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Ho Tzu Nyen's Hotel Aporia features a cast of historical figures from Japan's interwar period, including World War Two kamikaze pilots, philosophers of the Kyoto School, filmmaker Yasujiro Ozu, and animator Ryuichi Yokoyama. They were all caught up in the heady mix of Japan's militant nationalism, anti-modernism, and cultural propaganda. Letters and correspondence between the artist and his Japanese collaborators, the writers Tomoyuki Arai and Yoko Nose, form the narrative basis of the work. Experimenting with the epistemological and affective capacities of animation, Ho superimposes animation images of featureless faces onto found footage clips from Ozu's fiction films and Ryuichi Yokoyama's animation propaganda films. This is a single-screen cinematic presentation of Hotel Aporia. Its original form, first presented at the Aichi Trienanle, is a video installation projecting layers of animation and hybrid-animation images onto multiple screens within a heritage building.
Seven young directors from Singapore produce a cinematic cadavre exquis.
The Nameless revolves around the story of a man named Lai Teck, one of the 50 known aliases of the Secretary-General of the Malayan Communist party from 1939 to 1949. Lai Teck's real name and background have never been confirmed, but evidence suggests that he was born in Vietnam to a Chinese mother and served as a spy to both the French and British. Piecing together found footage from several Hong Kong films starring actor Tony Leung Chiu-wai, The Nameless acts as a fragmentary portrait of Lai Teck, the film star's likeness standing in for the ambiguous political figure. Ominous and shadowy, the film features Leung (as Lai) in times of distress and introspection, interspersed with repeated motifs of smoke, water, torture and death.
The boundary between viewer and art dissolves in Ho Tzu Nyen’s sublime work, The Cloud of Unknowing. Step inside and find a comfortable space in the room. On a screen, a narrative unfolds, set in a public housing complex in Singapore, where eight characters in eight apartments individually encounter a cloud, embodied both as a figure and a vaporous mist. The film is rear-projected and looped, integrating a complex soundtrack and synchronized steam machines to create a seamless and sublimely atmospheric sense of film/audience permeability. (Sundance Film Festival)
Essay film about mythology and the history of Singapore.
The 49th Hexagram explores the construction of cultural memory and political narrative surrounding the history of the Korean peninsula. Employing the services of an animation studio in Pyongyang, North Korea, Ho Tzu Nyen’s work reinterprets scenes of political uprising and mass demonstration as depicted in South Korean narrative film and television. The project aims to form a direct relationship between South Korea’s political history and the tensions that still define the country’s relationship with its northern counterpart. The result is, in the artist’s words, a “game of exquisite corpse across geopolitical barriers.” The artist developed the experimental soundtrack in collaboration with Korean artists and musicians Bek Hyunjin, Park Minhee, and Ryu Hankil. Offering two vocal renditions of texts from the forty-ninth hexagram of the I-Ching, an ancient Chinese divination manual, the soundtrack composites historical interpretation with translation to speak of revolution and renewal.
Dr. Alan Stone breaks new ground for treatment of the mentally ill through an experiment on three paranoid schizophrenic patients who believe they are Jesus Christ.
On the outside, Helen has it all – a loving family and a successful career – but when her suppressed mental illness resurfaces, the world crumbles around her. Crippled by depression, Helen finds solace through her friendship with Mathilda, a kindred spirit struggling with bipolar disorder.