Singapore International Film Festival (SGIFF) champions new, innovative voices in Southeast Asian cinema through its 2024 Film Fund Recipients.

SINGAPORE, 11 July 2024 – The Singapore International Film Festival (SGIFF) is delighted to announce the recipients of the SGIFF Film Fund 2024. A total of S$140,000 will be awarded to seven documentaries and short films from Indonesia, Myanmar, Malaysia, Thailand, and the Philippines. These films were selected by its external selection committees out of more than 300 submissions, exemplifying the rich storytelling diversity and distinctive perspectives emerging from Southeast Asia.

The SGIFF Film Fund, launched in 2017, continues to play a pivotal role in supporting independent Southeast Asian cinema and fostering a vibrant ecosystem for film production and storytelling in the region. It comprises the Tan Ean Kiam Foundation-SGIFF Southeast Asian Documentary Grant (SEA-DOC) and SGIFF Southeast Asian Short Film Grant (SEA-SHORTS).

Programme Director Thong Kay Wee says, “We are thrilled to unveil the recipients of the SGIFF Film Fund 2024. Among the submissions, we are increasingly seeing filmmakers employing new, imaginative approaches to urgent and timely themes, with some choosing to take a more fantastical or experimental tack. This speaks to the ingenuity and continuing vitality of Southeast Asian cinema and its eagerness to embrace new ways of seeing. The films selected this year fully embody these qualities.”

The Tan Ean Kiam Foundation-SGIFF Southeast Asian Documentary Grant (SEA-DOC)

The Tan Ean Kiam Foundation-SGIFF Southeast Asian Documentary Grant (SEA-DOC) is part of the SGIFF Film Fund, which supports four mid-length or feature documentaries in various stages of production and post-production annually.

This year, the selection committee has chosen three projects in production, each receiving S$30,000 in cash. One project in post-production will also receive a grant of S$20,000. With SEA-DOC, the Tan Ean Kiam Foundation hopes to champion documentary filmmakers who tell engaging, urgent stories unique to Southeast Asia.

Vice Chairman of the Tan Ean Kiam Foundation, Tan Keng Leck, says, “Since 2018, the Tan Ean Kiam Foundation has supported the Singapore International Film Festival in amplifying the voices of Southeast Asia through documentary filmmaking. We are proud to see our efforts bear fruit, as selected projects have gone on to be screened at SGIFF and other prestigious film festivals worldwide, sparking bold conversations and inspiring change. By championing Southeast Asian filmmakers and their celebration of the region’s diverse histories, struggles and triumphs on screen, we continue to honour my grandfather’s legacy and his passion for social causes and heritage preservation.”

The 4 SEA-DOC grants recipients have been selected out of 81 submissions. They span such wide-ranging subjects as intergenerational trauma, buried histories, and the precarity of creative and economic labour under challenging socio-political conditions. These include:

OMA (Grandmother) by Armin Septiexan, Indonesia – Production

After six decades, 84-year-old Oma Net Markus testifies in The Hague as a witness to Indonesia’s mass killings in 1965, which took the lives of her father and brother. Returning home to Kupang, West Timor, Oma is determined to uncover her buried family history and pass it on to her teenage grandson, Mikael.

The selection committee cited, “Shot over six years, OMA is a unique exploration of intergenerational trauma that captures the intimate details as well as tension-filled moments within a family who is weighed down by the past. In a world as divided as ours, OMA is a timely work that reminds us of the power of open discourse and the importance of remembering the past.”

The Bamboo Family by Sein Lyan Tun, Myanmar – Production

Facing growing resistance from his family, a filmmaker runs away from Myanmar and moves to Paris to pursue filmmaking. There, he revisits his family past while navigating an existential crisis and the guilt of leaving his family behind.

The selection committee cited, “Through intimate conversation, archival footage and immersive storytelling techniques, The Bamboo Family offers a rare glimpse into contemporary Myanmar. Rather than merely recounting past events, the film endeavours to capture the human experience in all its complexity and portray the indomitable spirit of those who dare to challenge the status quo.”

Borrowed Time by Miko Revereza, Mexico/Philippines – Production

An artist couple documents their shifting creative and political consciousness over the course of a year. Carolina, a painter, and Miko, an experimental filmmaker, turn their lens on each other as they navigate creative and emotional labour in their relationship and the wider art world.

The selection committee cited, “Disarmingly candid, incisively self-critical and filled with humour, we see two contemporary artists grappling with the urgent, existential concerns that all politically engaged creatives are confronted with when the glamour of the art world washes away. Through auteurist cinematic language, Borrowed Time depicts acts of resistance against the commodification of art with refreshing vitality.”

Sandan Love Garden by Luthfi Muhammad, Indonesia – Post-production

Amidst Bali’s deep-rooted traditions, organic farmers Wahyu and Ayu find themselves facing an uphill battle on their agricultural journey. Framed within a love story, the film explores the couple’s relationship with the land and their relentless pursuit for sustainable living.

The selection committee cited, “What sets Sandan Love Garden apart is its authentic portrayal of the challenges and triumphs inherent in the journey towards sustainable living. In the film, Wahyu and Ayu confront the realities of self-sufficiency with courage, resilience and an unwavering commitment to their values. The film also serves as an urgent call to reimagine our relationship with the land and embrace more sustainable, regenerative practices.”

SGIFF Southeast Asian Short Film Grant (SEA-SHORTS)

The SGIFF Southeast Asian Short Film Grant (SEA-SHORTS) is awarded to three short films this year, and is made possible with the support of Winn Slavin Fine Art and White Light Post. Each recipient will receive a cash grant of S$5,000 from Winn Slavin Fine Art, and post-production support worth S$5,000 from White Light Post.

The selected films stood out among the 277 entries for tackling complex themes such as gender, existential dread and political strife in inventive ways from a diversity of human and non-human perspectives. They include:

BLEAT! by Ananth Subramaniam, Malaysia

An elderly Indian couple discovers their sacrificial goat to be pregnant. The only problem is that the goat is a male—or, at least, that’s what they were led to believe. Accompanied by lilting folk songs, the couple sets out to uncover the truth, or else risk incurring the wrath of their guardian god, Karuppar.

The selection committee cited, “BLEAT! stood out for its well-crafted script and rare ability to convey important and complex issues through humour—plus the fact that it’s a musical! The project is a testament to cinema’s ability to tackle complex narratives with ambition and authenticity, while illustrating Southeast Asia’s diversity and the abundant variety of stories in the region.”

The Wedding Gift by Zaw Bo Bo Hein, Myanmar

Ma Ei finds herself caught in a family rift one day when she faces pressure from her mother-in-law to send a wedding gift. Torn between her pragmatic mother-in-law and her wilful husband who refuses to attend the wedding, Ma Ei is also silently juggling her private fears and doubts.

The selection committee cited, “The Wedding Gift is striking for its sharp vision evident in its script. The plot might appear simple and mundane at first glance, but every line of dialogue and every detail is precisely crafted while revealing the characters’ depth of courage and fear. It fills us with great excitement to see this film come to life in the skilful hands of the filmmaker Zaw Bo Bo Hein.”

Monkey Graveyard by Passakorn Sarnsirirat, Thailand

At a military zoo where orangutans are consecutively committing suicide, Phorn, a middle-aged soldier, dutifully cleans and sweeps the cages of the remaining orangutans under his care. One day, an unprecedented tragedy occurs, leading Phorn to confront his true feelings.

The selection committee cited, “Monkey Graveyard invites us to confront themes of existential dread, depression, solitude and suicide from human and animal perspectives on equal terms. In tackling these themes, the filmmaker is bold and brutally honest while portraying the basic daily routines of a military zoo through satire and the use of absurdity. This is a film we eagerly look forward to seeing.”

For Features, social assets including Director’s profile pictures can be found here.

For Media Enquiries, please contact:

Krystalle Teh | Marketing Executive | krystalle@sgiff.com