Interview with Edmund Yeo: My films are generally quite personal, either they are based on my memory, or personal observations of the world around me during that particular moment of my life

We speak with Edmund Yeo about his Best Director Award, Aqerat, his career and many other topics

Edmund Yeo was born in Singapore in 1984, and graduated from Waseda University. His short films "Kingyo" premiered at the Venice Film Festival 2009; "Inhalation" won the Sonje Award at the Busan International Film Festival in 2010. His debut feature "River of Exploding Durians" premiered in competition at the Tokyo International Film Festival 2014. This year he returned to Tokyo with two films, "Yasmin-san"and "AQÉRAT" (We the Dead), with latter earning him the Best Director Award.

We speak with him about "Aqerat", the award, his career and many other topics.

Congratulations on winning Best Director at the Tokyo International Film Festival. How do you feel about this honour?



I was absolutely overwhelmed, especially because I was aware of the history of the film festival. Since 2008, I have attended the festival as a student, and an audience, before going as a filmmaker. Aside from being its 30th edition, the festival had given the same award to some of my cinematic heroes, Innaritu, Wu Tianming, Ruben Ostlund, Yim Ho, Guy Ritchie. So it was absolutely unbelievable to be on the list with them.

When I received the trophy from the great Iranian filmmaker Reza Mirkarimi (who was also a previous best director winner), I was mostly thinking of the festival history, and the greats who came before me. I thought of my 10-men crew and handful of cast members, and I thought "we did it, wow". I wanted so much to let them know that everything we had been doing, despite the pain, there's still a place for the type of films we make.

Your father is a film critic and music producer and your mother a pop singer. How did their lives influence your career and had they anything to do with you becoming a filmmaker?

Αbsolutely, I am doing what I'm doing because I was influenced by them. I was exposed to showbiz ever since I was a child, and also raised by their love for cinema. My dad had a library of films, books, film magazines etc which I would pore over voraciously due to my curiosity.


And because they were doing what they did, they don't really have that irrational bias against films, arts and culture which most people of their generation in my country would have. Normally parents would just discourage their children to chase their dreams and go for something more financially stable. I know it's for the well-being of their children, but this indirectly created a sort of disrespect and prejudice against what we do.

Tell us a bit about Greenlight Pictures. 

Greenlight Pictures is a production company founded in 2006 by director Woo Ming Jin for the making and distributing of his sophomore film THE ELEPHANT AND THE SEA. We met in 2007, got along pretty well and I joined him during post production. So we have been working together since then as creative partners. I produced, co-wrote and edited his subsequent films like WOMAN ON FIRE LOOKS FOR WATER and THE TIGER FACTORY. He too served as producer or exec producer of my short films and features.

Two films of yours are streaming through Filmdoo. What is your opinion on the streaming platforms, and what do you think filmmakers gain from them? 



Actually I'm okay with streaming if it allows more works by filmmakers to be discovered. Before I started making films 10 years ago, I was vlogging and trying out YouTube and its clones which came out around the same period (none of them lasted). So I do embrace streaming, in fact I'm actively moderating the Greenlight Pictures YouTube channel too, and been the one working to get our films on Amazon Prime (River of Exploding Durians is available online).

But at the same time I have mixed feelings. I usually make my films with the big screen in mind, therefore I know the details will get lost somewhere when it's being viewed on a phone or a tablet. With the meditative pacing and nature of my works, I wonder too whether my films or say, films such as mine, are the right films for streaming platforms, or that it's getting the right audiences.


I still feel that the big screen experience cannot really be replicated, and that it's better to watch films without being distracted by other things. So, it'll be good if this option remains open for filmmakers.

Why did you decide to shoot a film about the Rohingya? What kind of research did you do on the subject  and how close to reality are the events depicted in "Aqerat"?

My films are generally quite personal, either they are based on my memory, or personal observations of the world around me during that particular moment of my life. In the last few years, Malaysia was affected greatly by the Rohingya crisis. Although for decades we have always been a hub for (illegal) immigrants from neighbouring countries, be it Indonesia, Myanmar, Vietnam, the discovery of nearly 150 dead bodies at the northern region of Malaysia (close to the Malaysia-Thai border) was a wake up call. The traffickers were mostly Malaysians, they smuggled the Rohingya refugees into the country but put them in jungle camps. The traffickers would then extort more money from them or their family before letting them continue their journey to, say, the larger cities like Kuala Lumpur. If they can't pay, they are either murdered or left to die in the camps. That was how their bodies were found. The amount of people involved in this was a larger scale than depicted in my film. The bodies were in fact discovered by police a few months before news went public, and it was hinted that some cover up from higher ups were involved.

It was crazy, while we are developing as a nation, we may have lost some of our humanity. This was what I wanted explore in "Aqerat."


For my research I read numerous reports and articles, and most of all, I interviewed numerous NGO, journalists who covered the Rohingyan plight and even a few refugees. I maintained contact with them online even after our first face to face meeting so that I can constantly ask them questions, and verify whether I got my facts right or not.


In the film, Hui Ling eventually starts enjoying her work in the human trafficking ring, before she comes to her senses a while later. Is this process connected with the title? In general, what does it take for a person to truly change, both towards becoming worse and better?

Yes, I think the title of the film ("afterlife" or "life after death" in Rohingyan language) was quite relevant to both the journey of the Rohingyan refugees, and also Hui Ling's personal journey.


The development of Hui Ling's character, in which she slowly started enjoying her work, came more from improvisation and discussion during the shooting of the film itself, and not the initial script. I keep a very democratic, open environment in my set, where cast and crew members can ask questions or voice suggestions anytime. Thus, Hui Ling's gradual enjoyment was something both actress Daphne and Lesly the cinematographer suggested to me. After all, life is a vicious cycle, those who started out being oppressed, when they grow into power, they start oppressing others. It's unfortunate, but it's a part of human nature.


The first part of the film unveils much like a documentary, but the second includes surrealism and is more art-house, in its aesthetics. Can you tell us a bit about these two approaches and why you chose to implement them both?


The entire structure of the film, especially the ending, was very much inspired by Roberto Bolano's novel "The Savage Detectives". In that novel, it started with a coming of age story, then in the middle, it changed styles entirely by becoming a series of interviews with dozens of characters, before ending and returning to the initial story. The interviews and anecdotes helped to broaden the canvas of the novel, showing us what happened in the world around the characters who appeared in the first part, and spanning many decades.

Because it was such a monumental piece of work, after reading it in 2014, it lingered in my mind. So when I made this film, I found myself wanting to replicate its structure as well. Using the middle "arthouse" part to provide a context on the Malaysian life, because the first part followed Hui Ling's perspective very closely, so I wanted to show the world around her which she herself was unable to see, using other characters like Wei, Qi Qi, Wei's colleague etc.

Lesly Leon Lee's  cinematography is great. Can you tell us a bout your cooperation with him? Also can you tell us a bit about how this image came about?


I'm very glad you liked Lesly's work. Lesly and I had worked together since 2008, in my very first short film "Chicken Rice Mystery", followed by "Love Suicides", a 1-minute video for Prada, a horror short etc. We don't work together all the time, but we had been working together for a very long time. His style and mine complement one another very well.

As I started writing "Aqerat", I knew that the film's aesthetics and style would make full use of Lesly's skills, as he himself favoured handheld cinematography, and he possessed a certain lyrical, poetic touch even though we were doing something realistic.


The black and white still, however, was taken by Cheng Thim Kian, he is our "Mr Everything", working as line producer, assistant director, production designer and also the stills photographer. Therefore between takes, while we were waiting, he himself would take these stills for us. He is also a director of a few short films, I think he knows that taking these photos help his cinematographic eye.

Daphne Low is also very good in her part, as is the case with Kaho Hon. How did you guide them for their roles? How was the casting process like? 

Daphne and I had worked together several times. Our first collaboration was the 2013 short film "Floating Sun" (which was also shot by Lesly). She then acted in my debut feature "River of Exploding Durians", where she also played the character Hui Ling. Like most of my other longtime collaborators (Lesly, composer Woan Foong, the aforementioned Thim Kian etc) when we work together it was more like challenging one another to grow further. So I was curious to see how much Daphne had grown as an actress two years after we shot Durians, and after all the other experiences we had accumulated. It's sort of like a reunion for us, and it's always fun to do that.

As for the other cast members, whom I've never worked with before, I usually approach them based on what I saw in their previous works, or through auditions. When Kahoe was a teenager, he starred in the late Yasmin Ahmad's last film and short film, his potential was already there. And after taking a brief break for his studies, he returned to acting, and his potential and talent remained apparent in some short films and commercials he did. Therefore I approached him for the role, and that was how he joined us in our journey!


The other roles, like the traffickers and the refugees were casted based on auditions.


Can you tell us a bit the shooting of the film and the particular locations it was shot? Any memorable episodes, good or bad? 

We shot in Kelantan, which is the Northern state of Malaysia, very close to the Malaysia-Thai border. Prior to the shoot, I have never been to the place before, therefore it was quite an adventure. Especially when I realized that we were going to shoot the film in the middle of the monsoon season. Culturally, the place is quite different from other parts of Malaysia. They speak in a very unique Malay dialect that is influenced a little by Thai, so many of us who came from Kuala Lumpur, we needed translators with us. It's a strange feeling to shoot a film in our own country where we needed to use translators, but it made the trip more memorable.

Because of the monsoon season, there were floods everywhere. I had to rewrite some scenes because it was too dangerous for anyone to get into the river!

What is your opinion of Malaysian cinema at the moment? 


The Malaysian cinema has its ups and downs. I think we still have a lot to learn, and sometime to grow. Regardless of our achievements, filmmaking is still something we have to spend our entire lives to learn. Even if politically, economically, the odds aren't in our favour, we mustn't stop making films.

Which are your favorite filmmakers/films?

Ah, that's a tough question. There are some filmmakers whom I grew out of, and some whom I grew to appreciate more and more. There are those who remain on my list for a very long time. Most probably because I like most of their body of work instead of just 1-2 films they made, like Andrei Tarkovsky, Hirokazu Koreeda, Edward Yang, Hayao Miyazaki, Martin Scorsese, Paul Thomas Anderson, Wong Kar Wai, Spielberg, Ang Lee, Theo Angelopoulos, Lee Chang Dong, Pedro Almodovar etc..


There are many great films outside, from past and present, which I have yet to discover, and which I am excited to discover. In fact, it's only very recently that I started following the films of Ingmar Bergman, and the journey had been wonderful.

Could you tell me a bit about your future projects?

Before I went to Tokyo Film Festival,  I have shot half of my new film called "Malu". It's a family saga which spans decades, three generations and supposedly set in both Malaysian and Japan. I hope to finish it this year

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Johnson,1,Jet Leyco,2,Jia Zhangke,2,Jigoku,1,Jimmy Henderson,4,Jin Xingzheng.,1,Jithin K Mohan,16,Joby Varghese,1,Joe Odagiri,2,John Abraham,1,Johnnie To,2,Johnny Ma,1,Joko Anwar,6,Jonathan Cianfrani,1,Jonathan Li,1,Jonathan Wilson,10,Jonathan Yi,1,Joo Ji-hong,1,Josh Parmer,1,Journey of the Tortoise,1,Joy of Man's Desiring,1,July Jung,1,Jun Ichikawa,1,Jun Li,1,Jun Tanaka,3,Jung Byung-gil,2,Jung Sik,1,Jung Yoon-suk,1,Junichi Kajioka,2,Junk Head,1,Junpei Mizusaki,1,Justice in Northwest,1,K-dramas,12,Kaasan Mom’s Life,1,Kala,1,Kam Ka-Wai,1,Kamila Andini,1,Kaneto Shindo,2,Kang Je-gyu,1,Kang Yoon-Sung,2,Kara Hui,1,Karan Johar,1,Katsuya Tomita,3,Katsuyuki Motohiro,1,Kaushik Ganguly,1,Kazuya Shiraishi,2,kdrama,1,Ke Guo,1,Keep Calm and Be a Superstar,1,Kei Chikaura,1,Kei Horie,1,Kei Ishikawa,1,Keishi Otomo,1,Keishimi Oto,1,Ken and Kazu,1,Kengo Yagawa,1,Kenichi Ugaba,1,Kenichi Ugana,1,Kenichi Watanabe,1,Kenji Yamauchi,1,Kentaro Hagiwara,1,Kesang P. Jigme,1,Kfc,2,Khavn,2,Khosla Ka Ghosla!,1,Khushboo Ranka,1,Khyentse Norbu,2,Kiko Boksingero,1,Kill me,1,Killing Beauty,1,Kim Bong-han,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hong-Sun,1,Kim Hyun-seok,1,Kim Jee-woon,4,Kim Jin-Mook,1,Kim Jong-Kwan,1,Kim Joo-hwan,1,Kim Ki-duk,5,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Seong-hoon,1,Kim Tae-kyeong,1,Kim Whee,1,Kim Yong-hwa,1,King Hu,2,Kingyo,2,Kirsten Tan,1,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,5,Kôbun Shizuno,1,Kodoku Meatball Machine,1,Koji Fukada,1,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,2,Konkona Sen Sharma,1,Konrad Aderer,2,Korea,2,korean drama,1,Kotoko,1,Kristina Aschenbrennerova,1,Krzysztof Pietrzak,1,Kun-Yu Lai,14,Kung Fu Yoga,1,Kusama Infinity,1,Kwak Kyung-taek,2,Kyoko Miyake,2,Kyriacos Kyriacou,3,Labour of Love,1,Lady of the Lake,1,Lady Snowblood,2,Lam Wingsum,1,Laos,3,Laughing Under the Clouds,1,Lawrence Ah Mon,1,Le Binh Giang,2,Le Bình Giang,2,Leandro E. Seta,2,Lebanon,1,Lee An-gyu,1,Lee Byeong-Hun,1,Lee Byung-Hun,1,Lee Chang-Hee,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Kwang-kuk,1,Lee Kyoung-mi,1,Lee Myung-se,1,Lee Sa-rang,1,Lee Seo-goon,1,Leena Alam,1,Legend of the Demon Cat,1,Legend of the Mountain,1,Leo Zhang,1,Leon Lai,1,Leste Chen,3,Leung Wing-Fai,1,Ley Lines,1,Lhaki Dolma,1,Li Cheuk-shing,1,Li Hongqi,1,Li Ruijun,1,Liang Ying,1,Life on the Line,2,Lijo Jose Pellissery,1,Like Father,1,Like Son,1,Lim Kah-wai,2,Lim Sang-yoon,1,Lists,13,Little Big Soldier,1,Little Forest,2,Little Shop of Grotesque,1,Little Shop of Horrors,1,Liu Jian,1,Liu Jiayin,2,Liu Yang He,1,Liu Yang River,1,Liu Yulin,1,Live from Dhaka,2,Live Up To Your Name,1,Loi Bao,1,London Korean Film Festival,5,Los Angeles Indian Festival,22,Lost Serenade,1,Love,1,Love and Other Cults,3,Love Education,1,Lovely Man,1,Lovers Are Wet,1,Lovesick,1,Lowlife Love,1,Lucien Castaing-Taylor,1,Lucky Kuswandi,1,Lyberis,4,Machines,1,Mad Tiger,1,Mad World,5,Made in Hong Kong,2,Madman,2,Mahde Hasan,1,Mahesh Narayanan,1,Mai Chan's Daily Life: The Movie,1,Majid Majidi,1,Makoto Shinkai,1,Malayalam,7,Malaysia,17,Mama,1,Mamoru Hosoda,1,Manish Gupta,1,Manny Araneta,2,March Comes in like a Lion,1,Maria Georgiou,26,Mario Cornejo,1,Mark Gallagher,1,Marlina the Murderer in Four Acts,3,Mary Jirmanus Saba,1,Masaaki Yuasa,2,Masaan,1,Masaharu Take,1,Masahiro Shinoda,1,Masakazu Sugita,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,2,Masato Ozawa,2,Masatoshi Kurakata,1,Matt Cooper,19,Matthew D. Johnson,1,Matthias Hoene,1,Maundy Thursday,1,Mayaanadhi,1,Mayurakshi,1,Meghe Dhaka Tara,1,Memoir of a Murderer,1,Merantau,1,Mermaid,1,Miaoyan Zhang,1,Michael Haertlein,1,Michelle Hung Tsz-ching,2,Midi Z,1,Midnight Runners,1,Midori Impuls,4,Midori The Camelia Girl,1,Mikhail Red,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Ming-Yeh Rawnsley,1,Minoru Kunizawa,1,Mira Nair,1,Miss Zombie,1,Miwa Nishikawa,2,Mohammad Rasoulof,1,Mohammad-Reza Lotfi,1,Mon Mon Mon Monsters,1,Mong-Hong Chung,2,Mongolia,2,Monika S-r,1,Monologue,1,Moon Lovers,1,Moon So-ri,1,Mototsugu Watanabe,4,Mouly Surya,3,Mountains May Depart,2,Mourning Forest,1,Movie,2,Moving,1,Mr Long,1,Mr. Socrates,1,Mrs Fang,1,Mrs K,2,Mukti Bhawan (Hotel Salvation),1,Mumon: The Land of Stealth,1,Museum,1,My Beloved Yak,1,My Dad and Mr Ito,1,My Heart is that Eternal Rose,1,My Hero Chihiro,1,Myanmar,1,Mystics in Bali,1,Nah Hyeon,1,Namiya,1,Nanachan,1,Nandita Roy,1,Naoko Ogigami,5,Naomi Kawase,3,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,2,Neeraj Ghaywan,1,Neko Atsume House,1,Neomanila,2,Nepal,1,Nervous Translation,1,Neuchâtel International Fantastic Film Festival,1,Never Ending Blue,1,New Neighbor,2,New World,1,New York Indian Film Festival,1,News,13,Newton,1,Nicholas Poly,4,Night Bus,1,Night is Short,1,Night is Short Walk on Girl,1,Night of the Felines,1,Nikhil Allug,1,Nikkatsu,1,Nikola Cekic,1,Nila Madhab Panda,2,Ninja Pussy Cat,1,Nirbaak,1,Niwatsukino Norihiro,1,No Where,2,No. 1 Chung Ying Street,2,Noboru Iguchi,1,Noboru Tanaka,1,Noboru Uguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,2,Nobuyuki Takeuchi,2,Noise,2,Non-fiction Diary,1,Norbu,1,Noriaki Tsuchimoto,1,Norihiro Niwatsukino,1,Norjmaa,1,Norman England,2,North Korea,2,Now Here,2,Nurse Diary: Beast Afternoon,1,NYAFF,34,Nyamdavaa Baasansuren,1,NYIFF,1,Odd Obsession,1,Oh In-Chun,1,Old Boy,2,Old Stone,1,Old-School Kung-Fu Fest,3,Omar Rasya Joenoes,4,On the Job,1,On The Line Festival,3,On the Run,1,One Cut of the Dead,1,One Man's China,1,Onibaba,1,Operation Red Sea,1,Ophilia,1,Ordinary Person,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,12,Osamu Sato,1,Our Happy time,1,Our Time Will Come,1,Outrage Coda,1,Over the Fence,1,Oxhide,1,Oxhide II,1,Oxide Pang,1,Pad Man,1,Padmavati,2,Pai Kau,2,Palatpol Mingpornpichit,2,Pale Flower,1,Panos,1,Panos Kotzathanasis,293,Paresh Mokashi,1,Park Chan-wook,2,Park Hee-joon,1,Park Hoon-Jung,3,Park In-je,1,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Party Round the Globe,1,Passage of Life,1,Past and Future,1,Patrick Hofmeister,72,Patrick Tam,1,Pedro Morata,10,Peerachai Kerdsint,1,Pelden Dorji,1,Pema "Tintin" Tshering,1,Pema Tshering,1,Pen-Ek Ratanaruang,2,Peng Xiaolian,1,Pengfei,2,Pepe Diokno,1,Peque Gallaga,1,Perfect Blue,2,Peter Chan,1,Peter Chen,1,Phanumad Disattha,1,Philippines,19,Pieter - Jan Van Haecke,4,Pieter-Jan Van Haecke,8,Pink Eiga,15,PinkEiga.TV,6,pinku eiga,1,Pinneyum,1,Poet on a Business Trip,1,Poolside Man,1,Pop Aye,1,Posto,1,Prakasan,1,Press Release,2,Priya Giri Desai,1,Prophecy,1,Proshoon Rahmaan,2,Psychic,1,Pumpkin and Mayonnaise,1,Queen of Triads,1,R.Balki,1,Rabbit and Lizard,1,Radiance,1,Rage. Lee Sang-il,1,Rahul Jain,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Rajkumar Gupta,1,Ram,1,Ram Gopal Varma,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Ravine of Goodbye,1,Re:Born,1,Real,1,Realism,1,Red Beard,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Resistance at Tule Lake,1,Respeto,2,Resurrection,1,Revenge: A love story,1,Review,9,Reviews,306,Reviews.,2,Reviews. Panos Kotzathanasis,1,Rima Das,1,Riri Riza,3,Ritwik Ghatak,2,River of Exploding Durians,2,River's Edge,3,Robin Weng,1,Roger Lee,2,Roman Porno,1,Ronja,1,Rouge,1,Rouven Linnarz,1,Roya Sadat,2,Running on Karma,1,Russia,1,RV: Resurrected Victims,1,Ryoo Seung-wan,2,Ryota Sakamaki,1,Ryu Kaneda,1,Ryuki,1,Ryutaro Ninomiya,2,S. Korea,74,S.Korea,2,Saayak Santra,9,Sabrina Baracetti,1,Sabu,4,Sade Sato,1,Salaam Bombay,1,Samui Song,1,San Diego Asian Film Festival,17,San Diego Film Festival,2,Sanjay Leela Bhansali,2,Sanjeewa Pushpakumara,2,Sankha Ray,33,Sarita Khurana,1,Satan's Slaves,3,Satoru Hirohara,1,Satoshi Kon,3,Satya,1,Satyajit Ray,2,Say Yes,1,Sayandeep Bandyopadhyay,6,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sekigahara,1,Serga Mathang,1,Sexy S.W.A.T. Team,1,Sha Po Lang,1,Shake Rattle and Roll,1,Shakti Sounder Rajan,1,Shanjhey Kumar Perumal,1,Shanker Raman,1,Shaw Brothers,2,She Remembers He Forgets,2,She's the Boss,1,Shehjar,1,Shiboprosad Mukherjee,1,Shift,2,Shigeru Umebayashi,1,Shikhar Verma,13,Shikhar Verna,3,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinichiro Ueda,1,Shinji Iwai,1,Shinji Somai,2,Shinji Sômai,1,Shinjuku Swan,1,shinjuku Swan II,1,Shinjuku Triad Society,1,Shinobi no Kuni,2,Shinsuke Ogawa,1,Shinsuke Sato,2,Shinya Tsukamoto,4,Shireen Seno,2,Shirley Abraham,1,Shock Wave,1,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,9,Shotaro Kobayashi,1,Shu Qi,1,Shuna Iijima,1,Shunji Iwai,2,Shutter,1,Shuttle Life,2,Shyam Ramsay,1,Siddiq Ahamed,1,Sidharth Bharathan,1,Sidi Saleh,1,Signature,1,Silent Mist,1,Silver Spleen,2,Singapore,3,Singh Anand,1,Singing Chen,1,Sinophone,1,Sion Sono,10,Siti,1,Sixth Sense Hooker,1,Slavemen,1,Sleep Curse,1,Small Talk,2,Smriti Mundhra,1,Sogo Ishii,2,Soichi Umezawa,1,Solanin,1,Solitude,1,Solo,1,Someone To Talk To,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song Kang-ho,1,Song of the Week,22,Sopawan Boonnimitra,1,Sopon Sakdapisit,1,Soul,1,Soul Mate,1,SoulMate,2,South Korea,24,Sri Lanka,3,Sridevi,1,Srijit Mukherji,8,Stammering Ballad,1,Stanley Kwan,1,Stanley Tong,1,Steel Rain,1,Stephen Chow,1,Stephen Fung,2,Steve James,1,Still the Water,1,Stoneman Murders,1,Story in Taipei,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,4,Subenja Pongkorn,2,Suffering of Ninko,2,Sugihara Survivors: Jewish and Japanese,1,Suicide Club,1,Sukita: The Shoot Must Go On,1,Suman Mukhopadhay,1,Summer Snow,1,Sun-ho Cho,1,Sunao Katabuchi,3,Sunday Beauty Queen,1,Sung-hong Kim,1,Sunk Into the Womb,1,Sushama Deshpande,1,Susumu Hirasawa,1,Sweating the Small Stuff,2,Sylvia Chang,1,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Taiwan,28,Takaaki Hashiguchi,1,Takahide Hori,1,Takahiro Miko,1,Takahisa Zeze,1,Takao Nakano,1,Takaomi Ogata,4,Takashi Miike,10,Take Care of My Cat,1,Take Me to the Moon,1,Take Off,1,Takeo Kikuchi,2,Takeshi Kaneshiro,1,Takeshi Kitano,1,Takuro Nakamura,2,Talop Wangchuk,1,Tamil,4,Tamura Senichi,1,Tang Seng Kiat,2,Tanit Jitnukul,1,Tanvir Ashraf,2,Taste of Rice Flower,2,Tatara Samurai,1,Tatsuhi Omori,1,Tatsumi,1,Tatsumi Kumashiro,1,Teddy Soeriaatmadja,1,Teenkahon,1,Teppei Nakamura,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,21,Thanatos Drunk,1,That's It,1,The Adventurers,2,The Apology,1,The Bad,1,The Blue Redemption,1,The Boy and the Beast,3,The boy from Ipanema,1,The Brink,1,The Chase,1,The Cinema Travellers,1,The Crawler in the Attic,1,The Crazy Family,1,The Day After,1,The Detective,1,The Discloser,1,The Dollhouse,1,The elephant and the sea,2,The Empty Hands,1,The Executioner,1,The Eye's Dream,1,The Forest Whispers,1,The Forsaken Land,1,The Fortress,1,The Gangster's Daughter,1,The Girl Who Never Knew War,1,The Golden Fortress,1,The Good,1,The Great Buddha+,1,The Great Passage,1,The Hole,1,The Hungry Lion,1,The Indian Film Festival of Los Angeles,2,The Inugami Family,1,The Iron Ministry,1,The Island That All Flow By,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Last Executioner,1,The Last Painting,1,The Long Excuse,1,The Looming Storm,1,The Lowlife,1,The Magic Blade,1,The Man Without a Map,1,The Mayor,1,The Merciless,2,The Mermaid,1,The Muse,1,The Naked Island,1,The Name,1,The Net,1,The Night of the Earthquake,1,The Outlaws,1,The Prison,1,The Promise,1,The Raid,1,The Raid 2,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,the Robber's Daughter,1,The Room,1,The Sacrament,1,The Salesman,1,The Seen and Unseen,1,The Shoot Must Go On,1,The Sleep Curse,1,The Snow King,1,The Sower,2,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Suicide Chain,1,The Swindlers,1,The Table,1,The Third Murder,1,The Thousand Faces of Dunjia,1,The Tiger: An Old Hunter's Tale,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Tooth and the Nail,1,The Truth Beneath,1,The Vanished,1,The Villainess,3,The Violin Player,1,The Way We Are,1,The Weird,1,The Windmill Palm Grove,1,Theeran Adhigaaram Ondru,1,Third WIndow,1,This Is Not What I Expected,1,This Is Not What I Expected!,1,Thondimuthalum Driksakshiyum,1,Thop Nazareno,1,Three Sisters,1,Three Times,1,Tiffany Hsiung,1,Tik Tik Tik,1,Tôkaidô Yotsuya kaidan,1,Tokyo Ghoul,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Torico,2,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshihisa Yokoshima,3,Toshimasha Kobayashi,1,Toshio Matsumoto,1,Toshiya Fujita,1,Toshiyuki Teruya,1,Town in a Lake,1,Traces of Sin,1,Trailers,85,Train to Busan,1,Tran Ham,1,Translated articles,1,Trapped,1,Travellers and Magicians,1,Treb Monteras II,2,Trinh T. Minh-Ha,3,Triple Threat,1,True Fiction,1,Tsai Ming-liang,2,Tulsi Ramsay,1,Twenty Two,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Typhoon Club,1,Udine,3,Ulam Main Dish,1,Um Tae-hwa,1,Uma,1,Unbowed,1,Uncovered,1,Up Down and Sideways,1,V.I.P.,1,Vagabond,1,Vaishali Sinha,1,Vampire Clay,1,Vampire Cleanup Department,2,Vanishing Time A Boy Who Returned,1,Vannaphone Sitthirath,1,various,2,Varnyathil Aashanka,1,Verena Paravel,1,Vesoul International Film Festival,20,Victor Vu,1,Vidya Balan,1,Vietnam,6,Vikram Zushi,1,Vikramaditya Motwane,1,Village Rockstars,1,Vimukthi Jayasundara,1,Vinay Shukla,1,Vincent Kok,1,Violated Angels,1,Visitor Q,1,Vital,1,Vitaly Mansky,1,Vivien Qu,1,Voyage to Terengganu,1,Wai Ka-fai,1,Walk on Girl,1,Walking Past the Future,1,Wang Bing,3,Wang Chao,2,Wang Lung-wei,1,Wang Ming-tai,1,Warriors of the Dawn,2,We Make Antiques,1,Weeds on Fire,1,Wei-Hao Cheng,1,Wellgo USA,2,West North West,2,What a Man Wants,1,What A Wonderful Family 2,1,What Time Is It There?,1,Whispering Corridors,1,Whispering Star,1,White Sun,1,Who Killed Cock Robin,1,Whore Angel,1,Wilson Yip,1,Wiman Rizkidarajat,1,Wine War,1,Winter Vacation,1,With Prisoners,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Won Shin-Yeon,1,Wong Chun,3,Wong Jing,2,Wong Kar-wai,2,Woo Ming Jin,1,Wrath of Silence,1,Xaisongkham Induangchanthy,1,Xin Yukun,1,Xu Bing,1,Ya-che Yang,1,Yamato (California),4,Yan Pak Wing,2,Yang Chao,2,Yang Ik-june,1,Yang Jong-hyeon,1,Yang Woo-seok,1,Yao Tian,1,Yash Chopra,1,Yasmin-san,1,Yeon Sang-ho,2,Yes Madam,1,Yeti Obhijaan,2,Yim Soon-rye,2,Yin Liang,1,Yiu-wai Chu,1,Yoji Yamada,1,Yoo Ha,1,Yoon-chul chung,1,Yoonsuk Jung,1,Yosep Anggi Noen,1,Yoshihiro Hanno,1,Yoshihiro Nakamura,2,Yoshihiro Nishimura,3,Yoshimasa Jimbo,1,Yoshinari Nishikori,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,You Losers!,1,Your Name,1,Youth,1,Yu Aoi,2,Yu Irie,1,Yu Sang-wook,1,Yuen Chor,1,Yuen Woo-ping,1,Yuji Shimomura,1,Yûji Tajiri,2,Yujiro Harumoto,2,Yuki Tanada,1,Yukihiko Tsutsumi,2,Yukuhiro Morigaki,2,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yutaro Nakamura,1,Yuya Ishii,2,Zakka Films,2,Zen,1,Zhang Lu,1,Zhang Nan,1,Zhang Yimou,1,Zig Dulay,1,Zombiology: Enjoy Yourself Tonight,1,Zoo,1,Zuairijah Mou,1,Zuri Rinpoche. Bhutan. Five Flavours,1,
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Asian Film Vault: Interview with Edmund Yeo: My films are generally quite personal, either they are based on my memory, or personal observations of the world around me during that particular moment of my life
Interview with Edmund Yeo: My films are generally quite personal, either they are based on my memory, or personal observations of the world around me during that particular moment of my life
We speak with Edmund Yeo about his Best Director Award, Aqerat, his career and many other topics
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Asian Film Vault
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