Budding NTU filmmakers shortlisted for Cathay Motion Picture Awards

Back for its second installment, the Cathay Motion Picture Awards 2013 celebrated the short films of aspiring filmmakers, with two finalist teams hailing from Nanyang Technological University (NTU).

By Goh Chiew Tong | Photos: Lim Mu Yao, Photo Editor

Within 78 hours, produce a 78-second film themed ”Tomorrow”.

That was the entry criteria for the Cathay Motion Picture Awards (CMPA) – into its second year in 2013 – in conjunction with Cathay Organisation’s 78th anniversary.

Of the 15 entries shortlisted from 109 submissions, two were works of NTU students.

One of the teams is FILM – made up of four fresh Broadcast and Cinema Studies graduates from WKWSCI (Wee Kim Wee School of Communication and Information (WKWSCI) graduates specialising in Broadcast and Cinema Studies).

FILM’s motion picture, 21st July, is set in ‘60s Singapore, in the thick of the racial riots. It depicts the relationship between a Chinese and Malay hawker, and the uncertainty of a tomorrow for them — as their friendship is threatened by the ongoing racial discourse.

Starting out as a Final Year Project (FYP) group, FILM took it a step further by taking part in the CMPA.

“Our FYP — a film named Discoteca — gave us the momentum to produce more films,” said group member Viknesh Kobinathan, 24.

(From left) Adam Osman, Ahmad Khan and Viknesh Kobinathan are fresh film graduates from WKWSCI whose film ‘Discoteca’ was submitted as their Final Year Project.

The second shortlisted NTU team is W.W.T.M., made up of five ADM students. Unlike FILM, their motion picture Chasing Tomorrow is their virgin project.

W.W.T.M. team leader Daniel Chong, 23, a third-year film major said, “Adapting to each other’s working styles was a challenge, as it was the first time some of us were working together.”

Chasing Tomorrow shares a similarity with 21st July — both films explore the nebulous nature of self-identity in Singapore. Chasing Tomorrow presents the voice of a Vietnamese migrant, questioning if adaptation is possible in a foreign land.

Such themes involving race and nationality appearing in Singapore-made films did not come as a surprise for local film director Jack Neo, one of the judges for the CMPA 2013.

“What distinguishes local films from those of Hollywood is the glimpse of the Singapore heart. Hollywood films can have very high production value(s), but they can never show the Singaporean mentality, behaviour, and culture,” he said.

For Neo, the local film scene is anything but short of novelty. “Through the CMPA, we can actually see that there are many creative people in our midst. We just need a platform for people to showcase their productions.”

That, however, will not come easy for local filmmakers due to the lack of funding.

“We can all dream big, but you need to have the money to back up your big dreams,” said Viknesh.

Nonetheless, the young filmmakers remain enthusiastic about filmmaking.

Chong puts it simply: “There’s always uncertainty, but I want to continue doing it. I want filmmaking to be my career in the long run.”