The Southeast Asian Film Lab provides a nurturing and collaborative space for Southeast Asian filmmakers who are embarking on their first feature-length film project. Over the course of seven days, filmmakers will receive personal feedback from the three mentors, and hear from established industry guests as they share their experiences and insights. The programme will end with the filmmakers pitching to a panel of industry experts for the development prize – the Most Promising Project – that will be awarded at the Silver Screen Awards.
Projects that have emerged from the Southeast Asian Film Lab have gone on to thrive in other prestigious workshops and markets such as the Busan International Film Festival’s Asian Project Market, Cannes L’Atelier, Locarno Open Doors, SEAFIC and TorinoFilmLab.
Michel Reilhac | France
Michel Reilhac is the Head of Studies at the Venice Biennale College, and curator of the VR competition at the Venice Film Festival. He was previously Head of Cinema and Film Acquisitions at Arte France, and Executive Director of Arte France Cinema, which has coproduced around 30 films each year, including Lars von Trier’s Antichrist and Melancholia.
Lee Chatametikool | Thailand
Lee Chatametikool is an award-winning editor and filmmaker. A long-time collaborator of Apichatpong Weerasethakul, their works include the Palme d’Or winning Uncle Boonmee Who Can Recall His Past Lives (2010). He has also worked with key filmmakers in the Thai independent scene such as Anocha Suwichakornpong and Aditya Assarat, and on commercial hits such as Thai horror film Shutter (2004). He was awarded Best Editor at the Asian Film Awards three times. He then took a break from editing in 2013 to direct his debut feature film, Concrete Clouds, which premiered in Busan and was in competition at Rotterdam. In 2010, Chatametikool co-founded White Light Post, a one-stop post-production facility that has worked on films such as Cemetery of Splendour (2015), Railway Sleepers (2016) and Call Me by Your Name (2017). Chatametikool also teaches at Mahidol University in Thailand.
Teresa Kwong | Hong Kong
Teresa Kwong is a promoter, curator and producer for films and cross-disciplinary arts practices. She is now the Programme Director of the Hong Kong Arts Centre, and is committed to nurturing and promoting the next generation of arts talents. She started producing feature films with independent filmmakers in Hong Kong and China since 2006. She was selected to participate in the renowned Produire au Sud Workshop in 2008, and Rotterdam Producer Lab 2013 for co-production. As producer, her works include Liu Hao’s Addicted to Love (2010), Tsang Tsui Shan’s Big Blue Lake (2011), feature film documentary Flowing Stories (2014), Amos Why’s Dot 2 dot (2014) and Napping Kid (2018).
Aung Phyoe | Myanmar
At the factory, San becomes fond of Theint, a woman with a troubled past. San wants to bring Theint to her village for a visit during the season of fruit gathering. But their relationship turns into torment as the factory workers put up a protest for higher minimum wage.
Kristin Parreno Barrameda | Philippines
BING. BONG. BANG.
An amateur criminal who is desperate for money to bury his wife robs the local bank, and unknowingly takes a suicidal person as hostage.
Chew Chia Shao Min | Singapore
Two elderly cardboard collectors traverse Singapore in a tricycle cart to sell stolen handphones. Along the way, they test their friendship, confuse the police, and discover a city that has forgotten about them.
Cho We Jun | Malaysia
HUNGRY GHOST DINER
20-something Bonnie Lam gets more than she bargained for when she decides to abandon her family’s funeral parlour business to save the struggling cafe that her deceased mother left to her. The cafe is slated to reopen on the first day of the Ghost Month.
Eden Junjung | Indonesia
A new female worker at a bra factory is being sexually harassed at work but she decides to keep it a secret from her jobless husband. Unbeknownst to her, he finds out and decides to take revenge on the molester by disguising himself as a soldier.
Le Quynh Anh | Vietnam
THE GIRL IN THE DOORWAY
On a ghastly night in Hanoi, where the dead and the living reside alongside each other, a mortician tries to stop his boss from disposing the body of a prostitute that will expose his influential father’s scandal.
Pamela L. Reyes | Philippines
Hidden from an ongoing war, a young girl lives in a secluded all-female town. When she learns her best friend has contracted a fatal disease, she leaves to find a cure, only to uncover the realities of warfare.
Xeph Suarez | Philippines
DANCING THE TIDES
Astri, a 16-year-old Muslim transwoman and her 17-year-old boyfriend, Tambulah live in bliss in their conservative Sama Badjao community until Astri’s father tells her to marry the girl she is betrothed to.
Tan Siyou | Singapore
An exploration of Singapore’s societal and cultural expectations through the lens of a misfit in an all-girls’ school, as she leads a girl gang, navigates her queerness, and tries to pass the all-important final year examinations.
Michael Tay | Singapore
I LOVE SHONANTO
Koon, an 8-year-old boy, has been raised by his mother and told little about his father’s passing. When his wheelchair-bound uncle moves in with them, he starts to plant ideas that his father may still be alive.
Southeast Asian Film Lab 2020 opens its Call for Entry in mid-April 2020.
Sign up for our mailing list to be notified.
Should you have any questions regarding the programme, drop us an email at [email protected].