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Film Guide

In Time to Come

TAN Pin Pin

62min Singapore 2017

#EIDF2017 # 역사 # 시사

Synopsis

Set in Singapore, the film follows the ritualistic exhuming of an old state time capsule, and the compilation of another. This picture of Singapore is both lovely and startlingly strange. Like the time capsules in the film, this film itself is a vessel that transports us through past, present and future, and a prism through which we glimpse alternate realities. The latest movie by Tan Pin Pin leads its audience into uncharted cinematic territory

Director

TAN Pin Pin

Tan Pin Pin chronicles the gaps in history, memory and documentation. Her films have been screened at the Ber- linale, Busan, Cinéma du Réel, Visions du Réel, SXSW and at the Flaherty Seminar. She has won or been nom- inated for more than 20 award. Most recently, for her 2013 feature To Sin- gapore, with Love, which was banned in Singapore, she was awarded from Dubai International Film Festival. Pre- viously, Invisible City (2007) won the Scam International Award at Cinéma du Réel.

Schedule 용어 안내

용어 안내

  • E영어 대사
  • NES비영어 대사 + 영어자막
  • GV감독과의 대화
  • ST스페셜 토크
  • Program
  • Date
  • Class / Caption / EventGuide

    Guide

    • EEnglish Dialogue
    • NESNon-English Dialogue+English Subtitles
    • GVGuest Visit
    • STSpecial Talk
  • Book
  • EBS 1TV 2017-08-21   |   25시 05분 ALL

Review

A national celebration is held for the 50th anniversary of Singapore’s independence in 2015. With the cele- bration, the event of unearthing the time capsule that was buried in the ground 25 years ago and sealing the new time capsule are held together. The film records the city routines happening around this monumental event: the school’s flag raising event; the view of a bookstore opening its business; a large shopping mall; a landscape in front of a crosswalk; and a river filled with canoeing. These images are repeatedly showed with the country’s official record/memorial event. Rather than paying at- tention to a certain person or event, the director pays interests on the series of acts happening in Singapore and the sense of the places before and after the ac- tions. Because these places are where the common memories are formed through continuous actions. And the images of these actions and places are fragmented through the noise-like surrounding sounds. There are a myriad of sounds in the film – sounds of conversation, camera shutters and public announcements but these sounds do not attempt to convey specific meanings. Rather, when the sound quiets down, the film seems to tell more. By using the sounds in this way, the film sees, listens, and records city routines that are not linguistic. This is also the work of dismantling the central narrative that the state officially commemorates and memoriz- es, and rearranges and shares the past, present, and future of Singapore with the common memory of every- day life. Tan Pin Pin, who has been a keen exponent of Singapore’s modern history through her previous work, has been working on a question of historic methodolo- gy-how to record Singapore’s past, present and future as epic narratives-and being free from the nationalism. She also shows the possibility of film as a repository of common memories through this film. Therefore, it is meaningful to see the film opens and ends with the im- age of the time capsules. (BAE Juyeon)

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