Wei Yong Teo

In 1970s Singapore when families were pressured and incentivised to have no more than two children, a newly pregnant Teochew mother contemplates keeping her third child despite facing overwhelming financial constraints, social stigma and state disincentives.

50-year-old Jim (Gerald Chew, "Apprentice", Cannes Film Festival 2016 Un Certain Regard) loses his high-flying job in status-conscious Singapore, but his ego and pride compel him to hide this from his wife (Amy J Cheng, "Crazy Rich Asians") and daughter. His only confidante is his best friend (Sivakumar Palakrishnan, "A Yellow Bird", Cannes Film Festival 2016 Critics' Week). Desperately clinging onto the material symbols of his past success, he unlocks a hibernating malevolent force, with sinister roots in long-buried secrets. As his dream life crumbles around him, worlds collide, the lines between then and now become increasingly blurred, and Jim descends into a waking nightmare. REPOSSESSION is a bold, genre-bending film, with an ever-evolving, haunting soundscape from Golden Horse Award-winning composer Teo Wei Yong ("A Land Imagined").

During a peculiar bus tour to the Mekong Delta, the 50-year-old Mdm. Tam bumps into her high school sweetheart. She's hopeful for a chance at reconciliation, but he might not be.

A seed is planted. A school of fish washes up onto a barren land. Whilst all the fish leap back into the sea, one wriggles deep into the land.

A seed is planted. A school of fish washes up onto a barren land. Whilst all the fish leap back into the sea, one wriggles deep into the land.

When a couple meet illegally for a booty call during lockdown, they end up getting more than they bargained for.

When a couple meet illegally for a booty call during lockdown, they end up getting more than they bargained for.

Repurposing and manipulating classic film footage and the filmmaker’s personal footage, the film weaves a phantasmagoric narrative of a Chinese lady named Ma Li who dreams she is a Caucasian named Mary.

On 16 April 2016 a severe earthquake hit coastal Ecuador. José María Avilés’ first longer film is based on this national disaster, but at great distance from the collapsed buildings and buried loved ones. He shows how an unexpected event can suddenly modify all the rules of the game, even in the remote town of Angamarca – the location of the film – where the effects of the quake arrive as distant echoes of hostility in the natural environment.

In 1912-1913, movie pioneer Gaston Méliès, brother of Georges Méliès, did a ten month long trip around Asia-Pacific, shooting both documentaries and fictions on location in Polynesia, New Zealand, Australia, Java, Singapore, Cambodia and Japan. He wanted the “real” thing” he filmed, with the locals, being one of the first to give Polynesians, Maoris, Aborigines and Khmers a chance to appear on screen. His hybrid cinema dealt with questions of alterity, identity and representation.