Rafaella Britto writes about Devi, the Satyajit Ray movie that explores the relationship between femininity and divinity in a patriarchal society.
Rafaella Britto escreve sobre Devi, filme de Satyajit Ray que explora a relação entre feminilidade e divindade em uma sociedade patriarcal.
K Balamurugan writes about Tamil cinema in Malaysia, the groundbreaking movie Jagat (2015), and relating to it as a boy growing up in Malaysia of the 1990s.
கே.பாலமுருகன் மலேசிய தமிழ் சினிமாவையும், ஜகாட் திரைப்படத்தின் தாக்கத்தையும், 1990களின் மலேசியாவில் தனது பால்யத்தையும் தொடர்பு படுத்தி எழுதியுள்ளார்.
Ramchander writes about the Iranian film Disappearance, which won the award for Best Asian Feature at SGIFF 2017.
Ramchander writes about the Thai film Malila The Farewell Flower, one of the films in competition at the Singapore International Film Festival 2017.
Ramchander writes about the Israeli film Scaffolding, one of the films in competition at the Singapore International Film Festival 2017.
Aashish Gadhvi examines how Hindi cinema portrays the Indian abroad, and how this has changed over the years.
The World of Apu asked director Ali Asgari a few questions about his movie Disappearance, and his love affair with cinema.
The World of Apu interviews Matan Yair, screenwriter and director of Scaffolding.
A conversation with Anucha Boonyawatana, the director of Malila: The Farewell Flower.
We spoke to Davide Cazzaro, publisher and editor-in-chief of NANG Magazine, and Ben Slater, the guest editor of NANG’s first issue.
Ben Slater put together the book 25: Histories and Memories of the Singapore International Film Festival. We speak to him about this book, his experience with SGIFF, and film festivals in general.
An expansive interview with Ms. Wahyuni Hadi, the Executive Director of the Singapore International Film Festival.
Maanasa Visweswaran pays tribute to Deepa Mehta’s Earth (1998), a film that continues to resonate with her.
Jayanthi Sankar shares with us film-inspired art work, and a couple of anecdotes.
Maeve Rafferty writes about Brooklyn the novel and Brooklyn the movie, through the prism of her experience as an Irish immigrant in the US.
Lopamudra wonders why the beloved fictitious Bengali detective Byomkesh Bakshi has never enjoyed a successful transition to cinema.
Athiyan writes about his experience of reading a Tamil translation of Chemmeen, the Malayalam novel, and watching Chemmeen, the classic Malayalam movie.
மலையாள நாவல் செம்மீனின் தமிழ் மொழிபெயர்ப்பின் வாசிப்பனுபவத்தையும், மலையாள திரைப்படம் செம்மீன் பார்த்த அனுபவத்தையும், அதியன் இக்கட்டுரையில் விவரிக்கிறார்.
Ravi Kiran writes a short story that takes off from where Arrival (2016) left us, and explores Louise’s feelings in the aftermath.
Cyril Wong’s exquisite poetry is inspired by the films he’s watched and loved.
Chow Teck Seng translates to English Kong Long Mao’s Chinese language poem, inspired by the film Vive L’Amour (1994).
Kong Long Mao writes a poem in Chinese, inspired by the film Vive L’Amour (1994).
Chow Teck Seng translates to English Gu Xing Xi’s Chinese language poem, inspired by the film Farewell My Concubine (1993).
Gu Xing Xi writes a poem in Chinese, inspired by the film Farewell My Concubine (1993).
We are pleased to present to you the first issue of our magazine! We have for you personal essays, articles, travelogues and interviews. We also have a trailer, which we hope lets you know what you can expect.
Rafaella Britto writes about Norma Bengell, the maverick Brazilian actress.
Rafaella Britto escreve sobre Norma Bengell, a maverick atriz brasileira.
Jeyannathann Karunanithi writes about the politics of the Tamil movie Kabali. He argues that we must familiarize ourselves with the socio-geographic-historical landscape of the movie before we pick it apart.