Go Contents

Projects

Soul Searching
Soul Searching
  • Production CountryCambodia
  • Production CompanyBLACKCROC PRODUCTIONS
    www.blackcrocproductions.com
    DANCING RAINS
    www.dancingrains.co
  • GenreComedy-Horror
  • Production Spec4K I Color I 100min
  • Expected Completion DateJuly 2020
  • Total Buget (Negatice Cost)300,000 USD
  • Confirmed Financing20,000 USD
Logline
A psychic man must battle fate and foul-play to help an amnesiac ghost uncover the mystery behind her death.
Synopsis
Soul Searching is a supernatural crime comedy-horror set in present-day Phnom Penh, Cambodia. Our hero Visal is a student who feels cursed by his innate ability to see and hear ghosts. He struggles to cope with his ‘gift’, which so far has brought him nothing but misfortune. Visal’s family is in financial difficulty, so when a childhood friend offers to pay for Visal’s help to get rid of a stubborn, stalking ghost, Visal reluctantly agrees. He doesn’t realize what he has let himself if for. The young female ghost following his friend has completely lost her memory and finds herself stuck in the world of the living, cursed to wander forever unless she can resolve her ‘unfinished business’. Teaming up with a bumbling veteran-policeman ghost, Visal begins the search for the female ghost’s identity, her story, and the horrifying truth behind her death. Along the way, Visal will have to embrace his misfortune, face down his demons, and fight for what’s right. The journey will change him and his family forever.
Development Idea
When the idea of a story of a psychic came up, I thought it had to be further developed into an interesting story. Personally, I’ve come across people, in different points of life, who claim to certain extents, able to sense spirits or having the soul temporary leave the body, which I find fascinating. Often stories like these triggers our imagination to run wild, to go further than what our normal senses can detect, giving it an approach to create refreshing story ideas. ‘Soul-Searching’ is told from the point of view of our protagonist. It has a nice flow, plot-driven and a whimsical tone to it, which can be appreciated by many audience in the region, who more or less share common spiritual belief. A universal theme of the story is ‘Being at peace with oneself by embracing utilizing what we have.’ Taking our protagonist as an example through his soul-searching journey to embrace and make peace with his psychic ability, which he had all his life regarded as a curse. Meanwhile, touching on some social issues and other subtexts, without taking itself too seriously. From being involved with the story development to writing the screenplay, it’s allowed me to visualize and feel the story first-hand. I’d like to translate the screenplay into a movie that the audience can enjoy. The film will attract the attention of the audience with its intriguing, fascinating, eerie at parts, yet sprinkled with humors scenes. The film will go towards horror at times and then back to comedic scenes. Spirits will be shown in their default semi-solid forms, and an energy-demanding solid form that resembles their corpses. The latter is required before they could interact with the living world with their spiritual abilities, such as haunting and telekinesis.
PHICHITH Rithea
Producer

PHICHITH Rithea

ritheaphichith@gmail.com

Rithea has worked in the film industry since 2009 as he switched from his medical studies,
to pursue his desire in arts and storytelling. Ever since, his roles have varied from assistant director,
camera operator, editor, casting director, director to producer on various scales of productions.
Those projects had him as Co-Producer in Kon Khmer Koun Khmer lm collective’s “Pram Ang” (2014-2016),
Casting Director for small roles and extras in Regis Warnier’s “The Gate” (2014),
and Associate Producer in Angelina Jolie’s “First They Killed My Father” (2016).
CHEA Sokyou
Director, Writer

PHICHITH Rithea

cheasokyou@gmail.com

Sokyou completed her BSc in Physics at the University of Manchester, UK, before returning to her native Cambodia in 2013,
where she set about educating herself in film and theatre.
Her debut Cambodian language short film The Ride made it all the way to the finals of Tropfest SEA 2015,
and since then she has worked on a variety of personal and commercial projects for government,
private and non-governmental organisations, both on screen and stage.
She has a passion for screenwriting and directing, as well as the newly re-emerging theatre scene in Cambodia.
Zara
Zara
  • Production CountryIndonesia
  • Production CompanyRASY FILMS
  • GenreDrama
  • Production SpecHD I Color I 95min
  • Expected Completion DateJune 2019 Development, Early 2020.
    August 2020 Production,
    November 2020 Release.
  • Total Buget (Negatice Cost)402,082 USD
  • Confirmed Financing10,000 USD
Logline
A religious girl has to marry a guy that raped her in order to save her family name.
Synopsis
I’m writing about a religious girl, Zara, whose life is changing when she get raped by her friend, Gilang. Two months later, she finds out that she’s pregnant. She tells her family. She hopes her family will help her to report to the police, but that’s not what she gets. Her family forces her to marry Gilang in order to save her family name and get a birth certificate for the child. She’s a good daughter, so she agrees with it. Every day, she has to face the fears and overcomes her trauma. She tries to love Gilang. She finally accepts everything. 3 years later, Gilang comes home and says that he finds a woman that he really loves. He asks the permission to Zara if he could make her as a second wife. The other woman already agreed about that. After what she did, it really hurts for her. So she goes to the police one day to report what happened about the rape 3 years ago, but the cops don’t believe in her. Then she goes to her family because she wants a divorce. The family doesn’t agree and asks her to agree with the polygamy. Ana doesn’t have a choice, so she says yes.At the night before Gilang gets married, she enters the bedroom. She ties Gilang and cuts his penis and then runaway with her child.
Development Idea
The idea came from the writer’s teenage friend when she lived in Bandung. She recalled this memory during her study in New York Film Academy and started to develop the story. She tried to collect the information as much as possible, but because this subject is really hard to talk about, the information was very limited. Her friend got raped and then she had to marry the rapist because she was pregnant and her father asked her to. The father made that decision in order to save the family’s name. This kind of thing is not only happened to Zara, but also to thousands of women in Indonesia. Patriarchy always becomes a problem for women, not only in Indonesia, but all over the world. It has happened since people make patriarchy culture as foundation of our life values. The idea of this film is we can fight the patriarchy values and the culture if we do it together. Women have to stand side by side, support each other, in order to make it work. Because in the end things like religion or law can’t win over our love to each other.
Rina Yanti Harahap
Producer, Director

Rina Yanti Harahap

rinayantiharahap@yahoo.com

Rina Yanti Harahap is producer/director and lecturer based in Jakarta, Indonesia.
She got a bachelor degree from Jakarta Institute of Arts and master degree from Indonesia Institute Of The Arts Surakarta.
Now, she’s pursuing her doctoral degree at Indonesia Institute Of The Arts Surakarta.
Rina teaches at Jakarta Institute of Arts, Binus University and she is founder of RASY Films (Production Company)
that built in 2010. Her works includes Lilly Of The Valley (Short Film, 2019),
Nikah Yuk (Feature, 2018), The Publicist (VIU Original Series, 2017), Surat Cinta Untuk Kartini (Feature, 2016),
3 Dara (Feature, 2015), La Tahzan (Feature, 2013). She also worked for commercials, music videos,
short films and documentaries.
Devina Sofiyanti
Director, Writer

Devina Sofiyanti

Devinasofiyanti5@gmail.com

Devina Sofiyanti is a lecturer and professional scriptwriter based in Jakarta, Indonesia.
She graduated from Jakarta Institute of Arts and New York Film Academy.
Currently, she’s teaching film at Jakarta Institutes of Arts and Binus University.
Her works includes: Tiga Pilihan Hidup (Feature, 2016), Sore (Web Series, 2018), Rewrite (VIU Original Series, 2019).
She also writes for documentary and short film.
Her shorts have been screened in film festival or exhibition in Italy, London, Argentina, etc.
Besides Zara’s project, Devina is working on a series with Garin Nugroho for VIU Original Series.
Unpaved Road
Unpaved Road
  • Production CountryKorea, Thailand, Myanmar
  • GenreThriller–Character Drama
  • Production Spec90min
  • Expected Completion DateMarch 2020
Logline
An 8 year-boy, Sud, who was sold to a terrorist group due to family’s deep financial problems, suddenly returns home after three months. While secretly preparing for a suicide bomb attack, he also meets his first love.
Synopsis
One day, a boy, Sud, who was sold to a terrorist group comes back home suddenly. His mother and sister welcome him but his father angrily tells him to go back. Tension escalates into a heated argument between Sud’s parents, and Sud leaves the house to follow the sound of children playing. He spots a girl, Chula, being bullied and decides to help her. They bond over the incident and quickly become friends. Sud’s father seeks the terrorist group to figure out why Sud was sent back home, only to realize that Sud is assigned to be the courier of a suicide bomb attack that is scheduled to take place the next day. The terrorists threaten Sud’s father not to disclose this information to anyone, or else his entire family would have to suffer severe consequences. Meanwhile, Sud’s mother goes to the market to buy food to celebrate her son’s return and finds out that a new school year at the local middle school will start the following day. She decides to send Sud to school instead ofsending him back to the terrorist. Sud’s sister also tries to escape from her small town but realizes that she’s not able to find any sustainable job there other than prostitution. All family members actively try to escape poverty but there’s nothing they can do. Sud is confident that he could trust Chula and shows her the bomb vest that he was provided by the terrorist group. He then tells her what he will be doing with it the next day. However, Chula seems like not to understand the meaning of death and tells him how cool the bomb vest looks on him. Next morning, Sud puts on his bomb vest and quietly leaves for the town marketplace to execute the suicide bombing. By the market’s entrance, Sud strares a Coca-Cola billboard ad where he sees a picture of Chula having dinner with her family. We learn that Sud did not have anyone to talk to regarding the suicide bomb attack plan, so he had made up a fake character who he could talk about his inner struggle. Sud runs towards the market with a bomb vest strapped to his body.
Development Idea
Sud’s family comes across an opportunity to confront the idea of being freed from poverty as their youngest comes back to them from the hands of the terrorist group. Each family member struggles to fight against the fierce reality of poverty but no one is able to escape from it. In contrast to the harsh reality that his entire family has been trying to overcome, Sud comes across a chance to fall in love with a girl of his dreams and spends a dreamlike day with her. However, we discover that the girl, Chula, was only a figment of his imagination, created by his traumatized young mind to avoid the unforgiving reality that he is unable to escape. Sud faces a series of events that are too overwhelming for such a young child to grasp, and suffers through severe PTSD in this film. We are forced to face a young boy grappling with a level of maturity more burdensome than even the other older characters in the film must encounter. In the film, we cannot predict the reason why Sud could commit a suicide bombing. We see the characters obsession with Western culture and products, and how difficult it is for the characters to reconcile their impoverished lifestyle with slick idealized ads and globalization they are inundated with. I also sympathize with the conflict of how it must be to lose people fighting for a cause, one that is not entirely acceptable to others, even within our character’s own family. I want to portray how our world’s pursuit for money and an idealized material lifestyle has effects that echo through society in harsh and consequential ways, in some societies more extreme by far. Through this film, I would like to depict the inhumanity of man to show victims of capitalism and the toxic effects of greed as it collapses a family submerged in poverty.
Natchapon PURIKANANOND
Producer

Natchapon PURIKANANOND

Natchapon.psa@gmail.com

Natchapon Purikananond With a decade of experience specializing in the post-production of feature film industry,
Natchapon takes active role as a Post Production Supervisor oversees and coordinates the entire job process,
makes sure the operation runs smoothly and successfully. During his service at Technicolor Bangkok as
Senior Director of Sales & Marketing, he brought Technicolor expertise and its services to Asian Independent
filmmakers and at the same time handled Hollywood major studio clients for the region.
He also involved in supervising in-house producer for feature film projects for both customer groups.
On the production side; he is actively working with film & TV professionals producing numbers of contents
for various platforms.
JUNG Seunghoon
Director

JUNG Seunghoon

teenduck@gmail.com

Seunghoon Jung majored in visual arts and film at the University of California San Diego.
His first short narrative film, ‘Temptation’, was nominated as best short film at the Monaco Film Festival in 2012.
‘Contemplations on Sadness: An Omnibus Film’ created by Seunghoon addressed the nature of sadness affecting
humans, aired on PBS. After finishing a mockumentary film, ‘The Fourth World’ with National geographic in Korea,
Hoon is focusing on making his first feature ‘Unpaved Road’, currently in pre-production.
Fruit Gathering
Fruit Gathering
  • Production CountryMyanmar
  • Production CompanyTHIRD FLOOR FILM PRODUCTION
  • GenreDrama
  • Production Spec4K I Color I 90min
  • Expected Completion DateLate 2021
  • Total Buget (Negatice Cost)287,700 USD
  • Confirmed Financing48,000 USD
Logline
When a lonely garment factory worker, troubled by her conflicted childhood and emotional insecurities, establishes the bond with a girl with financial problems, their relationship of love and hatred is created which is redefined and destroyed along the way.
Synopsis
San Kyi's (19) father passed away when she was young. Her mother, Ei Ei Khin (45) left the country and worked as a maid to support the family. San is left with her parental grandmother. Failing her matriculation exam twice, San joined the garment factory as a tailor. After long years abroad, Ei came back and worked as the maid agent. Meanwhile, San gets to know a new worker Theint Theint Oo (25) at the factory and the friendship is initiated by the latter and established. San who is an introvert and never has any friend, starts taking the friendship more and more seriously. Theint was the mistress of the supervisor at the brick factory and supported her big family. When the supervisor’s wife accused her by the Special Marriage Law, she lost her job. She managed to find the employment at the garment factory where San works. Theint wants to hide her past and tries hard to make her ends meet by any possible way. Although she feels the trust and friendship by San, she cannot reciprocate San's obsession. Their friendship gradually drifts into a darker dimension of emotional torture. On the other hand, San’s mother Ei wants to make her daughter’s future secured by the traditional arranged marriage to an older man with financial stability. San is in hesitation. But things take a different turn for her when her grandmother passed away and Theint made the decision to work abroad and leave her.
Development Idea
From the start of our production, we strongly believe that we need the cinema to reveal our own local world with the truth and idiosyncrasies so that it could cross over to become universal. “Fruit Gathering” depicts the hope and dream of different generations of low-middle class Burmese women, struggling with life and reconciling the conflicts within themselves, in a country that has just gone through the social and political change to catch up with the rest of the world.We are looking for the training on the script, story structure as well as for pitching. And for international exposure such as networking with filmmakers, film business professionals and potential collaborators, etc. Professional feedbacks from various groups such as producers, script experts and filmmakers which would open up the new perspectives on the project. It would be helpful on the preparation for future development and fundraising for the project.
Thaiddhi
Producer

Thaiddhi

thaiddhi@gmail.com

Since 2005, Thaiddhi has been attending various filmmaking workshops,
aside from his studies on film studies at University of Arts and Culture, Yangon.
He started to work as an independent documentary filmmaker.
Later he received the scholarship at FAMU in the Czech Republic
for the 3-year master degree program in Cinema and Digital Media.
His first short film “Awake” won Best Short Film at FAMU Fest 2009.
In 2011, he co-founded Wathann Film Festival which is the first independent film festival in Myanmar.
Together with Thu Thu Shein, he co-founded the Third Floor Film Production in 2013.
Aung PHYOE
Director, Writer

Aung PHYOE

aung.phyoe06@gmail.com

After finishing his B.Eng. from Nanyang Technological University, Singapore,
Aung Phyoe earned a diploma in editing from Whistling Woods International, India.
He directed a short film, “Seasonal Rain”, which was screened for Open Doors Screening at 71 Locarno Film Festival.
His feature film project "Fruit Gathering" won the Jury Prize at Myanmar Script Fund in 2017 as well as
the Autumn Meeting Grand Prix in Vietnam. In 2018, he co-founded “3-ACT Cinema Magazine”,
which promotes cinema education and national cinematic heritage in Myanmar.
In 2019, he directed his second short film titled “Cobalt Blue”.
Devils in Paradise
Devils in Paradise
  • Production CountryThe Philippines
  • Production CompanyBLEUCALOGUE PICTURES,
    IMOORTALS PRODUCTION
  • GenreDrama, Horror
  • Production Spec4K I Color I 90min
  • Expected Completion Date MAY to JUNE 2020 PREPRODUCTION,
    JULY to AUG 2020 PRINCIPAL PHOTOGRAPHY,
    AUG 2020 to DEC 2020 POST PRODUCTION
  • Total Buget (Negatice Cost)300,000 USD
  • Confirmed Financing65,000 USD
Logline
Arkadia, a Philippine mythological Aswang leader, gives away her supernatural powers to settle down with a mortal lover. Her retirement is disturbed by a new priest who violates an ancient peace pact and leads a mass execution against her aswang sisters.
Synopsis
The aswang are shapeshifters who can turn into powerful werebeast-like creatures that can move in incredible speeds. For centuries, they have been servants and protectors of the Filipino people (then Maharlikans) in 1800s Philippines. The aswang and Spanish priests who oversaw the city of Cagayan de Misamiz made a pact to protect a hidden treasure and keep the peace. However, the Head Priest, Father Jaime, has died and his successor, Father Nicolas, aims to find this treasure for his own interests. Arkadia, the aswang leader, intends to finally settle down and live with her lover, Gau, a local shaman, and their daughter and heir to the aswang clan, Sehana. Arkadia is forced to set these plans aside in order to confront Father Nicolas who has accused the aswangs as malicious and evil. A mass execution ensues and all suspected aswang are killed. Arkadia escapes with Gau and her heir, Sehana. However, it would be only a matter of time before Father Nicolas catches up with them and kills Gau and Sehana. With nothing left for her in this world and in a desperate attempt to get even with the evil priest, Arkadia unleashes her wrath upon Father Nicolas with a dark magic curse that requires her to sacrifice herself and a life bound to her by blood; her unborn child.
Development Idea
With this film, I want audiences to see that people can be more monstrous than the monsters they condemn. I want them to take a second look at our history and see how our views of the Aswang (considered the Filipino version of Europe’s witches and vampires combined) and Babaylan (witch doctor and wise man) culture were unjustly demonized by the Church in order to push Christianity among the people. I want them to see the execution of the Aswangs and Babaylans not as justice served but rather as acts of martyrdom. I want to ask the audience the question, “Who is the real monster then?” In this film, I want to showcase Cagayan de Oro and its epic landscapes. The river is also a big symbolic location and central to the story. I want to show all these landscapes in their full glory while only using mostly natural lighting as much as possible. The film is very quiet as I intend to give the audiences a certain feeling of dread and mystery to tension and anticipation.
Benjamin PADERO
Producer

Benjamin PADERO

ben.padero@gmail.com

Benjamin Padero is a production designer for film, theater, and tv commercials for 15 years.
He has collaborated with Brillante Mendoza, Bianca Balbuena, Bradley Liew, Erik Matti, Jerrold Tarog, Pepe Diokno,
and Paul Soriano, to name a few. Joe Bacus’s “Mga Yawa sa Paraiso” would be Ben’s first foray into full-length producing.
Joeromer BACUS
Director

Joeromer BACUS

imoortalsproduction@gmail.com

Joe Bacus is a Gawad Urian nominee and Salamindanaw award-winning fillmmaker based in Cagayan de Oro City.
He directed the short film, ”Happy Fiesta,” which premiered at the 28th ExGround Film Festival in Wiesbaden,
Germany in 2015. His films have been screened and won in national and international film festivals
including Landshuter Kurzfilm festival (Deadline Award) in Munich, Cellulart Film Festival in Jen Germany,
and FACINE in San Francisco, California, USA. His debut full-length feature film "Markado" premiered at QCinema
International Film Festival (2018) and will have its Asian premiere at Fukuoka International Film Festival (2019).
Basketcase
Basketcase
  • Production CountrySingapore
  • GenreDrama, Comedy
  • Production SpecHD
  • Expected Completion DateEnd 2020
  • Total Buget (Negatice Cost)500,000 USD
Logline
An eccentric old man, who claims he can see ghosts, starts preparing for his funeral after he has a vision that he will die in 7 days. When his granddaughter is forced to look after him, they form an unexpected bond during their journey to complete his bucket list.
Synopsis
Grandpa Richard claims that he can see and talk to ghosts. Since his wife’s death two years ago, he has been wandering around alone, talking to imaginary friends. One day, he has visions of his own death, which will happen in 7 days. He starts planning his funeral and gets very excited to see his wife again in the afterlife. His son Mark has always questioned Richard’s outrageous ghost stories. Mark assigns his teenage daughter Kimmy to look after Richard, since it’s her school vacation. Kimmy is unwillingly dragged along as the eccentric Richard goes on a journey to complete his bucket list: Buying a coffin, arranging his funeral, eating junk food, and taking selfies with invisible ‘friends’. They have trouble getting along. They meet a woman whose daughter committed suicide at a rooftop. The woman breaks down in tears after Richard reveals intimate details about her dead daughter. Kimmy starts to wonder if Richard is telling the truth. Richard continues to have visions about his death. He starts sleepwalking and wakes up in the middle of the street. A car knocks him down. Richard survives but his near-death experience gives him a wake-up call. He confesses to Kimmy that he actually lost his ‘third eye’ after Grandma died. He cannot locate her and doesn’t want to ‘cross over’ alone. Having now formed a bond with grandpa, Kimmy must fulfil the last item on his bucket list: Visit the opera-house where he first met Kimmy’s grandmother. Can he find closure?
Development Idea
Years ago, I lost someone very close to me. Death is taboo in our society. It’s something we don’t really discuss and plan for. It was a difficult time dealing with something so unexpected. I’ve since asked myself this question: How much time do I have on earth, and would anything change if we knew when we were going to die? While filming my last movie, I met a crew member who claims he can communicate with ghosts and has the ability of the ‘third eye’. All throughout his life, few people believe him. Even his mother tries to avoid the topic. Inspired by my experience, I decided to write this comedy Basketcase. It is a buddy movie between an old man who claims he can see ghosts, and a young teenager who doubts the existence of the afterlife. Basketcase is a story about ghosts, but it’s not a horror movie. It doesn’t show any ghosts and spirits. Do ghosts really exist? I don’t know the answer, but making this film is on my bucket list. Hopefully it can provide answers to other important questions about love, mortality and treasuring our loved ones.
CHEN Yanli
Producer

CHEN Yanli

chen.yanli@gmail.com

Yanli Chen is a producer-writer based in Singapore.
In 2005, Yanli won the Merit Award at the PANASONIC-MDA National Scriptwriting Competition.
She was a writer on the Singapore animated series, NANOBOY, which aired in UK and USA.
She also produced HYMNS, a music video for acclaimed Singapore band Rudra,
and nominated for Best Art Direction in Singapore Short Film awards.
Yanli was awarded the Nanyang Scholarship to study Mass Communications, specialising in film and market research.
Yanli produced HOMEGROUND, recipient of the POSB Storyteller’s Grant, and helped develop ZOMBIEPURA,
Singapore’s first zombie movie which was sold to Korea’s Contents Panda.
Director

Jason Wenhao TAN

jacen@hosayweood.com

Jason Wenhao Tan is the writer-director of Singapore’s first zombie movie,
Zombiepura, which was released in cinemas in 2018.
He combined his love for horror comedy and his experiences from serving in the army to make his first feature film,
about a zombie outbreak in an army camp.
Zombiepura has since been sold to Contents Panda, producer of Train to Busan for the Korean market,
and GSC Movies for Malaysia, Brunei, Indonesia, Vietnam, Cambodia and Myanmar.
It premiered at Scream Asia Film Festival in Oct 2018,
and will showcase in North America at the New York Asian Film Festival in 2019.
Causeway
Causeway
  • Production CountryMalaysia
  • Production CompanyNINJIA PRODUCTION
  • GenreDrama, Fantasy
  • Production Spec4K I Color I 90min
  • Expected Completion Date 2017 Jan – 2021 August - Script Development, Script Lab
    2019 Jun – 2021 Nov - Grants & Fund Approaching
    2021 Nov – 2021 Dec - Principal Photography
    2022 Jan – 2022 Mar - Post Production
    2022 Mar Onwards - Film Festival Plan
  • Total Buget (Negatice Cost)483,787 USD
Logline
Two migrant workers discover their emotional desire when stuck in a surreal moment in the nations border,
but they are confused with the rapid changing home in Malaysia, as well as their identity.
Synopsis
A serious office clerk Ann meets Ben, a new clumsy, easy going machine operator, this two young workaholic. Malaysian works in a Singaporean machinery company, traveling back and forth between the nation borders of Causeway daily. They didn't talk much to each other until the day when their company announces bankruptcy, and even worse when their journey back to Malaysia becomes endless. A tiger escaped from the Malaysian zoo causing the immigration custom closure and stuck Ben & Ann in the Causeway. Together with few other Malaysian workers, they all prohibited to enter both sides until further notice. These workers spend their night in this bridge but finally can breathe relaxingly, enjoying to sing and dance, setting up campfires within. Ben & Ann are ties up the bond and explore their own desires besides earning money. Their happiest dreamy moment ends up at dawn when thousands of workers from Malaysia are waiting to cross it. Borders are reopens again, the jobless Ben & Ann slows down their rhythm to observe their homeland in Malaysia. Old buildings, cemeteries are being torn for the new development in Johor Bahru. When they try to escape from the chaos, they fell into another trap of spending their money in the new rise commercial buildings. As their pockets are empty again, they still choose to work in Singapore, with three times bigger currency than the Malaysian ones, and crossing their most familiar Causeway.
Development Idea
The film explores young people pursuing their carrier so hard but often forgets about their own emotional desire, identity and value of life. Today migrant worker & nations border issues becomes globally, although the background of Causeway is regional, but we hope the story can relate to everyone. Through exploring the character’s personality & sensual emotions, we are aiming to create an art house film that is reflecting many people’s real life.
LIM Shu Jia
Producer

LIM Shu Jia

shujia.lim@gmail.com

Shu Jia has been working as producer and casting manager for several Malaysian productions.
She was an in house producer in Dreamteam Studio and produced 3 films.
Currently forming her own production company NINJIA PRODUCTION,
she is connected with many local talented actors/artists in Malaysia.
As a less experienced producer in international co-production,
Shu Jia would like to explore more and different variety films to shape a new Malaysian cinema.
AW See Wee
Director

AW See Wee

awseewee@hotmail.com

Born in Johor, Malaysia, See Wee studied filmmaking in National Taiwan University of Arts.
His film as director mostly focuses on humanities, relationship as well as social phenomenon.
Based in Kuala Lumpur, See Wee also did his work as AD, cinematographer and sound.
See Wee is currently developing his feature film and mean time exploring more possibilities on short film and
other forms in cinema.
Judy Free
Judy Free
  • Production CountryThe Philippines
  • Production CompanyCINEMATOGRAFICA
    http://gudweb.de
  • GenreDrama, Coming of age
  • Production Spec4K
  • Expected Completion DateQ2 2022
  • Total Buget (Negatice Cost)349,719 USD
  • Confirmed Financing10,000 USD
Logline
A young girl’s reality is intruded when her father who has been away for almost a decade suddenly comes home as an animated doodle figure.
Synopsis
Set in the early 2000s, nine-year old Judy lives in a small apartment in Manila with her mother Eden, her older brother Tonton, and her grandma Sene. Her father has left home ever since Judy can remember. Now that he comes back as an animated doodle figure, will Judy finally get to know her father in the course of his one-month stay in the country, or will his longtime absence take its toll on their family’s relationship?
Development Idea
In 2017, the Philippine Statistics Authority estimated that approximately 2.3 million Filipinos worked or resided abroad. Poor employment and economic conditions push Filipinos to look for jobs outside their own country. My father is one of them. I grew up not having a father by my side, both on normal days and sometimes on special ones. The phenomenon of the Filipino diaspora will be tackled in our film Judy Free, viewed from the eyes of a child left behind.
Tiara Katlyn Beatriz Orig SAMSON
Producer

Tiara Katlyn Beatriz Orig SAMSON

tiaraorig@gmail.com

Tiara Katlyn Beatriz Orig Samson is a young producer from the Philippines.
She is a graduate of the Bachelor of Arts in Film program of the University of the Philippines Diliman.
Beginning of her work during her undergraduate years,
she has worked as a producer for several short films and
two upcoming features and hopes to bring them into the Philippine and international scene.
At present, she is working under Cinematografica Films, a company that specializes on international co-productions.
Jean Cheryl Dizon TAGYAMON
Director

Jean Cheryl Dizon TAGYAMON

cheryl tagyamon@gmail.com

Jean Cheryl Dizon Tagyamon is a short film director and editor.
She is an alumna of Berlinale Talents 2019 and Busan Film Commission’s FLY program where she was given
the Best Fellow Award in 2017. Her short films Mumu and Lola Loleng have screened and competed in both
local and international film festivals.
Within Hours
Within Hours
  • Production CountrySingapore, Myanmar
  • Production Company23 FILM COMPANY
    KEFKA FILM PRODUCTION
  • GenreRomance, Social drama
  • Production Spec4K I 100min
  • Expected Completion DateFebruary 2021
  • Total Buget (Negatice Cost)500,000 USD
  • Confirmed Financing100,000 USD
Logline
After her husband dies, an 80-year old woman considers joining him in death. But when their home is slated for demolition, she feels that she must try to save it.
Synopsis
Charlotte and Charlie have been married for more than 60 years yet are just as loving and deeply affectionate towards each other. But straddled with medical bills and rising costs of living, the couple goes out to work by collecting cardboard boxes. When Charlie gets into an accident, Charlotte struggles to take care of him and he eventually dies. Heartbroken at being left behind, she is determined to be reunited with him. However, the impending demolition of their homes inevitably affects the residents’ lives. Aaron, the officer assigned to the project, befriends a little girl Frankie to win the affections of her sister Faith, and gets more than he bargained for. But Charlotte, now armed with a newfound purpose, embarks on a journey to save the home that she and her husband had built a lifetime of memories in.
Development Idea
The romantic stories of childhood sweethearts in love for their whole lives are timeless. But what happens when one dies and the other gets left behind? Through this story, I want to explore the concept of love – its definitions, limitations, and eternality. In a city more known for its competitive economy, there are beautiful stories of love that stand the test of time. Set in Singapore with a growing aging population, the story centres around the struggles of growing old alone in a world where the past easily gets destroyed to accommodate the new, the young and the exciting. As a Singaporean who has had to struggle with stagnant salaries amidst rising costs of living, witnessing historical buildings demolished for more economically viable structures, and increasing divorce rates in the country, this is a critical story of love in a time of loss, in more ways than one. Contrasting between the past and future of Singapore are younger supporting characters who also struggle with the rising costs of living, as they question the structure they’ve grown accustomed to and start to navigate a balance between their professional and personal lives. Just as important are the stories of women across ages and backgrounds as central characters that are interesting, complex and memorable
Soe Arkar HTUN
Producer

Soe Arkar HTUN

soearkarhtun@gmail.com

Soe Arkar Htun is an up and coming film producer from Myanmar. He counts among his credits,
the short film The School Uniform (ONE Country ONE Film 2018) and web series Piti (2018).
As director, A Political Life was nominated for Best ASEAN Documentary at Salaya Documentary FF and won the
Silver Comma Award at Alpavirama IFF. A graduate from Yangon Film School,
he also graduated with the BFC Award from Busan Asian Film School in 2018.
He is currently also developing the feature film Mangoes are Tasty There
(Open Doors Locarno Lab, Southeast Asian Film Lab 2018, SAFF 2017).
Jordan Katherine SEE
Director

Jordan Katherine SEE

Jordan@23filmcompany.com

Jordan Katherine See is an experienced director producer who has worked in film, television and social media.
One of the short films she directed for the Singapore Memory Project was met with viral success.
Networks she has directed/produced for include NGC and Discovery.
As producer/writer, The Bus was screened at the LA Shorts Fest, Short Shorts Asia and Asiana IFF, etc.
She is the screenwriter for The Violinist (Annecy Festival Mifa Pitches and Animation du Monde 2019, SAFF 2017)
and she graduated from Busan Asian Film School (2018) with a Special Award for excellence in project development and
project pitching.
Solids by the Seashore
Solids by the Seashore
  • Production CountryThailand
  • Production CompanyDIVERSION
    www.diversion-th.com
  • GenreDrama
  • Production Spec4K I Color I 100min
  • Expected Completion DateDecember 2020
  • Total Buget (Negatice Cost)710,000 USD
  • Confirmed Financing66,000 USD
Logline
In a corrupted southern Thai town struggling with its major environmental damage, a young Muslim woman is facing an inner struggle against the imposing wall of her cultural and religious background, as she develops a relationship with a female artist from out of town.
Synopsis
Shati is a young muslim woman in Songkhla, south of Thailand. She is a published poet currently struggling with a writer’s block. One day, on a once-sandy beach which is now completely replaced by artificial concrete seawalls, she meets Fon, an artist from Bangkok in town for her arts exhibition about coastal erosions – an ongoing environmental crisis in the region. The relationship between the two women progresses – in parallel to Shati’s nostalgic recalls of childhood tales she has been told by her beloved grandmother, who is currently lying in a coma. As Shati slowly realizes the gravity of her feelings for Fon, she cannot avoid facing an inner struggle between her own desires and what she has been taught to believe in her culture to be sinful. The condition of Shati’s grandmother gravely deteriorates, and she is removed from the life support machine.
During the darkest hours of Shati’s life, Fon mysteriously disappears, leaving her suspended in a limbo of longing — until they reunite in a clash of emotions that results in the liberation and acceptance of both their identities. Following the abandonment of Shati’s religious belief, a series of ominous and otherworldly events start to occur – strangely resembling her grandmother’s old folklores. A hail of meteors fall from the sky. Dark shadows permeate the town. Reality and faith seem to collide and become inseparable. Monsoon season arrives, a moment for Shati to fight her internal turbulence and choose between reconciling with her faith, or continuing on her own path.
Development Idea
I remember it vividly, the moment I heard the Songkhla mayor was killed.
I had been spending a lot of time in the south shooting documentaries about coastal erosion – a controversial problem in the region where a lot of tax money was spent in building endless artificial seawalls, permanently destroying the city coastline. The city mayor was the only official trying to stop the corruption, and he paid a heavy price. A lot of my friends in the south also became my inspiration for the screenplay. Many of them are Muslim and gay. While there is no official persecution, they always have to remain vigilant not to cross the invisible line. Despite Thailand’s liberal image, discrimination is shockingly real and apparent.
I piece together these various notes and life experiences from: my filmmaker and social activist background, my own experience receiving prejudice and discrimination, my personal loss of someone I was close to, and the old tales and folklores my grandparents used to tell me in my childhood – and combine them with those of my friends’ I hope, as in my character Shati’s trajectory, my film can play its part in tearing down artificial walls, and opening eyes.
Producer

Chatchai CHAIYON

yeesokco@yahoo.com

Mai MEKSAWAN

maimeksawan@gmail.com

Patiparn BOONTARIG
Director

Patiparn BOONTARIG

ittpatiparn@gmail.com

Patiparn Boontarig graduated in Film and Photography at Thammasat University in Bangkok,
and has worked on a number of shorts and documentaries as director and screenwriter.
His latest short A Space Between the Ocean and Me (2015) was selected at Jogja-Netpac Asian Film Festival,
Joutomaa Festival in Finland, and others.
He has attended international film workshops such as Busan Asian Film Academy 2014 and NAFF Fantastic Film School 2015,
and MOFILM Academy for Southeast Asian Filmmakers, among others.
He was assistant director to Phuttiphong Aroonpheng’s Manta Ray (2018 Venice Film Festival).
Kalil PITSUWAN
Writer

Kalil PITSUWAN

kpitsuwan@gmail.com

Kalil Pitsuwan is a Thai writer and columnist. Born and grew up in Nakhon Si Thammarat, south of Thailand,
he went to high school in Nebraska and university in Bangkok, graduating in Liberal Arts from Thammasat.
He was an editorial staff at A Day Magazine and Salmon Books,
and is currently a contributor and book reviewer for The Matter web site.
Solids by the Seashore is his first screenplay.
The Girl from Dak Lak
The Girl from Dak Lak
  • Production CountryVietnam
  • Production CompanyALMAZ MEDIA
    https://almazmedia.com
  • GenreSocial Drama
  • Production Spec4K I Color I 90min
  • Expected Completion DateFebruary 2020
  • Total Buget (Negatice Cost)70,000 USD
  • Confirmed Financing40,000 USD
Logline
Young and lowborn Trinh comes to Saigon with only one thing in her mind: to earn enough money for her abortion. Jealousy and competition from other struggling migrant workers in the big city get in her way.
Synopsis
Trinh (17), a village minority girl from Dak Lak, arrives in Saigon with a bag of meager belongings and a roll of cash she religiously protects. However, Trinh’s savings are not enough for the abortion. Trinh seeks work. After a few setbacks, Trinh gets a job at a humble eatery, where she works and lives with another two waitresses. Trinh keeps things to herself, does her job, and adapts to the devastating boredom of a poor migrant. Yet, her secretiveness only raises doubts in Vi, her tougher colleague. After Trinh gets robbed of the eatery’s shopping money, followed by other offences that Trinh commits, Vi turns hostile and isolates her. Anh, the other malleable waitress, tries to stay neutral to both. As Vi’s own home problem grows, the tension between Trinh and Vi also escalates at work. Finally, one day, Vi accuses Trinh of stealing her money. Refusing to explain herself, Trinh gets fired. Huy, a friend from work, finds Trinh on the street and brings her home. At Huy’s house, living with his sister and grandfather, Trinh’s life seems put together again. She’s ready to start a new chapter with her new family and promise of a new job. But the rumor of her thieving soon reaches and takes away her new home, and wrecks the last chance of Trinh’s abortion.
Development Idea
We cast mostly, if not all, non-actors who have similar backgrounds with characters in the film. These people will bring their own elements, stories, and understanding of the world into our development discussions with the writers & directors. We believe in participatory approach and collective intelligence during the creative process and therefore welcome their active participation. Therefore, the script will be continually modified and improved during the rehearsals and shootings with the inputs of our non-actors.
NGUYEN Viet Hoang
Producer

NGUYEN Viet Hoang

hoangchaizee@gmail.com

An multi-functional film maker with more than 13 years of experience,
Hoang has worked mainly as a Cinematographer and help to produced lots of short films, feature films,
music videos, and TV commercials. Having gained skills in Film Production in the USC,
School of Cinematic Arts (2009) - KAFA Producing Workshop in Film Production (2015) - Berlinale Talents 2018,
Hoang has become passionate about helping to grow the indie filmmaking scene in Vietnam for audiences both
in the country and around the world.
MAI Huyen Chi
Director

MAI Huyen Chi

chichan313@gmail.com

A graduate from the London Film School in Screenwriting (M.A.),
Chi has worked on four feature screenplays, two of which have been produced in the U.K and Vietnam.
One was a Korean adaptation that became one of Vietnam’s top 10 highest-grossing flicks of all times My Mr. Wife.
Beside screenwriting, Chi directs short documentaries, music and art videos.
Her directorial debut, the short documentary Down the Stream was amongst Vimeo’s 2015’s Best of the Year and reaped
a dozen international awards.

ASEAN-ROK Film Community Programme

We Are Certain, We FLY