Singapore dreaming

Singapore dreaming (2006)

美满人生

Poh Huat, employé d’un cabinet d’avocat consacré aux saisies judiciaires, vit avec sa femme Siew Luan dans un complexe de logements sociaux de Singapour. Leur situation financière instable, ils la doivent à l’endettement provoqué par les études de leur fils Seng, envoyé à l’université aux États-Unis pour concrétiser les rêves cumulés de la famille. La petite amie de Seng, Irene, vit avec ses futurs beaux-parents ; lui collectionne des images de voitures et appartements qu’il découpe dans le journal, elle s’accroche au thé traditionnel qu’elle a toujours préparé pour les siens, de façon presque obsessionnelle.

Date de sortie
2006-09-07
TMDB
6.6 / 10 (12)
Durée
1 h 45 min
Genres
Drame, Comédie
Réalisateur
Colin Goh, Joyceln Woo Yen Yen

Distribution

Anecdotes

Singapore Dreaming is a 2006 Singaporean drama film. It follows the Loh family, a typical Singaporean working-class family, through their aspirations and dreams for a better and affluent life and the reality that would make it difficult for them to fulfill these aspirations.

Production

The film was a number of firsts in the film industry; Singapore Dreaming was the first Singaporean film to be digitally encoded and projected. It was also the first collaboration between Singaporean and New York film-makers; the Director of photography Martina Radwan, editor Rachel Kittner and sound designer Paul Hsu were based in New York, along with the production staff, while composer Sydney Tan was based in Singapore.

Singapore Dreaming was an independent, low-budget production, costing only S$800 000 in total to produce — 80% of which was raised by Executive Producer Woffles Wu. The film was Woffles Wu's first production, and the Colin Goh–Woo Yen Yen team's second. The rigors of production forced Producer Woo Yen Yen to take a no-pay leave from her job as an assistant professor.

Filming began in August 2005, with the scenes in the house shot in an actual 3-room HDB flat in a bid for authenticity. This led to situations in which the cast and crew had to squeeze into the rooms in the small flat for hours on end. The team also had to endure heat and stuffy conditions, especially during the scene in which the family shared steamboat in the living room.

In an attempt at authenticity and realism, the producers allowed the characters speak in a mix of Hokkien, English and Mandarin, in the typical Singaporean manner. The film would later be subtitled in English and Mandarin during post-production so that the audience would be able to understand the characters' lexicon without knowing how the average Singaporean speaks.

Unlike in larger productions, the team of directors had to assume numerous roles during the independent production, some of which included the transportation of furniture and buying drinking water for the crew during the shoot. Colin Goh and Steven Chin, the assistant director, also had to take the unusual step of staging a fight to distract curious passers-by and prevent them from gathering round when they were shooting a certain scene.

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