One’s first, visceral, affect-ridden response to the film may be similar to having been punched in the stomach; by pure cinematic force. A force that is poetic in its harshness and whimsical in its rawness, fully embodied in the outburst of a shirtless, tattoo-clad Barry Keoghan singing on top of his lungs: “Is this too real for ya?”.
Daniel Hui’s whimsically harrowing black-and-white, closed-form film is a brilliant testament to the poetics of cinematic time, expressed wonderfully through the analogue, velvety precision of 16mm. Drawing on real-life events, factual socio-temporal and political coordinates, the film is evocative of sombre and tumultuous events in Singapore’s political past.
Amidst transcribing my conversation with Daniel Hui during the 68th BFI London Film Festival, news broke of his latest film Small Hours of the Night (2024) being banned in Singapore. While such news risks becoming an overrepresented angle, due to its trending potential, the film’s artistic integrity and refined aesthetic linger post-festival, inevitably shifting the focus back to the film itself.
As another successful edition of the BFI London Film Festival is slowly drawing to a close, the most memorable moments, films, quotes, scenes, sounds and feelings emerge not on-demand but organically and ask to occupy a place in our experience of film festivals; our sense of exhibition and curatorial concepts and practices, but most importantly what it is that we mean when we talk about film and cinema today.
The tactility in Clark and Gibisser’s film, its poetic, sculpture-like aesthetics, the respectful, organically alluring cinema verité style, alongside the poignant critique of historical patterns of extraction, expropriation, and ownership, offer much more than a compelling documentary film with matter that matters. From the slow, tentative movements of human actors feeling their way through survival with experienced care, dignity, and inquisitiveness, to automated, machine-learned gestures coordinating motion efficiency in tempo, reminiscent of Ballet Mécanique (Léger, Murphy, 1923), the film creates a sophisticated universe for the exploration of varied forms of technicity, materiality and materialism.
Vinay Shukla’s dignified character study is a poignant testament to the arduous task of protecting journalistic ethics, integrity and a code of conduct from becoming obsolete, in-between widespread misinformation and disinformation practices. Following the life, activities, work and choices that investigative journalist and news presenter Ravish Kumar makes, the film appropriates a sophisticated day-in-the-life-of style, to depict the legacy of one of the most celebrated Indian journalists.
