Singapore’s Tan Siyou Preps Debut Feature ‘Amoeba,’ From Venice-Competing ‘Stranger Eyes’ Producer Akanga Film

As a seasoned film critic with a penchant for uncovering the hidden depths of cinema, I find myself captivated by the emergence of Tan Siyou and her debut feature, “Amoeba.” Born and raised in the intricate labyrinth that is Singapore, Tan’s unique perspective as a product of the city-state’s paradoxical society shines through in her work.

This week, Singaporean filmmaker Tan Siyou is set to debut her initial feature film titled “Amoeba” at the Gap-Financing Market of Venice Production Bridge. The production credit goes to Fran Borgia from Akanga Film Asia (Singapore), who is also present at the Lido with Yeo Siew Hua’s movie, “Stranger Eyes,” which is a Golden Lion contender.

As a cinephile, I’d say “Amoeba” is about me, a 16-year-old school dropout, who stirs up a revolution when I re-enter my prestigious all-girls school and form a gang with three other outcasts. We cause quite a ruckus as we awkwardly emulate gangster lifestyle, commandeering the halls and classrooms in Singapore’s rigid society. The movie delves into the heavy toll of societal and cultural pressures that Singapore places upon its citizens, and the suffocating need to conform in this tightly controlled city-state.

In an interview prior to the Venice Film Festival, Tan mentioned that her debut film delves into the contradiction of her homeland, a place that is both open-minded yet narrow-minded, Westernized yet deeply rooted in Eastern collectivism. She also pointed out that this nation, despite its economic miracle post-independence, has transformed from a quiet fishing village to a thriving modern state.

As those who benefited from the transformation were hesitant to cause disruption and were willing to sacrifice some liberties for material benefits, their children, like Tan’s generation, were essentially forced to adhere to the recipe for prosperity set by their predecessors. They were never given the opportunity to challenge or scrutinize the systems responsible for the extraordinary economic achievement.

Tan stated that indoctrination starts at a young age, with schools serving as tools to instill a particular system and shape the desired kind of citizens. She attended a school that was academically rigorous but also strict, which fostered a disciplinarian approach and a culture of conformity. This mindset, emphasizing collective interest over individualism, was widely accepted because throughout our lives we were taught to prioritize society over self. The belief that what benefits the nation is beneficial for us was ingrained in us through songs and other forms of education.

She explained that philosophy deeply influenced her educational journey, as she was obligated to attend courses reminiscent of Orwell’s “1984,” such as Good Citizen Class. She remarked, “We were expected to uphold and perpetuate the system, by being diligent workers, while for women, it meant becoming effective wives and mothers.” She continued, “It seemed like a boot camp, as instead of discovering my unique identity during my formative years, my shape was predetermined for me.”

Over time, as the director grew older, she came to realize that the authority enforced within educational institutions, an influence that even permeates personal relationships like friendships, was not just a casual occurrence. She explained, “Societal rules and regulations, much like the rigid school policies, are often employed to maintain order, to govern people’s actions and curb our urge for self-expression. Punishments are frequently administered under the guise of economic advancement and social cohesion.”

Tan, a resident of Los Angeles, confessed that she had a hidden dream to delve into film studies when she departed from Singapore. To her, this aspiration seemed like a far-off dream. However, upon enrolling at Wesleyan University and earning a degree in art and film, and later during her directing fellowship at the American Film Institute, she encountered a sense of intellectual liberty, a liberty to embrace love, and immersed herself in this atmosphere of possibilities.

“She explained, ‘Sharing a dimly lit space with others, all focusing on the same movie projection, gives me a unique sense of closeness with others. This extraordinary feeling of connection inspired my ambition to delve into filmmaking.'”

Tan mentioned that creating the script for “Amoeba” allowed her to “discard numerous stories and face the suppression from her teenage years.” She explained that this process was similar to unearthing things she had buried. She didn’t realize it before, but even while hiding behind the camera, she was also standing in front of it.

Borgia characterized Tan as an exceptional filmmaker, stating that it was evident during their encounter five years ago that he would be instrumental in helping her produce her first movie.

The producer shared with EbMaster that he doesn’t just pick projects based on their qualities; instead, he values the people he collaborates with. Initially, Siyou as a filmmaker and her potential caught his attention rather than any particular story. However, as she delved deeper into the story behind ‘Amoeba’ and its personal relevance to her, the producer found himself greatly intrigued.

“I find myself energized by difficult tasks, and this venture offers one such challenge,” I expressed. “Funding a debut film directed by a woman, whose narrative is intensely personal and off the beaten path, isn’t an easy task, but it’s precisely that challenge that drew me in. The road has been tough, yet incredibly enriching, and we’re merely at the beginning of our journey.”

2024-08-26 20:17

Singapore’s Tan Siyou Preps Debut Feature ‘Amoeba,’ From Venice-Competing ‘Stranger Eyes’ Producer Akanga Film

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