable to face the other two, even though they genuinely care for each other. It is their very goodness and naivety that prevent them to be honest, and since they are indeed so naively honest, they cannot face each other. Hence, all they can do is to turn their back to each other, as well as to the camera.

  • 01 Jan 2013

    Two Doors

    Kim Soyoung examines Two Doors (Kim Il-lan and Hong Ji-yu) as a transmedia documentary and as a radical documentary.

  • 23 Dec 2012

    Philippine Gay Indie Cinema and the Politics of Performance in Neoliberalism

    Gay indie films have proliferated in the last decade, allowing oftentimes straight muscular young men to portray gay roles, and engage in coming out and gay sex. The morality tale of the heterosexual bomba films still pervades, but becomes even more conservative in the gay indie films. In the film narrative, while sexual explorations are possible, the price of coming out, outing and being outed is usually very tragic.

  • 05 Nov 2012

    10 Shots of 36

    I asked the audience permission to take a picture because I wanted to keep this memory.

  • 21 Oct 2012

    Florentina Hubaldo, CTE

    The film’s eponymous, tragic heroine lends both her name and her disease to the title, suggesting the two facets of her identity in constant struggle with one another: her name, which she lives in constant fear of forgetting, and her degenerative brain injury, which will ultimately destroy her memory.

  • 08 Oct 2012

    Telling Truth to Power: Ghostly Artifice in The Blue Mansion

    Within the first few minutes of Glen Goei’s second feature film The Blue Mansion (2009), the ghost of “pineapple king” Wee Bak Chuan gazes in abject horror at his sombre-suited body lying lifeless and dignified in a casket, at the head of which is perched a funeral portrait of the man, grinning smugly and looking invincible.

  • 05 Oct 2012

    A Report on the Seventh Association for Southeast Asian Cinemas Conference in Singapore

    Taking as its theme “The Politics, Practices and Poetics of the Archive”, the conference organisers sought to strike a balance between social history, aesthetics and the practical experiences of film preservation, with archival professionals from Thailand, Cambodia, Singapore, Australia and Italy in attendance alongside a very healthy number of academics from around the world.