9 Film Students On The Future Of Singapore Cinema

Since beloved indie cinema The Projector closed its doors amid an uncertain consumer climate, Singapore’s film scene appears to be at a crossroads. But out of that uncertainty comes renewed energy: for example, there are new ground-up platforms like filmbulletin.sg, which aggregate non-mainstream film screenings in town, are proof that not all hope is lost.

Into this evolving landscape step nine emerging filmmakers from Nanyang Technological University’s School of Art, Design and Media (ADM) and LASALLE College of the Arts. They haven’t even graduated yet, but these students are already dreaming up stories that push boundaries — from surreal gothic dramas and queer Muslim narratives to sci-fi thrillers and home-baked satire.

We asked them what excites and terrifies them about Singapore cinema, how they hope to reshape the industry from within, and why they believe this city’s stories are worth telling.

Charmaine Chua, LASALLE College of the Arts

Hi! What made you want to study film in the first place?
“Coming from a literature background, I was always interested in how I could combine poetry and filmic storytelling to intimately explore the human experience. That was when I came across DPR Ian’s works — an Australian singer and music video director who translates his own bipolar disorder through mise-en-scene and his alter-ego MITO. Since then, I too wanted to find a cinematic medium to express how I felt when interacting with others, especially the workings of the fractured psyche that plagues our modern society.”

How are you feeling about the current Singapore film scene in 2025?
“It’s really great to see more co-productions not only within Southeast Asia, but with other parts of the world as well. At the same time, the closure of cultural places such as The Projector, which housed a wide variety of niche films, points to a continued lack of support for the arts — especially platforms for indie filmmakers to showcase their works not only internationally, but locally. Hopefully, our government can take stronger action to promote Singapore not just as a green technology hub, but as a vibrant city of culture.”

What challenges do emerging filmmakers face here?
“Not only is budget a key factor that’s lacking in the industry, but also growth opportunities — especially when the film circle is so small. Oftentimes, I question how to even get started once I’ve graduated from university: do I prioritise flexibility and go freelance, or prefer stability and stick to a production house for a few years? I’ve been lucky enough to take on some freelance gigs as a production assistant, but hopefully with more upskilling across pre-production, production, and post-production, I’ll be able to find my footing here.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
Hou Hsiao-Hsien has always been my inspiration throughout my coursework, especially in how his characters interact within the mise-en-scene — their existence in liminal spaces and suffocating environments, and their gaze. Jin Ong’s Abang Adik is also a breathtaking film that changed my perspective on representing the marginalised and their struggles in a city that consumes them. The nuanced performances of the two protagonists (especially Wu Kang Ren) and their quest for reconciliation struck a chord, provoking me to really dive deep into character psychology and the troubled psyche’s impact on others.”

If you could change or improve the local film ecosystem, what would it be?
“There’s a question that often irks me throughout my filmmaking journey: what makes a Singapore film Singaporean? Is it the structure of HDBs? Our Singlish language that we ourselves cringe over? Or is it the forgotten people and cultures modernisation has buried away? I hope our local films can explore beyond reducing the Singapore aesthetic to mere categorisations like ‘gritty’ or ‘Jack Neo comedy’. There’s something much deeper that’s left unsaid, and it could lie in the traumatised psyche of regular Singaporeans.”

What’s one Singapore film everyone should watch?
“One of my favourite Singapore films would be Nelson Yeo’s Dreaming and Dying, especially in how Yeo depicts memories — a factor that influences a story’s structure. I know some may be confused by the abstract plot, but the cinematography was what struck me most: the slow-paced yet detached camera elucidates the harmonious marriage between directorial vision and stylistic shot choices, creating visual metaphors embedded with meaning.”

Fok En Yi, School of Art, Design and Media, Nanyang Technological University

What made you want to study film in the first place?
“Hello! I’ve always loved stories since I was young — writing and imagining all sorts of characters and wacky situations, and figuring out how to piece them together in a way I enjoyed reading and showing others. I hold a diploma in Creative Writing for TV from SP, which fuelled my desire to explore beyond TV scripts, books, and journalism — to learn how to encase the core of a story within the tangible, more intimate medium of film.
Short answer is: when I was younger and found out I could make money writing and doing what I love, I was sold — and have been riding that wave ever since.”

How are you feeling about the current Singapore film scene in 2025?
“It goes without saying that 2025 has been quite a difficult year for film and the arts scene in general. From the surge of AI usage and replacements to the closure of various film establishments, it can be demoralising — which I’ve certainly felt. However, I do think these losses also spur on many brave souls to revive existing spaces and ideas, or even create something new from scratch. We really need that kind of undying spirit to pick ourselves back up and inspire others to get moving too.”

What challenges do emerging filmmakers face here, and how are you navigating them?
“With so many of us wanting to break fresh ground and make something nobody has seen before, stories and key themes can often get lost — which is dangerous because that’s the bridge connecting your work with your audience. I like to constantly ask myself, “What am I doing this for, and for whom? Why will it matter to them?” By going back to the roots of it all, it becomes easier to write and shape something that won’t feel foreign to my audience.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
“This is hard! My number one most influential piece of media is actually the TV show Fleabag by Phoebe Waller-Bridge. Practically everything about it is flawless, and it’s what I go back to when I want to remember how to write with intricate emotion but clever storytelling. The simultaneous polish and rawness in her work is what I aspire to achieve someday — but grounded in a more local context.If I had to pick a film, I’d go with Bong Joon Ho’s Parasite (2018). For me, it’s a masterclass in directing, writing, acting, and cinematography. It also showcases a strong balance between drama, comedy, and the harsh reality of socio-political issues, maintaining this fine line of tension and thrill that keeps you hooked all throughout.”

If you could make a film with unlimited resources, what would it be about and why? “I’d probably still shoot something small, but I’d love to write a female-dominated version of our country and explore how that might look. Girlhood and womanhood are super important subjects to me, and I’m fascinated by how we are raised as children and how that shapes each of us differently. It makes me wonder if things could be different now — and whether, for better or worse, we’ll have to explore that.”

What’s one Singapore film everyone should watch?
“Apprentice (2016) by Boo Junfeng. It has a well-crafted, simple narrative that balances a deeply personal, emotional story against Singapore’s political scene and the taboo of the death penalty. Whilst more observational and objective, I like how different it feels from most local films, and I definitely think we should have more like it.”

Emma Rose, LASALLE College of the Arts

What made you want to study film in the first place?
“Hello! I’ve always escaped into fictional worlds and found they helped me understand and process feelings I would otherwise have suppressed. Sometimes I watch a film and suddenly I’m struck with a profound deja-vu-like feeling that I have felt the exact same way a character or scene feels onscreen — then after the movie ends and the lights turn on, it’s as if I’ve woken up from a dream. I wanted to learn how I could make something that makes people say, “That is what I meant, that is how I feel.” Also, I come from a pretty artistic family — my father is into aeroplane photography and painting, and my mother is a journalist and literature teacher — so perhaps I’ve just adopted and combined their “visual” and “storytelling” loves.”

How are you feeling about the current Singapore film scene in 2025?
I’m really excited, inspired and intimidated! Over the past three years, I’ve watched so many films I wouldn’t have imagined could be made in Singapore, and met people who make indie projects simply because they can. I’ve also been hearing about and watching more co-productions between Singapore and other countries, which is super exciting. On the other hand, the speed at which formats and people’s viewing habits are changing scares me. I heard vertical dramas (micro shows designed for viewing on phones) are huge now. I wonder if the videos and films I love and have always wanted to emulate will no longer be possible or relevant to create.”

What challenges do emerging filmmakers face here, and how are you navigating them?
“I want to say a fear of censorship. I think it’s such a shame when a local film about Singapore gets censored or banned. I feel lucky that my current lecturers give me a safe space to test out wacky and taboo (but important) ideas, especially when I’ve heard of many film concepts being outright rejected in other schools just because of controversial themes or plotlines. Bold ideas are often punished and dropped instead of reworked.
Then again, I think avoiding censorship can motivate great out-of-the-box thinking — things can be implied, metaphorised, shown in more nuanced ways.”

If you could make a film with unlimited resources, what would it be about and why?
“I would make a really silly, raunchy, John Waters-esque film about a local home bakery owner named Betty. Her business — unbeknown to her comically unaware family members — runs entirely on her flirting with customers and suppliers. After a viral video of her ruining a children’s birthday party with an inappropriate cake, she gets harassed by enraged citizens, but ends up becoming famous and loved.”

What’s one Singapore film everyone should watch?
“Perth:The Geylang Massacre (2004) by Djinn Ong Lay Jin, for sure. It’s a local independent film that I watched at an Asian Film Archive screening in August. It has my favourite local protagonist — a disillusioned, funny, charming, depressed, morally bankrupt taxi driver... Its language is very multilingual (English, Hokkien, Mandarin, Malay), but also coarse and obscene — and so identifiable in real-life Singapore. It made me feel proud to be Singaporean, even though logically the plot should have the complete opposite effect. But it is real, flaws and all, which I treasure.”

Tee Hao Wei, School of Art, Design and Media, Nanyang Technological University

What made you want to study film in the first place?
“When choosing which media pathway to pursue, I was drawn to the multifaceted nature of filmmaking. As a storyteller at heart, there are many elements in filmmaking that can help tell your story — it could be the film’s cinematography, art direction, or editing too. On top of it all, I enjoy the collaborative nature of making films. There’s nothing quite like coming together on set and turning a vision into reality.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
We were fortunate to have director Anthony Chen come down and give a talk. He discussed what he believed were the three stages a great director naturally goes through. The first stage is mimicking the style of the filmmaker one admires. The second stage is producing one’s rawest works, fuelled by personal experiences and emotions. Some get stuck in the second stage.

One reaches the last stage when they can maturely absorb different influences and observations, and translate them into a new perspective. To get to that final stage, one needs to consume a lot of material — anything from books to other forms of art. This perspective stuck with me and has become my guiding principle as I help to produce one of the four graduating FYP (final-year project) films. Beyond that, I believe this principle can be extended to other creative fields as well.”

If you could make a film with unlimited resources, what would it be about and why?
“It would be a crime or psychological thriller similar to Shutter Island or Se7en. I’m drawn to those 1990s–2000s mind-bending mystery films that keep audiences guessing what the next plot point will be. They’re a lot of fun — and I haven’t seen something like that in a while.”

What’s one Singapore film everyone should watch and why?
“I recently caught We Can Save the World!!! by Cheng Chai Hong, and I had a lot of fun watching it. It’s a film made with a lot of heart and, in my opinion, achieved its aim of making us Singaporeans feel represented and seen.”

Amanda Koh, School of Art, Design and Media, Nanyang Technological University

What made you want to study film in the first place?
“I’ve always loved creating and telling stories. I come from a non-film but similarly creative background, having completed my diploma in animation at polytechnic. I came to university intending to pursue animation further, but decided to pivot into film to expand my skillset into a different medium.”

What challenges do emerging filmmakers face here, and how are you navigating them?
“I can’t speak for all my peers, but funding and distribution are currently the most challenging parts of production for me. Opportunities often require proof of prior work, which can be a Catch-22 for young filmmakers trying to establish themselves. Personally, I try to work within my own means. For me, this can mean scaling down projects or saving up, because ultimately my vision and goals are my own responsibility.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
“I’ve found myself referencing Alex Garland’s Annihilation (2018) and a video essay about it quite a bit. Five years ago, I was puzzled by the film’s ambiguous ending (no spoilers!), which frustrated me. I searched for “Annihilation ending explained” and came across a video essay that dissected the film metaphorically rather than literally — not as a puzzle to solve, but as an exploration of its thematic depth. That analysis really stuck with me, and it’s an idea I constantly remind myself of: it’s okay to leave questions unanswered in my work, especially when dealing with fantastical or fictitious material. Sometimes the canon ending doesn’t really matter.”

If you could make a film with unlimited resources, what would it be about and why?
“Right now, it would be an extension of my final-year project; I’m currently producing a time-travel revenge short film, directed by one of my batchmates, Damien. It’s about a vengeful military officer who goes back in time to see his father one last time. It’s a simple, familiar tale dealing with generational trauma and the cycle of violence, but it puts a fresh spin on it through the lens of local genre. I’m really excited about it and greatly admire Damien’s effort to do something new and daring.

As we approach our production window in January 2026, my hope is that the short film receives the recognition it deserves and serves as a springboard for Damien’s next film. It would be a privilege to develop it further.”

What’s one Singapore film everyone should watch?
“Cheng Chai Hong’s We Can Save the World!!! stood out to me for its commendable effort in being both entertaining and socially resonant, created by young independent filmmakers. It was enjoyable and left me appreciating its message — to greet even strangers with warmth, because a smile goes a long way.”

Fadzli Jambari, LASALLE College of the Arts

What made you want to study film in the first place?
“Since I was a child, I have always been a storyteller. I was always making up stories with the toys I owned and acting out stories to my family with my vivid imagination. Naturally, I explored storytelling through different mediums during my Diploma in Mass Communication at Ngee Ann Polytechnic and I found myself gravitating towards film as a medium. I found myself obsessed with the world building of different characters and trying to translate certain emotions on screen for audiences to feel.”

How are you feeling about the current Singapore film scene in 2025? What scares or excites you?
“I feel a mix of nervousness and excitement! I’ve met so many filmmakers over the past few years through film events, sets and my time in LASALLE that share such inspiring stories that keep my drive going. But this is where the reality kicks in, especially in such an oversaturated industry. It really makes you think, how long can passion sustain you before the weight of reality hits you? It’s kind of scary to try and cut through the noise with something unique and compelling but the challenge is what makes it rewarding as well.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
“One of the films that vividly stuck to me as a child was Amelie directed by Jean-Pierre Jeunet due to its stunning set design. It sparked an interest towards production design and visual storytelling. I feel production design is such an overlooked element in film but it is such a powerful tool to elevate the storytelling that people aren’t taking full advantage of. Now in the short films I am directing, I always have the production design at the back of my mind and thinking how to use colours and the environment as an active narrative force.

In a twisted way, I am also drawn to queer suffering in films as a gay man. One of the films that left an impact on me when I was going through that coming out process was Mysterious Skin directed by Gregg Araki. I felt a very visceral reaction by the end of the film and it depicted how trauma can manifest in different manners so authentically. I think it’s important to note that I’m drawn to stories that explore the painful raw queer experiences not for its shock value, but for its truth. It got me thinking on how to deal with sensitive issues that deserve representation on screen and making sure that there is sufficient support for everyone involved.”

If you could make a film with unlimited resources, what would it be about and why? “I would love to explore deeper into the grey and complicated intersections of queer identity and Muslim faith. These are not abstract concepts but lived realities by many. I strongly believe that these marginalised narratives are essential stories that deserve to be heard. I’ve felt that my own experiences have not been represented authentically on screen, thus I am committed to being that voice to something I feel intimately about. At the end of the day, I am not here to provoke anyone but I just hope people would be more open minded about their actions after watching my films.”

What’s one Singapore film everyone should watch and why?
“Boys Desire Spare Money directed by Jet Ho! It tells the story of a young gay couple who take up an offer to perform BDSM on a mysterious male client for cash. I found it inspiring because it was self-funded and it showed an original angle of queer kink that I’ve not seen in Singapore fiction films. If you suspend disbelief for a moment, it’s refreshing to see different stories like these in a Singapore setting.”

Chan Chee Yin, School of Art, Design and Media, Nanyang Technological University

HWhat made you want to study film in the first place?
“To be honest, I joined NTU ADM with the intention of pursuing animation. However, through reconciling with my lack of artistic talent to draw, I came to realise that film had similar aspects to what I liked about animation – telling stories that people could connect with emotionally.”

How are you feeling about the current Singapore film scene in 2025? “What excites me most is the visibility filmmakers can now achieve. Digital platforms, short-form content, and even events like the National Day Parade give creators new avenues to reach audiences. What worries me is the dwindling interest in local narrative films. Many filmmakers pivot to commercial work because that is where the money is, and if demand continues to decline, opportunities for emerging voices could vanish.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
“As my first real exposure to a cinematic way of telling stories, Disney films showed me that film not only has the power to entertain, but to move people and shape values as well. Through witty dialogue and line delivery, I also came to realise how much I wanted to make people feel good through humour and laughter. All this has inspired me to create stories that speak to the heart and comfort others in the same way. One of my favourite Disney films is Big Hero Six (2014). With themes such as healing from grief, humanity and technology, empathy, teamwork and hope, I found it interesting that even in a world of robots and technology, what truly saves us is human connection. A film that was released more than ten years ago, its relevance can be seen even in the context of today with the rise of AI and how the morality of technology is only as good as the intent of its creator.”

If you could make a film with unlimited resources, what would it be about and why? “I’d explore a child’s experience of loss and grief following the death of a family member. Often, people assume children don’t fully feel or understand such moments, but I believe their emotions are just as real, though less easily expressed.
This idea came from observing my eight- and six-year-old nephews during my uncle’s funeral. Their curiosity, fidgetiness and responses made me wonder what children truly feel and experience in such moments. I’d want to capture that authenticity, giving voice to children navigating complex emotions.”

What’s one Singapore film everyone should watch and why?
“Jack Neo’s I Not Stupid (2002) is a must-watch. It tackles education, social inequality, and societal pressures with humour and heart, offering a lens into Singaporean culture that remains relevant today. It shows that local cinema can do more than entertain – it can provoke reflection, spark conversation, and inspire change.”

Megan Chew, School of Art, Design and Media, Nanyang Technological University

What made you want to study film in the first place?
“I came from a media background in polytechnic, where I only had a few film modules — but I found myself really enjoying them. That interest pushed me to explore film more deeply at university. My heart has always been with Chinese cinema, and since it’s something I truly love, I wanted to take the chance to study it seriously.”

How are you feeling about the current Singapore film scene in 2025? What scares or excites you?
“I think the Singapore film scene is in a difficult spot — and honestly, it always has been. For any film industry to thrive, it needs a sizeable audience both locally and internationally. But Singapore films have long struggled to connect with local viewers, let alone international ones. With the recent closures of distributors and cinemas, producing and screening local films is becoming even tougher.”

What challenges do emerging filmmakers face here, and how are you navigating them?
“I think one of the biggest challenges is achieving strong production value, especially since our budgets are relatively small compared to other countries. I’m still finding my footing in this space — figuring out how to navigate these limitations takes time, and I don’t have all the answers yet.”

Which films or filmmakers do you feel have shaped your perspective or inspired your work?
“If I had to name one filmmaker, it would be Zhang Yimou. His dedication to filmmaking has allowed Chinese cinema to stand proudly on the international stage. I’m also deeply inspired by socio-realist Chinese films like Better Days (少年的你), Dying to Survive (我不是药神), No More Bets (孤注一掷) and the Malaysian film Abang Adik. These works portray human struggle and emotion with honesty and power, which I really admire.”

If you could make a film with unlimited resources, what would it be about and why?
“I would make a film about Singaporean youths — exploring issues like bullying, sexual assault and the way young people navigate their relationship with themselves during vulnerable, confusing years. I think many youths here experience emotional and social challenges that aren’t often talked about. Through film, I’d want to bring these hidden stories to light, to help society understand and empathise with what young people go through.”

What’s one Singapore film everyone should watch?
“Wet Season by Anthony Chen. It’s a beautifully crafted film that captures emotion and nuance in a very Singaporean way — subtle, quiet, yet deeply affecting.”

Nah Damien, School of Art, Design and Media, Nanyang Technological University

What made you want to study film in the first place?
“Hello! A great multitude of factors led me to study film, and I’ll try to summarise them all. When I was twelve, my then twenty-year-old brother showed me Christopher Nolan’s Inception (2010) — a pretty wild pick for a ‘baby’s first film’, if I can put it that way. Around that time, YouTube action short filmmakers like Freddie Wong / RocketJump and Corridor Digital were kicking off a golden age of online filmmaking, showing what could be achieved with small budgets and tight timelines. Meanwhile, video games like The Last of Us (2013) were redefining cinematic storytelling and inspiring me to write and design games of my own.”

How are you feeling about the current Singapore film scene in 2025? What scares or excites you?
“I’d say I’m cautiously optimistic. The short film scene continues to show promise — there’s always potential for interesting work — but many still feel repetitive, revisiting similar ideas and aesthetics. On the big screen, I’d have been lukewarm about our feature output if not for We Can Save The World!!! (2025). It’s exciting to see local filmmakers using genre and high-concept narratives to deliver both entertainment and a resonant message. That balance is exactly what I hope to achieve in my own work. That said, the rarity of such films is also what scares me — it underscores how difficult it is to bring such ambitious visions to life, especially as commercial releases aimed at wider local audiences and not just film festivals.”

What challenges do emerging filmmakers face here, and how are you navigating them?
“I think one of the biggest challenges is balancing international influences with local authenticity. Many Singaporean filmmakers draw from Hollywood, European arthouse, or Asian cinema from places like Taiwan, Korea or Japan — and understandably so. But with such a small local scene, it’s easy to feel like we’re all treading similar ground when trying to tell local stories.

Singapore’s multicultural, multigenerational makeup also makes ‘authenticity’ tricky. Some people think you’re forcing Singlish or nostalgia; others think your dialogue sounds too ang moh. Ultimately, I believe it’s about two things: exposing yourself to varied experiences, and telling stories that feel true to you. I grew up in an English-speaking household, so my dialogue tends to be in standard English. I love action and genre films, so my stories often mix high-concept worlds with personal, emotional cores. It won’t resonate with everyone, but it’s honest — and if it speaks to me, I know it’ll speak to at least one other person too.”

If you could change or improve the local film ecosystem, what would you like to see? “I wish more filmmakers were encouraged — or had the chance — to explore genre storytelling. The moment you mix one narrative world with another, you open endless possibilities for ideas, images, and emotion. The best films, to me, are those that Trojan-horse an emotional journey inside pure entertainment — like Mad Max: Fury Road, Everything Everywhere All At Once (2022), or La La Land (2016). I’d love to see Singapore’s version of La La Land.

Also, I wish local films were more accessible to general audiences. Too many go down the festival route — they win awards, which is great, but most Singaporeans never get to see them. With The Projector’s closure, that gap has only widened. That’s part of why We Can Save The World!!! means so much to me — it’s one of the rare independent films trying to reach a mainstream local audience.”

What’s one Singapore film everyone should watch?
“We Can Save The World!!! by Cheng Chai Hong without a doubt. It’s made by the next generation of local filmmakers and offers a genuy fun, heartfelt experience for Singaporeans. If we want more bold, distinctive stories told by our own people, we need to support those who are already doing it.”