Nelson Yeo, director of "Dreaming & Dying (Hao Jiu Bu Jian)", with elements drawn from religion, myths and folklore. Yeo fluidly rotates between three stories, creating a whirlwind narrative.
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"Dreaming & Dying (Hao Jiu Bu Jian)", Interview with Singapore’s director Nelson YeoLaura Della Corte
Nelson Yeo’s cinematic creation “Dreaming & Dying” stands as a mesmerizing tapestry woven with multiple layers of transgressions and surprises, as we discussed during our enlightening interview. The film’s title itself is a portal into a world where identities shift between humans, fish, and frogs, creating a mesmerizing dance of transformation. Dreams and nightmares converge, revealing a captivating blend of harmony and tension.
Set against the evocative backdrop of Singapore’s landscape, a canvas teeming with repressed desires and complex fantasies, “Dreaming & Dying” encapsulates Yeo’s 77-minute debut, a labor of love that resonates deeply with audiences. Premiered inLocarno’s Cineasti del Presente section, the film’s narrative orbits around three friends, portrayed by Peter Yu, Kelvin Ho, and Doreen Toh, who reunite after years apart, igniting a love triangle. As they wrestle with emotions and confront their choices, supernatural events unfold around them. The boundary between dreams and reality blurs, reflecting the characters’ psychic states, while the sea’s undulating waves symbolize suppressed yearnings.
During our insightful interview, Nelson Yeo highlighted his background in animation, a foundation that imbues the film with fluidity and dynamism, particularly evident in sequences filmed at the iconic Haw Par Villa. Here, Chinese and Western mythologies converge, painting an intricate tapestry that guides the narrative.
As I explored in our conversation, “Dreaming & Dying” bridges cultures and genres. Yeo’s short films, including “Mary, Mary, So Contrary” (2019), reimagine classics such as Fei Mu’s “Springtime in a Small Town“. This amalgamation of influences culminates in an uncanny yet familiar contemporary Singaporean rendition, a testament to Yeo’s passion for classic Chinese cinema.
Our dialogue also delved into the remarkable performances, such as Yu’s transformation into a merman and the partnership with Toh and Ko, theatre-trained actors. As we discussed, the film’s essence is anchored in the actors’ charisma, enriching the exploration of mature sexuality and unmet desires in later stages of life.
“Dreaming & Dying”, a testament to your artistry and vision, surprises and metamorphoses, evolving from a love triangle into poignant narratives of death and apocalypse. Your insights, shared during our interview, intricately shape this captivating masterpiece that truly caught me unawares.
Plot
One woman, two men. It is a configuration whose dynamics – desires, jealousies, resentments, betrayals, regrets, reconciliations – have fascinated directors throughout the history of cinema: from Casablanca (1942) to Jules et Jim (1962) and Y tu mamá también (2001), to cite just three very different examples. In Hao jiu bu jian (Dreaming & Dying), Nelson Yeo's inventive and thrilling debut film, this eminently cinematic triangle is disassembled and then pulled, twisted and bent into entirely new and unexpected shapes.
It starts simple enough: a school reunion at a hotel by the sea. Only three people show up. The former schoolmates are now middle-aged and two of them are married. The husband is a curmudgeon and the wife is shy and soft-spoken. They haven't seen the other man for a long time. Clearly there is an attraction between him and the woman, which has not disappeared in all the years of separation. Now that they meet again, it instantly turns on again, even though neither of them are confident enough to do anything about it. Instead, the reunion gives way to a game of repressed desires and simmering rivalries.
Things then start to get weird. The would-be lovers find themselves in a different story that seems to take place in the same seaside town. Their desire for each other is not yet consummated, but he turns out to be…a merman. Is it a parallel reality or are they just characters from the book that the wife reads in the main story? (To illustrate the delightfully idiosyncratic sense of humor that runs throughout the film: in one of many humorous uses of the zoom, we first see her reading in close-up until the camera slowly zooms out to reveal that she is sitting on the toilet.) We hardly have time to catch on before the narrative changes again. Now husband and wife are in the middle of a jungle, carrying a live fish inside a box filled with water. They are there to practice fangsheng, a Buddhist ritual that involves releasing a captive animal into the wild as a means of improving one's karma.
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