October 24, 2017

The 28th Singapore International Film Festival Presents Over 100 Film Screenings And Public Programmes As It Explores The Future Of Cinema

-Immerse in the ever-vibrant film scene with 18 world premieres, 17 international premieres and six Asian premieres.
-SGIFF will recognise contributions by veterans in Asian cinema – Garin Nugroho and Koji Yakusho – while spotlighting talents of tomorrow at the Silver Screen Awards held at Marina Bay Sands.
-12 regional commissioners and producers gather, as part of the inaugural Southeast Asian Producers Network, to chart the future of collaborative filmmaking in the region.
Image courtesy of Singapore International Film Festival
Singapore, 24 October 2017 – The growth and potential of independent cinema in Asia has been steadily rising over the years. Extending an open invitation to be engaged in the future of cinema, the 28th Singapore International Film Festival (SGIFF) announced its full Festival lineup at the National Museum of Singapore today.

As the leading international film platform in Southeast Asia and part of the annual Singapore Media Festival (SMF), SGIFF is set to showcase a diverse spread of films that stood out in the past one year. From a melodramatic story edited down from 10,000 hours of surveillance videos (Dragonfly Eyes by Chinese filmmaker Xu Bing); to a high-wire sociological suspense (The Square by Swedish director Ruben Östlund which won the Palme d’Or at this year’s Cannes Film Festival)and a female-driven journey of vengeance and justice (Marlina The Murderer in Four Acts by Indonesian director Mouly Surya), the Festival promises to be an immersive journey of unconventional storytelling and striking cinematography, with something for everyone.

Sharing on the film line-up this year, SGIFF Programme Director Pimpaka Towira said, “The demand for quality content has never been greater today. In the last one year, we have witnessed bold experimentation from film auteurs to showcase diversity in storylines, genres and styles, as they push the envelope in filmmaking. Staying true to our role as a vital focal point to uncover these gems and boundary-pushing creativity, this year’s Festival line-up provides an insight into  the talent that permeates the region and showcases the promise of the industry here in Asia.” 
(from left to right) Film stills of Oh Lucy! and Shuttle Life
In addition to the recently announced opening film, Angels Wear White by Vivian Qu, filmgoers can also look forward to 112 films across various genres and presentations during the 11day Festival. An example is one of SGIFF’s three Special Presentation films – Oh Lucy! by Japanese first-time features filmmaker Atsuko Hirayanagi and stars award-winning Japanese actress Shinobu Terajima and Black Hawk Down leading actor Josh Hartnett. A quirky portrait of a lonely Tokyo woman who follows her English teacher to California, the feature film was expanded  from Hirayanagi’s award-winning short of the same title, and evokes genuine emotional poignancy as it explores identity and isolation in this age of decreasing human interaction.

Another finely-crafted debut feature is Malaysian filmmaker Tan Seng Kiat’s Shuttle Life which stars Taiwanese actress-director Sylvia Chang and pop singer and actor Jack Tan will compete in this year’s Silver Screen Awards’ Asian Feature Film Competition. The hard-hitting social drama stands out with its uncompromising realism. It displays the life and complex humanity of the underclass in Malaysia, represented by the male protagonist who faces the destruction of the family he struggles to support. When premiered at the Shanghai Film Festival early this year, it swept the top prizes in three categories – best film, best cinematography and best actor for Tan at the hotly contested Asian New Talent Awards.  
(from left to right) Film stills of I Want to Go Home and Nyi Ma Lay
Films presented by Singapore filmmakers also stand out with their remarkable sensitivity and nuance in storytelling. Inspired by a real-life story in Japan, Wesley Leon Aroozoo will present his first full-length documentary I Want to Go Home that takes on a gentle direction in depicting one’s emotions with the loss of a loved one. One of 10 entries shortlisted to compete in Busan International Film Festival’s Wide Angle Documentary Competition, the film follows the journey of a man’s determination to reunite with his wife after the Great East Japan earthquake to fulfil her final wish. Others drew inspiration from the diverse stories amidst us. One of Singapore’s pioneer female filmmakers, Wee Li Lin will present her latest short – Areola Borealis that features an uptight mother who tries to upstage her daughter’s untraditional wedding. This year’s Festival Commission Nyi Ma Lay by Chiang Wei Liang also questions and raises awareness on social issues that plague society by drawing viewers into the psyche of domestic workers who suffer from emotional abuse.

Honouring the contributions of veterans in Asian Film Industry
(from left to right) Garin Nugroho and Koji Yakusho
The allure of Asian cinema, too, lies with the strong foundation established through iconic works by experienced regional filmmakers and actors who were pioneers in forging new ground. Thus, the 28th SGIFF will present Indonesian filmmaker Garin Nugroho with the Honorary Award for his contribution to the film industry. 

One of the most important Southeast Asian filmmakers of our time, Nugroho captures his love for Indonesia, his people and the Javanese culture through the camera, while keeping to an undeniable poetic, reflective film style that resonates strongly with audiences. His natural filmmaking flair was recognised from the very start, with his debut fiction feature film Love in a Slice of Bread (1991) clinching the Best Film Award at the Indonesian Film Festival that year. He went on to receive various awards for his films – Letter for an Angel (1994) won Best Film, while Leaf on a Pillow (1998) won the Special Jury Prize at the Tokyo International Film Festival. A recipient of the French honorary decoration of Chevalier dans l’ordre des Arts et Lettres, he was also accorded the Best Young Director at the Asia Pacific International Film Festival in Seoul in 1992, Best Director at the Pyongyang International Film Festival and the Young Filmmakers Jury Award at the Berlin Film Festival in 1994. Gaining critical attention internationally, he also made the region proud by directing a gamelan musical Opera Jawa (2006) as part of a commission by the government of Austria for the 250th Anniversary of Mozart’s birth. His latest black and white silent movie Setan Jawa (2017) impressively combined the performances by a traditional Javanese gamelan ensemble with modern symphony orchestra in his expression of the complexities of Indonesia. 

The Cinema Legend Award this year will be conferred on Japan’s leading actor, Koji Yakusho. The award recognises the body of work of Asian actors while celebrating their talent and outstanding achievements in bringing Asia’s story to life on screen.

Best known for his sensitive portrayals of the common man, Yakusho rose to stardom with his breakout role of feudal lord Oda Nobunaga in the NHK drama, Tokugawa Ieyasu in the 1980s. Having worked in over 60 films, including  Palme d’Or winner The Eel (1997), Shall We Dance (1996), Memoirs of a Geisha (2005), Babel (2006) and 13 Assassins (2010), he was also a recipient of multiple awards that recognise his prolific careers. This includes the Shiju Hosho Medal of Honour from the Emperor of Japan for his outstanding achievements, making him a recipient at the youngest age for an actor. He continues to inspire with his lifelong dedication to acting with his latest works, including Japanese thriller The Third Murder, an official selection in competition at 2017 Venice International Film Festival, and a special appearance in Oh Lucy!.

Festival goers can look forward to meeting and interacting with both Yakusho and Nugroho at their masterclasses at ArtScience Museum on 2 December 2017, and the National Museum of Singapore on 3 December 2017 respectively.

Exploring the future of cinema at SGIFF

While the Festival casts a spotlight on quality films and outstanding filmmakers, it is no secret that the industry is evolving largely through the impact of new technologies on cinematography, production, and even the way we consume our films.  As a champion of regional cinema, SGIFF will continue to take on a key role in facilitating dialogues in light of this advancement and creating a demand for independent films in this burgeoning industry.  

The Festival will thus introduce the inaugural Southeast Asian Producer’s Network this year. 12 regional commissioners and producers, including Singapore’s Fran Borgia, Indonesia’s Mouly Surya and representatives from HBO Asia and Astro Shaw, will gather at the Festival to chart the future of collaborative filmmaking in the region, while sharing insights with festival goers through a public talk. 

Speaking on the new initiative, SGIFF Executive Director Yuni Hadi said, “Our movie-going culture has entered a new stage. Filmmakers and producers are producing great content that are played across multiple screens from cinemas to television to online platforms, in search of that space that will allow our stories from Asia to shine and find its audience. It is an important time for us to reflect how and where the stories from our region can be told, and the Southeast Asian Producer’s Network creates that conversation and challenges the industry to think out of the box.”

Casting a spotlight on the integration of technology with filmmaking to create greater opportunities, one of the Festival’s SG Originals talks will see Singapore filmmakers discuss the usage of over-the-top platforms to be more accessible to viewers. The Future of Cinema Forum will also show scenes from films that were shot in Virtual Reality (VR) – including Manic and The Protectors: Walk in the Ranger’s Shoes, while discussing how the use of both VR and Augmented Reality (AR) can connect both creators and audiences.

The 28th SGIFF, which runs from 23 November to 3 December 2017, will take place across various venues, including Marina Bay Sands, Shaw Theatres Lido, National Museum of Singapore, National Gallery Singapore, The Arts House, Filmgarde Bugis+, Objectifs and *SCAPE. Ticket sales will begin on 25 October 2017.

It is an event of the Singapore Media Festival, hosted by Info-communications Media Development Authority of Singapore (IMDA). SGIFF’s Official Sponsors include Presenting Sponsor since 2014, Marina Bay Sands; Official Festival Time Partner, IWC Schaffhausen; Official International Realtor, List Sotheby’s; Official Automobile, BMW and Official Airline, Singapore Airlines.

Please refer to the appended annexes for more information.

For Media Enquiries, please contact: press.office@sgiff.com

Annex A: Quotes from Official Sponsors – IMDA, Marina Bay Sands, IWC Schaffhausen, List Sotheby’s, BMW and Singapore Airlines

Mr Joachim Ng

Director of the Singapore Film Commission, IMDA

“The Singapore International Film Festival has been an anchor of the annual Singapore Media Festival, which celebrates the best of Asian storytelling. We look forward to a robust line-up of the best films from the region, discovery of exciting new ways to tell stories, and celebration of talent at this year’s festival.”

Mr George Tanasijevich

President and Chief Executive Officer of Marina Bay Sands

“SGIFF is an annual pillar event where the world of cinema is elevated and celebrated in all its forms. It is a platform which inspires the film community, and encourages filmmakers and future generations to pursue their interest in the arts. As Marina Bay Sands continues to lend weight to the SGIFF cause, we hope to collectively achieve new milestones, garner more support and enrich the festival experience in the years to come.”

Mr Stanislas Rambaud

Managing Director of IWC Schaffhausen South East Asia

“We are proud to act as official sponsor and partner of the SGIFF once again for the third year running. This meaningful partnership demonstrates the brand’s passion for the world of filmmaking and its long-standing dedication to support promising local talents within the Southeast Asia region.”

Mr Leong Boon Hoe

Chief Operating Officer of List Sotheby’s International Realty, Singapore

“List Sotheby’s International Realty, Singapore is pleased to be an official sponsor and the official international realtor of the SGIFF. As the Southeast Asia headquarters of List Sotheby’s International Realty platform which comprises 14 offices across Japan, Hawaii, Singapore, Hong Kong and the Philippines (as well as an upcoming office in Thailand), it is the brand’s privilege to be associated with the SGIFF. We are grateful for the opportunity to contribute to talent development in the local and regional filmmaking industries, and to give back to the community as a whole.”

Mr Paul de Courtois

Managing Director, BMW Group Asia

“The BMW Group has supported the film industry for over 70 years, from student productions to film festivals held around the world. It is our honour to be the Official Automobile for the first time for the Singapore International Film Festival. We are confident that our fleet of BMW 7 Series limousines will provide the VIP guests, including the filmmakers, directors and cast, with the highest levels of comfort, luxury and convenience.”

Mr Campbell Wilson

Singapore Airlines Senior Vice President Sales and Marketing

“Singapore Airlines has a longstanding commitment to support events that enhance Singapore’s reputation as a centre for the arts. We are proud to be the Official Airline of the 28th Singapore International Film Festival and helping to bring world-class productions from all across the globe to the big screens in Singapore”

Annex B: Chinese translations of key festival terms

28th Singapore International Film Festival

23 November to 3 December 2017   


Festival Team – 电影节团队

No. 姓名 Name 职衔 Designation
1. 云妮·海迪 Yuni Hadi 执行总监 Executive Director
2. 萍帕卡·托维拉 Pimpaka Towira 节目总监 Programme Director

Opening Film – 开幕电影

No. 影片片名 Film Title 导演 Director
1. 嘉年华 Angels Wear White 文晏 Vivian Qu

Special Presentation – 特别呈现

No. 影片片名 Film Title 导演 Director
1. 白色女孩 The White Girl 白海杜可风 Jenny Suen
Christopher Doyle
2. Oh Lucy! 平柳敦子 Atsuko Hirayanagi

Silver Screen Awards – 银幕大奖

A Commission of the Singapore International Film Festival – 新加坡国际电影节委约

No. 影片片名 Film Title 导演 Director
1. 分贝人生 Shuttle Life 陈胜吉 Tan Seng Kiat
2. 蜻蜓之眼 Dragonfly Eyes 徐冰 Xu Bing
3. 大佛普拉斯 The Great Buddha + 黃信堯 Huang Hsin-Yao

Southeast Asian Short Film – 东南亚短片

No. 影片片名 Film Title 导演 Director
1. 五丛树下 Five Trees 杨国瑞 Nelson Yeo
2. It’s Easier to Raise Cattle 余修善 Amanda Nell Eu
3. 睡棉 A Bed Without A Quilt 陈健民 Ivan Tan
4. 当然 Between Us Two 陈威强 Tan Wei Keong

Cinema Legend Award – 电影传奇奖

Koji Yakusho 役所広司

Honorary Award – 荣誉成就奖

Audience Choice Award – 观众投选奖

Singapore Panorama – 新加坡全景 

Feature Films – 长片

No. 影片片名 Film Title 导演 Director
1. 钻石狗 Diamond Dogs 林基云 Gavin Lim
2. hUSh 光灵 Kan Lume
3. 我要回家 I Want To Go Home Wesley Leon Aroozoo
4. Shadows of Fiendish Ancestress and Occasionally Parajanov on Durian Cialis (Lesser#9) 周子川 Chew Tze Chuan
5. 小孩不笨 I Not Stupid 梁志强 Jack Neo
6. 讲鸟话 TalkingCock The Movie 吴荣平胡恩恩 Colin Goh
Woo Yen Yen


Short Films – 短片

No. 影片片名 Film Title 导演 Director
1. 眼前一亮 Areola Borealis 黄理菱 Wee Li Lin
2. 美玲街 Mei Ling Street 胡永亮 Ric Aw
3. Rehearsal 朱哲宇刘素仪 Jonathan Choo
Rachel Liew
Shammini G
4. Benjamin’s Last Day at
Katong Swimming
蔡於位 Chai Yee-wei
5. 康乃馨 White Carnations 鄧琬馨 Tang Wan Xin
6. 夢 (YUME) Yume 徐慧恩 Grace Swee
7. Return to Sender 颜岑霖 Gan Chin Lin
8. Melodi 甘龙发 Michael Kam

Asian Vision – 亚洲视野

No. 影片片名 Film Title 导演 Director
1. 阿奇洛 Aqérat (We, The Dead) 杨毅恒 Edmund Yeo
2. 空白的 13 年 Blank 13 斋藤工 Takumi Saitoh
3. 克莱尔的相机 Claire’s Camera 洪尚秀 Hong Sang Soo
4. 口袋里的花 Flower in the Pocket 刘成达 Liew Seng Tat
5. 方绣英 Mrs Fang 王兵 Wang Bing
6. Radiance 河濑直美 Naomi Kawase

Focus: Histories of Tomorrow: Indonesian Cinema after the New Order – 焦点:新秩序后之印尼电影

Midnight Mayhem – 午夜惊魂

Classics: Secret Spies Never Die! – 经典

Southeast Asian Film Lab – 东南亚电影编剧工作坊

No. 项目 Project Title 参与者 Participant
1. Tiger Stripes 余修善 Amanda Nell Eu
2. 角色 ROL3 许文鸾 Sun Koh
3. 这里不是那里 Here Is Not There 杨国瑞 Nelson Yeo


Youth Jury & Critics Programme – 青少年影评人计划

SG Originals – SG 原创

Southeast Asian Producers Network – 东南亚制作人联系网

Annex C: Highlights of 28th Singapore International Film Festival

Opening Film

Angels Wear White (2017)

By Vivian Qu

In the wake of a crime, three girls find themselves entangled within a web of deceit and shadowy actions maneuvered by a male dominated bureaucracy.


Special Presentation

The Song of Scorpions (2017)

By Anup Singh

In the deep desert of Jaisalmer, an ancient legend speaks about the sting of the local scorpion that can kill any man in 24 hours. The only antidote is to find a sage singer who can read the melody in the victim’s pulse and sing a countermelody.

Nooran is a spirited young woman who takes after her shaman grandmother, curing the poisoned villagers with her singing. Beautiful and bewitching, she charms camel trader Aadam, who falls head over heels for her affection without any luck. Tragedy strikes one night, and Nooran finds herself stripped off her healing powers. With Aadam’s help, she regains her inner strength, only to discover the circumstances that led her to love, was not an act of goodwill.

The White Girl (2017)

By Jenny Suen, Christopher Doyle

Three strangers collide in a washed-out and dilapidated village, also known as the last fishing village in Hong Kong. The White Girl, a blossoming teenager with an aversion to the sun, lives with her father in a shack above the sea. Sakamoto, a mysterious Japanese artist, squats in an abandoned ruin, reflecting and contemplating on projections of the island. Ho Zai, a street kid who dreams of getting rich, weaves in and out of the village, restless and filled with schemes. With the threat of gentrification looming brought about by its corrupt village chief, Pearl Village becomes a mysteriously charged environment where its dwellers slowly awaken from their sleepy stupor.

Oh Lucy! (2017)

By Atsuko Hirayanagi

Setsuko is a single, middle-aged office worker who finds no joy in her life. Her workday begins when she witnesses a suicide on her morning commute, and continues the day as she observes a retiring coworker being congratulated by two-faced colleagues. When she becomes the replacement for her niece, Mika, at an English lesson, Setsuko is charmed by the unconventional methods of the American teacher, John, who brandishes her with the new name, Lucy. Her brief happiness is cut short when she discovers that John is leaving for America with Mika, apparently his secret lover. With Mika’s postcard as her only clue, Setsuko/Lucy sets off for California with her sardonic sister Ayako – also Mika’s disapproving mother – to track the couple down.


Silver Screen Awards: Asian Feature Film Competition

Disappearance (2017)

By Ali Asgari

Sara and Hamed wander into the emergency department of a hospital, seeking medical aid after realising Sara is hurt. However, they are bound by a secret which cannot be discovered under any circumstances by the adults who are handling their situation. They soon realise the implications of this unfortunate mishap as they drive through the unforgiving night to solve their predicament.

Scary Mother (2017)

By Ana Urushadze

Manana, a dutiful wife and homemaker to her husband and three children, has shelved away her dream of being a writer for as long as she could. At 50 years old, she finally finds the courage to shut herself away in a room for long periods of time to write. But when her husband is horrified by the novel’s crude honesty and demands that she cease writing it, Manana ventures further into the dark side to realise her deepest desires.


Singapore Panorama

hUsh (2016)

By Kan Lume

Cinta is an aspiring singer from Bali who decided to move to Jakarta in search of success. The trappings of city life and materialism leaves her disenfranchised on a painful spiral. When the weight of an insincere boyfriend, sexual encounters and superficial friendships leaves her with extreme heartache, she decides to travel home to take refuge.

I Want to Go Home (2017)

By Wesley Leon Aroozoo

On March 11, 2011, Yasuo Takamatsu lost his wife in the tsunami during the Great East Japan earthquake. Since that fateful day, he has been diving in the sea every week in search for her. I Want To Go Home is a journey of one man’s determination to reunite with his wife and fulfill her final wish.


Asian Vision

Flower in the Pocket (2007)

By Liew Seng Tat

Brothers Ma Li Ahh and Ma Li Ohm go to school out of pure habit. For them, after-school hours are largely spent wandering around the streets in search of frivolous activities to fill up their day. Their father, Sui, earns a living repairing broken mannequins, and is much closer to his inanimate partners than to his two young children. As the disconnect between father and sons grows more apparent, Sui needs to come to his senses and be the parental figure the boys need, or risk losing them.

This 10th anniversary screening of award-winning filmmaker Liew Seng Tat’s quirky and heart-warming debut feature is a vital entry in the much lauded Malaysian New Wave film scene.

Posesif (2017)

By Edwin

Lala falls in love with Yudhis, a transfer student in her high school. As the initial euphoria of the relationship subsides, Lala’s declining affections lead to Yudhis’ growing suspicions. As he succumbs into manic tendencies, Lala starts to suspect that her male friend’s near fatal casualty might not be an accident after all. Lala finds her way out of an abusive relationship, but discovers that an inexplicable bond ties her back to Yudhis.


Classics: Secret Spies Never Die

Gerak Kilat (1966)

By Jamil Sulong

When the body of a secret agent is found on the beach, secret agent Jefri Zain is tasked to uncover the murder. Can he solve this mystery before the nefarious Commander Jeeman gets to him? Or will he end up just like the agent he discovered – washed up and dead?

The Man from Hong Kong (1975)

By Brian Trenchard-Smith

Tapping into the global James Bond mania of the ‘60s, director Brian Trenchard-Smith presents martial arts icon Jimmy Wang Yu as Fang Sing Leng, the titular superstar cop making his mark abroad.

With only 18 minutes of dialogue, the archetype of a stealthy secret agent is gleefully dismantled over the rest of the film’s running time. Memorably elongated action scenes involving the “Chinese cop in town” produce an unembarrassed trail of carnage and deaths through the city and countryside. One-time Bond actor George Lazenby completes Trenchard-Smith’s inversion of the spy flick as the crime kingpin whom Fang volunteers to take down.


Focus: Histories of Tomorrow: Indonesian Cinema After The New Order

The Ballads of Cinema Lovers (2017)

By Yuda Kurniawan

Former journalist Bowo Leksono started the Cinema Lovers Community to facilitate film activities for youths in the small, uneventful town of Purbalingga, Central Java. To keep up with the demands of young filmmakers, Leksono launched screenings in the town hall, only to face restrictions from authorities. In retaliation, he took the screenings to the villages via a film festival. Years later, the Purbalingga Film Festival continues to inspire and highlight talents from new generations of filmmakers.

The Talisman (2016)

By Hari Suhariyadi

Since childhood, Bejo was always in the company of his grandmother and the mysterious Rohman. The moment he falls in love, he discovers that his grandmother is dying. Through his childhood dealings with the occult, Bejo must make the ultimate sacrifice to show his devotion to his family.


Midnight Mayhem

Salvage: Malay Wild (2017)

By Sherad Anthony Sanchez

Within a forest in Mindanao, a news crew investigates a series of deaths attributed to mythic creatures known as “aswangs”. An encounter with the military sets a nefarious wave of events in motion – they find themselves pursued by an inexplicable violence that proliferates in its manifestations with mounting intensity, leading them down a phantasmagoric purgatory.

Mayhem (2017)

By Joe Lynch

For attorney Derek Cho, what started out as a typical day in the office quickly descends into a bizarre journey filled with the most implausible events. After being framed for making a costly mistake to one of the firm’s largest clients, he gets fired. On the same day, ID7, a highly infectious airborne virus, spreads within the building. All hell breaks loose as the virus transforms everyone into raging maniacs, while the infected Derek embarks on a homicidal quest to claim his job back.

Annex D: Ticketing Information

Tickets for SGIFF go on sale from 25 October 2017 at all SISTIC outlets, its website www.sistic.com.sg and hotline +65 6348 5555. 

Tickets for the Opening Film, Angels Wear White; and Special Presentation Films, The Song of Scorpions; and Oh Lucy!, are also available through marinabaysands.com/ticketing and the Marina Bay Sands MasterCard Theatres Box Office.


Ticket Prices*   Price
Opening Film $25
Special Presentation $15
All Other Films $12
Masterclasses, In Conversion & Talks Refundable registration fee $5
*Ticket prices exclude SISTIC booking fee


Discounts & Concessions 


  • Students, senior citizens and NSF – $1 discount for Opening Film and $0.50 discount for other films. 
  • General Public – every booking of 10 tickets or more in a single receipt is entitled to a 10% discount. 
  • Film Starter Kit – 4 tickets of different films out of 10 SGIFF-recommended titles at $32 for those new to watching independent films
  • Immersion Kit – 4 tickets of different films across Classics, Focus, Films in Competition and Singapore Panorama sections at $32
  • Super Fan 50 – every booking of 50 tickets in a single receipt is entitled to a 25% discount 

About the Singapore International Film Festival (SGIFF)

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 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. The SGIFF is organised by the Singapore International Film Festival Ltd, a non-profit organisation with Institution of a Public Character (IPC) status. For more information, please visit https://www.facebook.com/sginternationalfilmfestival/

About the Media 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 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. The SGIFF is organised by the Singapore International Film Festival Ltd, a non-profit organisation with Institution of a Public Character (IPC) status. For more information, please visit https://www.facebook.com/sginternationalfilmfestival/

About SGIFF Film Academy (SFA)

The SGIFF Film Academy (SFA) is the region’s first holistic training initiative to support Southeast Asian film talents and nurture film appreciation among the audience. A launch pad for mentorship, exchange of ideas and strengthening film literacy, the developmental programmes – Southeast Asian Producers Network, Southeast Asian Film Lab, Youth Jury & Critics Programme, SGIFF Film Fund, and Film Immersion Programme for Schools – aim to enhance the capabilities of the regional film scene collectively.