Italian
Drama about activism and censorship faces censorship itself in Singapore
In a twist of fate, ‘Small Hours of the Night’, a film directed by a Singaporean filmmaker, has been barred from screening at the prestigious Singapore International Film Festival. The docu-drama, which delves into the potent themes of censorship and activism, has ironically become a victim of its own narrative.
The unyielding verdict
The decision to remove the film from the festival’s lineup was due to city-state authorities denying the release certificate. This means that not only is viewing the film prohibited in Singapore, but it has also been pulled from its much-anticipated slot in the festival’s Undercurrents section. However, the festival’s official website has chosen to reflect the unavailability of the film rather than issuing a public statement, leaving many in the industry and audiences worldwide questioning the silenced voices behind this powerful work.
Delving into the story of Tan Chay Wa
‘Small Hours of the Night’ brings to the screen the compelling life of Tan Chay Wa, an ardent activist during the turbulent early years of Singapore’s independence—first from the British Empire in 1963 and later from Malaysia in 1965. Tan’s journey from an armed activist, labeled possibly as a Communist, to a bus driver by 1976 in his effort to elude authorities, is a poignant centerpiece of the film. Despite his eventual escape from Singapore, he was captured in Malaysia with a loaded gun and met his end by hanging in 1983.
The narrative extends beyond Tan Chay Wa, exploring a consequential court case involving his brother. This case unraveled after Tan’s brother attempted to inscribe a revolutionary poem on Tan’s headstone, honoring his final wishes. The incident not only scandalized the establishment but also led to the brother’s imprisonment for actions deemed hazardous to Singapore’s security. This real-world event serves as a chilling example of the pervasive reach of censorship.
Controversial content
In a statement laden with legal implications, the InfoComm Media Development Authority justified their decision, asserting that the film holds potentially illegal content that could compromise national interests. This defensive posture against ‘Small Hours of the Night’ punctuates the complex dialogue around censorship in contemporary media.
Reflection from the director
Daniel Hui, the film’s director, responded to the ban with an astute observation on the inherent irony. He expressed disappointment that while global audiences have access to his work, his countrymen remain barred from this experience. Nonetheless, he harbors hope for a future where Singapore becomes a “gracious and generous” space, inclusive of diverse perspectives and voices.
International acclaim
Despite its fate in Singapore, “Small Hours of the Night” has not gone unnoticed on the global stage. It premiered at the International Film Festival Rotterdam and was featured at Doc Fortnight MoMA. Additional screenings took place at the Taipei International Film Festival and within the Experimenta Strand at the BFI London Film Festival. Each of these accolades adds a layer of complexity and intensity to the narrative surrounding the film’s content and reception.
Production and support
The production of ‘Small Hours of the Night’ was a collaborative endeavor. It was produced by Tan Bee Thiam and Hui, under the banner of 13 Little Pictures, with significant backing from Purin Pictures and White Light Studios. This project originally saw the light at FIDLab 2016 and Berlinale Talents Doc Station 2017. Further financial support arrived from the Tan Ean Kiam Foundation – SGIFF Southeast Asian Documentary Grant in 2020, solidifying the film’s standing as a significant documentary project.
Looking forward
While Hui’s current project grapples with the complexities of national censorship, his resilient spirit perseveres. His next venture is already in the pipeline for funding from Purin Pictures, underscoring his relentless pursuit of storytelling that challenges societal norms.
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