The Southeast Asian Film Lab provides a nurturing and collaborative space for Southeast Asian filmmakers who are embarking on their first feature-length film. During Film Lab, filmmakers will receive personal feedback from three mentors, and hear from fellow filmmakers as they share their experiences and insights. The programme culminates in the filmmakers pitching to a panel of industry experts. Two filmmakers will be awarded Most Promising Project and Fellowship Prize at the Silver Screen Awards.
Projects that have emerged from the Southeast Asian Film Lab have gone on to thrive in other prestigious workshops and markets such as Busan’s Asian Project Market, Cannes’ L’Atelier, Locarno’s Open Doors, SEAFIC and TorinoFilmLab.
Edwin is a celebrated Indonesian film director. His short film Kara, the Daughter of a Tree (2005) was the first Indonesian film selected at Director’s Fortnight, Cannes Film Festival. In 2012, Edwin received the Edward Yang New Talent Award at Hong Kong’s Asian Film Awards.
He also won the Citra Award for Best Director for Posesif (2017) as well as Best Film at Jogja-NETPAC Asian Film Festival. His latest film Vengeance Is Mine, All Others Pay Cash (2021) won the Golden Leopard at Locarno Film Festival.
Taiki SAKPISIT is a filmmaker and visual artist from Bangkok. His works explore the underlying tensions and conflicts as well as the sense of anticipation in contemporary Thailand. Using a wide range of sounds and images, Sakpisit creates precise and sensorially overwhelming audiovisual assemblages. His film The Edge of Daybreak (2021) premiered in competition at this year’s International Film Festival Rotterdam and won the FIPRESCI Award.
TAN Chui Mui
At the age of five, TAN Chui Mui made a small wooden stool. At eight, she drove a pickup truck into a column. At nine, she printed a children’s magazine. At 12, she finished reading an encyclopedia. At 17, she had a column in a student weekly paper. At 21, she received a computer animation degree. At 27, she made her first film, Love Conquers All. At 38, she gave birth to a child. At 41, she decided to learn martial arts.
Austin Raniel Tan
RA 8491 OR HOW WE RECALL LOST MEMORIES IN TRANSIT
In the aftermath of a violent drug war, three victims seek revenge, redemption and remuneration in the wake of unjust deaths.
MAI Huyen Chi
THE RIVER KNOWS OUR NAMES
In a floating, stateless community on the Mekong, a little girl tries to keep everyone together while the adults fall out over the purchase of new identities that help them move ashore.
I AM WALKING
This film witnesses the birth of the underground vogue scene in Southeast Asia. We follow the journeys of four misfits as they carve out sanctuaries for fabulous, sexy, queer folk.
Monica Vanesa TEDJA
After his devout Christian parents find out about his same-sex attraction, Tim applies for film school abroad. For the application, he films his family on their vacation on an island known for its folklore.
It rains every day at 4pm. A secondary schoolboy gets into trouble stealing a supermarket trolley, leaving his grandmother on a path of romantic redemption.
Paul Rembert PATINDOL
In four generations, the name ‘Rafael’ and his image are passed on from father to son, and carried to cities on different islands, even outside the bloodline.
Giselle LIN Xuan Qing
MIDNIGHT BLUE SPRING
A solitary school teacher confronts a long-denied truth as she counsels the teenage daughter of her first love.
PHAM HOANG Minh Thy
DAUGHTER OF THE MOUNTAIN GOD
A young female director is guided by a forest thief to find locations for her film in a mountain that is being demolished for construction.
Linh Dan NGUYEN PHAN
IF WOOD COULD CRY, IT WOULD CRY BLOOD
As the anticolonial war in Vietnam escalates, a young boy helps sustain his family’s travelling circus by performing a life-threatening act involving his sister.
In 1966, an anticommunist itinerant film troupe presents screenings in rural Thailand. The group finds a mutilated dead body in the Mekong River which resembles a dead body found in the present day, but has gone missing.