Royston Tan's "Cut"

I've been watching this over and over again. It's uploaded by Gabriel Seah, aka gssq. I <3 Royston.

Sa capoeira!

Had my batizado last week! Wheeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee!

Deez be my homies.

And dis be the bad photo I took at the street roda we had on Sunday. Delicado is hammering the drum, and Teko is taking down our school flag. The Dali statues sit in the background, forlornly oblivious.

The batizado workshop!

This was held in Victoria School auditorium, all the way in f*&%$#ing Siglap!!! (My theory for why it's called a baptism involves how drenched you are in sweat later.)

After busting our asses, we rehydrated...


...and engaged in frolicksome deshabille.

Mestre Val Boa Morte from Australia (the shirtless guy) professed that he had 6 kids to support, so I of course bought a $30 T-shirt which I can never wear because it's got his school name printed on the front. Also pictured are Instructor Fantasma from the Philippines (tattoo and singlet), our club president Xodo (girl with short hair), Lily (holding tank top), and our own Mestre Ousado (top of head visible over tank top).


Us with Mestre Val. Shite, I look nancy with the elbow. Baiana explained that my "Pata de Gato" (Cat paw) name is because when I ginga my wrists flap like a Maneki Neko. Luckily Farhan's stealing the show with a facial expression that embodies "bizarre".


Sa capoeira anyway!

Texts I Have Read mid-August to mid-September

*Poetry*
Cyril Wong's "Like a Seed with its Singular Purpose"

*Fiction*
Ovidia Yu's "Miss Moorthy Investigates"
H.G. Wells's "The War of the Worlds"
Astrid Lindgren's "Pippi Longstocking"

*Non-Fiction*
Robert Mayer's "How to Win Any Argument (Without Raising Your Voice, Losing Your Cool or Coming to Blows"
Naomi Moriyama and William Doyle's "Japanese Women Don't Get Old or Fat"
Nestor Capoeira's "The Little Capoeira Book"

*Graphic Texts*
Diane DiMassa's "Hothead Paisan: Homosexual Lesbian Terrorist"
YKON's "M8"

*Recordings*
"Keeping Mum"
"High School Musical"
Ming Wong's showreel, including "Four Malay Movies", "Whodunnit" and "Homofonia"
Lynn Lu's showreel, including "Smack/Smooch" and "Walk a Mile"
Jim Henson's "The Storyteller" DVD
Gough Lewis's "Sex: The Annabel Chong Story"

*Performances*
P-10 & NTU School of Art Design & Media's "The Ultimate Commodity"

I know, I know... that's measly. On the other hand, within the space of 2 1/2 weeks during this period, I did publish two works: "last boy" and "SQ21: Singapore Queers in the 21st Century". And I had my capoeira baptism. And I memorised the works in the Singapore Biennale as a tour guide. And I appeared in the newspaper five or six times. And endured a minor blog scandal. And now I'm now working on two plays...

I'll be a star reader in another lifetime. Phew!

last boy...

... will be on the shelves of Kinokuniya, Borders, etc. from Monday onwards. It's my first personal poetry collection, dealing lyrically with my years of poetry development

And it's dedicated to my ex-JCmates the Orgers (you know who you are), none of whom I asked to attend the Firstfruits launch last night because I want my own private launch to be special. (You didn't miss much. I had very little crowd chemistry and no-one else except Cyril has practice in performative poetry recital.)

Stay tuned for the proper launch itself!

Book Meme

because I was tagged by strangemessages... of course, unlike in my Straits Times interview, here I am under no compunction to pretend I'm intellectual.

1. One book you have read more than once

Alison Bechdel's "Spawn of Dykes to Watch Out For". I wuv her lesbilicious soap opera comic.

2. One book you would want on a desert island

Mike Wilks's "The Ultimate Alphabet". Yeah, it's a picture book. It just happens to list everything from aardvarks to annelids to autogyros to aeolipiles to archeopteryxes under its "A" picture. Aeons of fun.

3. One book that made you laugh

Diana Wynne Jones's "Charmed Life". I used to reread the scene in which the young witch makes the stained glass saints in a cathedral get into fistfights and I'd make my belly ache with laughter.

4. One book that made you cry

J. M. Barrie's "Peter Pan". Seriously, it's heartbreaking for an adult to read.

5. One book you wish you had written

Wislawa Szymborska's "View from a Grain of Sand". Siiiggghhh. Pardon me while I cream.

6. One book you wish had never been written

Eowin Colfer's "The Artemis Fowl" series, because it's such poorly written children's fantasy that purports to be bad-ass when it so isn't. I actually don't mind the self-help books, especially regarding motivation - but "Chicken Soup for the Soul" series isn't self-help, it's utter pablum. (Although the ones on childbirth are pretty good.)

7. One book you are currently reading

Dante Alighieri's "Purgatorio". Also Nestor Capoeira's "The Little Capoeira Book".

8. One book you have been meaning to read

F. Scott Fitzgerald's "The Great Gatsby", because my American modernism is so bad. Also Bob Dylan's "Chronicles".

9. One book that changed your life

Gabriel García Márquez's "One Hundred Years of Solitude", which introduced me to the world of magical realism - all the fantasy of children's and folk literature in the structure of the modern novel. Also brought me into the world of Spanish.

10. Now tag five people:

1. mezzo
2. syntaxfree
3. cookiejar
4. quaskx
5. entwerp

Phew!!!

Gawd... it's been a while since I updated. I've been busy with SQ21, which you guys can find out more about on http://sq21.blogspot.com, which I've also been maintaining.

Basically, the book's selling obscenely well. Borders and Kino put about 30 copies on their shelves and watched them disappear within nanoseconds.

There are many things I'd love to report on. Including:

1) My lunch at Al Dente with Cyn, the 19 year-old Kenyan Yale student who during a 2-month attachment in Singapore has had affairs with every almost every girl in Singapore . ("They just come up to me and want to touch my skin to see if I'm black all over. They ask, can you dance like Beyonce? And I say, if you want me to!") She was able to give me a breakdown by race of the relative merits of Singapore teenage lesbians (Malay girls are way hot, but they have issues). I'm rather flummoxed - I snap at muthafuckas who call me Jackie Chan, but she just takes objectification in her stride and laps up the cream.

2) My life in capoeira. I've paid $400 for a batizado (a baptism - seriously, it's like a cult, only it'll mostly involve eating Brazilian barbecue and learning how to kick things). In the meantime, I've already received a capoeira name: pata de gato, or cat's paw. It's lovely, but I'm terribly worried that that's somehow a reflection of the fact that I still suck at the game, big-time. Anyhoo, I spent last night as part of the Argola de Ouro capoeira presentation at WOMAD, clapping and singing onstage as my more talented brethren and sistren whooped ass.

3) My quitting NAC. I am now a full-time freelance writer. Except that I've also gone and volunteered with Singapore Biennale for a nominal fee as a tour-guide, performance artist and furry. Seriously. I'll be dressing up as a giant merlion mascot named Mermer with a phallic tail. People, please give me employment!

4) My discovery that, if you run out of conversation while visiting your Hokkien-and-Teochew-speaking grandma in hospital, then telling her garbled Western fairy tales will amuse her, but will also disturb you profoundly. For instance, it will become clear that the entire legend of Snow White is upside-down. It is the old woman who is chased out of her house by the young princess to live in a hovel of dwarves and dosed on poisoned apples. And talking about resurrection from crystal coffins in the arms of handsome princes is just perverse in front of 83-year-olds.

I exhaust myself. Another day, my dears. Buy my book.

My first book launch!

Book launch: SQ21 - Singapore Queers in the 21st Century!

What is it like for men and women to grow up here, to come out their families, to find love and work and meaning? What are their stories? For the first time in Singapore, the book "SQ21 - Singapore Queers in the 21st Century" answers these questions.

Fifteen men and women including a mother of two gay sons and a hearing impaired gay man share their stories, and their photos (yes photos - this is a real coming out book), showing their true faces and celebrating their against the odds of living full lives as gays and lesbians in Singapore. Written in a light, readable style, these inspirational stories will touch the hearts of everyone, young and old, single or in love, Singaporean and otherwise.

SQ21 is published by Oogachaga Counseling & Support and will be sold at a discounted price at the launch.

Date: Wednesday, 23 August 2006
Time: 7:30 pm
Admission: Free
Venue: Mox bar and cafe, 21 Tanjong Pagar Road, #04-21

Sign interpreting available
More info at http:///www.plu.sg/indignation

July to August stuff!

God, I'm pathetic. Fewer and fewer books every month. And these ones are all skinny little books too. Hopefully my doing writing full-time soon will boost my reading.... let's just see if I can be financially solvent to boot.

*Poetry*
"The Poems of Nalla Tan"

*Fiction*Andrew Koh's "The Glass Cathedral"
Leopold von Sacher-Masoch's "Venus in Furs"

*Plays*
Lorraine Hansberry's "A Raisin in the Sun"
Bertolt Brecht's "The Caucasian Chalk Circle"
Alfred Uhry's "Driving Miss Daisy"
Tennessee Williams's "The Glass Menagerie"

*Graphic Texts*
Terry Moore's "Strangers in Paradise, Pocketbook 1"

*Non-Fiction*
Gerrie Lim's "Invisible Trade: High-Class Sex for Sale in Singapore"

*Performances*
Asia Major’s "Children's Letters to God"Alfian Sa'at and W!ld Rice's "Homesick"
Ovidia Yu and W!ld Rice's "The Silence of the Kittens"
Spell #7's "National Language Class" and Ho Tzu Nyen's "Utama: Every Name in History is I"
Eleanor Wong and W!ld Rice's "The Campaign to Confer the Public Service Star on JBJ"
*Films*"Murderball""Pirates of the Caribbean: Dead Man's Chest""Thank You for Smoking"

"National Language Class/Utama: Every Name in History is I" by Spell #7 and Ho Tzu Nyen

Drama Centre Black Box
9-13 August, 2006
Review by Ng Yi-Sheng
(article first appeared in the Substation Magazine in 2006)

It's a curious thing to be Chinese in Singapore. We're the majority race, wielders of tremendous political and economic power, and yet we're never quite native to our country. So much of our national identity lies in Malay culture, yet we only remember this at odd moments - when we hear foreigners assume we're a Muslim country for the crescent on our flag, for instance when we garble the words of our national anthem.

So it's a surprise to encounter "National Language Class/Utama: Every Name in History is I", a night of works that centre on the act of the Chinese Singaporean venturing forth into Malay culture to discover a sense of identity. And it's an exceptionally well-curated group of works; one of the best evenings of the Singapore Theatre Festival, channeling the energy and experimentalism of contemporary visual arts into the world of drama.

Even before one enters the Drama Centre Black Box, one is confronted with Ming Wong's "Four Malay Stories", a work of video art comprised of the artist's one-man re-enactments of scenes from four prominent P. Ramlee movies. It's a weird and delightful work, thoroughly accessible to the layman, picked as the STF's "Best Intermission Entertainment" by Life! reporters, and it prepares us for many of the themes we're about to encounter.

Ming is first asking why a Chinese Singaporean shouldn't pay tribute to Ramlee - though revered as a Malaysian icon, he was a great actor/director working in pre-independence Singapore, whose films shaped Malay popular culture on both sides of the Causeway. But by drawing attention to his own inadequacy in filling these shoes (the videos include out-takes of his imperfect Malay), Ming further illustrates the strangeness of entering another culture and claiming it as also your own. He is at once P. Ramlee's puppet and the wilful desecrator of the auteur's body of work - the borders of identity and their respective allotments of power become blurred in the performance.

Spell #7's "National Language Class", directed by Paul Rae, similarly begins with a re-enactment, as Yeo Yann Yann and Effendy Ibrahim play out the Bahasa Melayu class depicted in Chua Mia Tee's 1959 painting of the same name. We're greeted first by Yann Yann, dressed as the nerdiest '50s Chinese woman ever, chattering away with us in Mandarin as we stream in through the doors, and minutes later Effendy enters as a teacher, instructing the audience in basic Malay sentences.

The play's ostensibly situated in a time when many Chinese were learning Malay to discover an empowering new national identity, separate from the strictures of British colonialism. However, the play's less concerned with historical context than exploring what it means to be caught inside a picture - hence Effendy's erasing and rewriting the same date on the blackboard with each lesson, and the progressively deeper analysis of the painting. Teacher and student detail the objects in the room in the Malay and Mandarin, from the wall poster to the rectangular and round tables to the nine students and teacher themselves; they voice theories to explain why particular students are laughing or sleeping. There's an futile obsessiveness to these act, suggesting the dead-endedness of the project of learning Malay - Singapore, after all, broke away from Malaysia, and most Chinese eventually learnt very limited Malay. But the very energy of the drama references the condition of Malay language and culture in Singapore even today: it haunts the Chinese Singaporean like a persistent ghost, seldom taking flesh but never quite vanishing.

Yann Yann's character reveals more of itself across the play - in her actions, her desire to describe the world in her own language becomes evident. I'd wanted there to be an escalating conflict between her and Effendy's character, with her turning the tables on him and exposing the violence of cultural imperialism by forcing him to learn Mandarin, both of them maybe even exploding into dialect or Tamil to explore how history might have chosen yet another path away from our present English and Mandarin-dominated society. Yet Yann Yann never truly usurps the teacher's position, and the few words of Mandarin Effendy speaks are spoken more in kindliness and empathy. This is the limited world of the canvas - the two characters must find compromise in silence, outlining the exchange of glances with waggling fingers, closing the play with a scene of the student patiently waiting after the teacher rises from prayer.

It's a tender yet unsettling piece, working well beyond its original performance art incarnation as a feel-good Malay language class for the public. But its unresolved, mysterious ending is no handicap to the night's performances, especially when the show to follow is Ho Tzu Nyen's "Utama: Every Name in History is I", a performance lecture to explain the inspiration and theory behind his 2003 Substation exhibition of the same title.

"Utama" is presented as a slide show, accompanied by a spoken lecture by the artist, who's currently being featured in the Singapore Biennale. The video from his original work is also presented in its entirety, with some unfortunate repetitions of information from the earlier speech. This is not a big issue - having attended the 2003 exhibition and seen his video work again presented at ICA (Singapore)'s "Islanded", I'm convinced that the performance lecture provides the best medium for communication of his eccentric, elliptical ideas to audiences unused to conceptual art.

Like "National Language Class", Tzu Nyen's piece is also intrigued with history. However, it brushes aside both Chinese and colonial influence on national identity to locate our historical origins in the Malay legend of Sang Nila Utama, the first founder of Singapore. It's the very concept of "origins", in fact, which forms the focus of this work, but this concept is quickly destabilised - Sang Nila's multiplicity of names and dubious lineage (all the way back to Alexander the Great and King David) make him a nonce of a founder, a historical cipher. And while the video narration may be in Malay, to pay homage to our "original" culture, the actors playing Sang Nila and his assistant speak in faux-archaic English. There's as much historical realism here as in the scenes where Chinese actresses recreate the Greek myth of Diana and Actaeon - a fable of how the hunt for a goddess leads only to false images and doom.

"Utama" reduces history to pastiche, glorying in the superficiality of Sang Nila as an icon, parading him down the Esplanade in antique regalia on a trishaw for the benefit of tourists. Tzu Nyen even has us question the authority of the performance medium - he exposes his techniques of simulating canvas paintings with photographic printouts in his exhibition, and compares the setup of a video projection with the deceptive images of Plato's Cave. The work concludes the essay that "Four Malay Stories" began: it acknowledges the significance of a Malay tradition in the Weltanschaung of a Singaporean, Chinese or otherwise, but ultimately celebrates the generative power of the artist to reinterpret those ideas today.

I'm sure "National Language Class/Utama" got its support from various quarters on the principle that it'd promote intercultural understanding. And it is important that the work inspires us with the excitement of learning about a culture close to home, highlighting the fact that we are not just a Chinese city - no matter how much we speak Mandarin in mixed-race company, send children to SAP schools, or promote business in Suzhou. There is a chance that these work will promote other Chinese Singaporeans to read up on the Malay language, or pre-colonial Southeast Asian history, or pre-independence film.

But there's ultimately a very existential thread running through the works of the evening, which reject an essentialist definition of national identity in favour of one formed through individual actions and gestures. Ming Wong's impersonations of film characters, Spell #7's teacher and student's experiments with their own and the other's languages, and Tzu Nyen's revisionist view of legend - all these are acts that engage with Malay culture, but refuse to allow it to subsume the separate identity of the self. Singapore is not a Malay city either, remember - we are a composite of parts, a political fiction.

One is also drawn to recall an opening scene from Royston Tan's movie "15", when a truant gangster kid sings an oddly hybridised lampoon lyric, a parody of a ritual chant he's forced to endure every morning at school. Perched on a rooftop, he intones:

"Mari kita-ra, da jia tiao lou zi sha, bian chen roti prata, sayonara..."*

In the end, perhaps it's fine to contort the words of our anthem. Just as long as you're reinventing them, infusing them with your own meaning.


*The Hokkien Words in this mean "everyone commits suicide, become roti prata."

texts from mid-June to mid-July

*Poetry*
Yong Shu Hoong's "dowhile"
Joel Derfner's "Gay Haiku"

*Fiction*
Richard Gordon's "The Private Life of Florence Nightingale"

*Drama*
Eugene Ionesco’s “The Chairs”
Shakespeare’s “Twelfth Night”

*Non-Fiction*
Jane Chia's "Georgette Chen (1906-1993), A Pioneer Artist"
Quentin Crisp's "The Naked Civil Servant"
Ho Ho Ying and Liu Kang’s “Re-connecting: Selected Writings on Singapore Art and Art Criticism”
Marc Smith’s “The Idiot’s Guide to Slam Poetry”

*Graphic Texts*
Alison Bechdel's "Invasion of the Dykes to Watch Out For"

*Performances*
"Body Remix: Goldberg Variations"
Chamber Made Opera's ""Phobia"
Theatreworks' "Play On Earth"
The Necessary Stage's "Mobile"
SRT’s "The Dresser"
The Finger Players’ “First Family”
The Ordinary Theatre’s ”Serve” (my play!) and Republic Polytechnic’s “Over the Wall”

*Movies *
Pixar's "Cars"
"The King and the Clown"
Ho Tzu Nyen’s “4 X 4: Episodes of Singapore Art”

calenture

A disease incident to sailors within the tropics, characterized by delirium in which the patient, it is said, fancies the sea to be green fields, and desires to leap into it.

I <3 the OED.

Icelandic dreams

Hans Haraldsson, my crush in Reykjavik just wrote me the following:

"I had a verry strange, verry postmodern dream about you last night. Youretuned to Iceland with members of "your" family (a mother, two sisters andtwo brothers). Your mother was the emperess Cixi (a can´t remeber the new(pinjyng?) spelling form) from "The Last Emperor", your sisters werecaracters from some scene in a movie that took place in a chinatown and yourtwo brothers were a samurai from a Kurusawa film and a biker from a HongKong made action film. I really can't remember the detais of the "plot" buti do remember that you went missing and that there were some Hong Kong stylemass fighting incidents about something.

My interpretation of this dream comes in two parts. A) That i am verry envious of you because you live in the warm, colourfull and divers orient.And (in my imagination, get to buy fresh exotic fruit of street vendours) B)That i have to rase the standart of quality for the south-east asian cinema i watch."

Curious, innit? He's fully aware of the inappropriate exoticisation that's happening in his mind, yet it pervades his unconscious.

As I've mentioned to him, the pine dreams of the palm, and the palm of the pine.

eu sou um capoeirista!

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sa capoeira!

I've joined a capoeira class at the Substation!

And look how strange intersections happen in my life!

me: hey

dylanstillwood: hi

1:44 AMme: weirdest thing ever

after my capoeira class (the guys did some shirtless extra practice afterwards, slobber)

I went to the AIDS candlelight memorial

1:45 AM and though it's basically the closest thing to mardi gras we've got, it has the backing of the interreligious association

1:46 AM so we sit to hear prayers by a hindu swami, a theravada buddhist father, a methodist minister, a muslim imam, a jain priest, a zoroastrian whatever they call them, a bahai whatever similarly, etc

dylanstillwood: wow

1:47 AM me: oh and the taoist priest had the most fabulous costume ever. he did dancing

anyway, afterwards i'm talking to the rabbi

because singapore has a tiny but rich jewish community

1:48 AM he's this rather good-looking bearded grey-eyed young guy, full beard and black hat and everything

and it turns out he's from sao paolo

we start speaking spanish

and it turns out he's also a capoeirista. he's in a capoeira team in singapore

dylanstillwood: wow, small world

1:49 AM me: it's not the small world that really blows my mind - it seems a bunch of my friends have also done capoeira

but CAPOEIRISTA RABBI ISRAEL!!!

(that's really his name)

i mean minus the capoeirista bit

1:50 AM i can't help but imagine this mel brooks scene

of cartwheeling jinga-ing men with the tanakh in hand

dylanstillwood: lol

you have a fertile imagination, my friend

1:51 AM i have to go do some flyering now

me: peace out

dylanstillwood: peace

Texts I've read/watched mid-May-mid-June

I love looking back on the eclecticism of my viewing fare.

*Poetry*
Alvin Pang's "City of Rain"

*Fiction*
Daniel Defoe's "Robinson Crusoe"
READ Singapore’s "Looking In, Looking Out"
Andrea Levy's "Small Island"
H.A. Rey and Margret Rey’s “Curious George”

*Plays*
Noel Coward’s “Hay-Fever”
Jean Genet’s “The Maids” and “Deathwatch”

*Non-Fiction*
Mark Abley's "Spoken Here :Travels Among Threatened Languages"
Karen Armstrong's "Muhammad: A Life of the Prophet"
Jonathan Bass's "How to Get Laid"
“The Renaissance City Report”
Lim Tzay Chuen and Eugene Tan’s “Mike: Catalogue to the Singapore Pavilion at the Venice Biennale 2006”
The Commission for Africa’s “Our Common Interest”

*Performances*
"Camp Cabaret: Featuring Irene Ang, Broadway Beng, Kumar, Lounge-zilla and Rick Lau"
Matthew Lyon's "Shifting"
The Stage Club's "Canterbury Tales"
SITI Company's "Death and the Ploughman"
Al-Kasaba Theatre's “The Wall”
Farm.sg’s ”Rojak 05”
Theatreworks’s “Geisha”
Singapore Musical Theatre's "Victorian Days" and "Swingle"
Dramabox’s “A Stranger at Home”

*Films*
"Mission Impossible 3"
" X-Men: The Last Stand"
COM&COM’s "Mocmoc, das ungeliebte Denkmal"
Han Yew Kwang’s “Unarmed Combat”

Heheheh...

They also just condemned gay marriage again... ah well, what's new?

Help!

Trying to decide which of these covers I should use for my poetry book. Brian's, or Enoch's? Please do give input!

Pros of Brian's: concrete, visually arresting.
Cons: might scare off the poetry loving straights.

Pros of Enoch's: will cost less, puts it in visual thematic of the rest of his titles.
Cons: I'm not crazy about abstraction.

Do comment!

What the hell. Here's a meme.

Because Jabir did this for me, and it was cute...

from babyduo

Comment and:
1. I'll respond with something random about you
2. I'll challenge you to try something
3. I'll pick a color that I associate with you
4. I'll tell you something I like about you
5. I'll tell you my first/clearest memory of you
6. I'll tell you what animal you remind me of
7. I'll ask you something I've always wanted to ask you
8. If I do this for you, you must post this on yours

Texts I Have Been Witness to This Month

Much fewer, 'cos I've been working full-time.

*Poetry*
Yong Shu Hoong's "Frottage"
Felix Cheong's "Broken by the Rain"
Edna St Vincent Millay's "Evanescence and Other Poems"

*Fiction*
Colin Cheong's "The Stolen Child”
Michael Hollinghurst's "The Swimming Pool Library"
Rita Mae Brown's "Rubyfruit Jungle"
Kazuo Ishiguro’s “Never Let Me Go”

*Drama*
Terry Johnson's "Hysteria"
Paul Rae and Kaylene Tan’s “Duets1”

*Non-Fiction*
Ng King Kang’s “The Rainbow Connection”

*Graphic Texts*
"The Offnung Symphony Orchestra"
Michael Lee Hong Hwee's "When A Body Meets A Building"

*Performances*
The Substation’s “Future of the Imagination”
Tokidoki-Jido's "Lightology"
W!ld Rice's "The Magic Fundoshi"
The Finger Players' "Furthest South, Deepest North"
Spell #7's "Duets 2"
Indian Ink's "The Candlestickmaker"
Andrew Lloyd Webber's "Aspects of Love"
"Burn the Floor"
Cake Theatre's "Queen Ping"
Ramesh Meyyappan and Lars Otterstedt's "The Art of War"

*Films*
"If You Were Me” (A Korean animation anthology)
"50 Ways of Saying Fabulous"
Lars von Trier's "Manderlay"
Amir Muhammad's "The Last Communist"
“The Book of the Dead"
Simon Chung's "Innocent"
Kelvin Tong's "Love Story"
"Formula 17"