Ilo Ilo

As it turned out, this is Anthony's labour of love, and the tremendous attention to detail was simply amazing, though not perfect (but what is?), with its art direction to immerse the viewer into knowing we're in the mid 90s without the need for an obvious marker until mid way. Electronic devices such as the Tamagochi game which was quite the rage in its time, ubiquitous pagers, and Sony's walkman all serve to remind us of a time where we got by without feeling the need to be online all the time. And from these little gadgets, come the darting of one's eyes to a lot more clues of time, from costuming right down to wide angled shots where I just had to find something out of place, but rarely did (I admit I nodded when a wide shot of a school hall had the correct President and First Lady picture hung up, something which could have been easily overlooked, amongst other things such as the model used for a police car).

But it is economical filmmaking in a sense, yet big in ambition to tell a story that can, and has proved, to resonate with audiences around the world. Most of the scenes take place in family HDB apartment, or the school, and any other outdoor shots were meticulously scouted and could have made the Old Places team proud, especially when we're modernizing our landscapes at a frightening pace. And the cinematography exploits tight spaces in lieu of avoiding getting something out of place into the frame, yet through its technical constraints came an intimate portrait through tight shots and intricate framing.

What I really liked about the film is how effortlessly the narrative flowed, without the director feeling the urge to be verbose about everything, preferring set ups to be resolved naturally at a later stage, with the film taking its time to evolve rather than pushing its pace to a rush, reining in any attempt to be overly ambitious in trying to cover everything, catalyzed from the introduction of a stranger into a family's life. And on top of that, giving each character crafted their strong, personal story arcs whose challenges one can surely feel for since they touch raw nerves from an unforgettable 90s era.

The Singapore Dreaming connection cannot be stronger than with Yeo Yann Yann's presence playing a pregnant mom in a family drama. One of the actresses at the top of her craft plying her trade on both sides of the Causeway, it is needless to say her sheer acting prowess shone through a role that required her to respond to threats, where her character had to witness the erosion of her bond with her son who slowly but surely begin to forge a stronger one with their family maid. And if that's not challenging the actress enough, her role also deals with the albatross of retrenchment starkly happening in the local small and medium enterprise her motherly character works for, and finding belief through self-help materials.

I've never thought much about Chen Tianwen as an actor since his television days, but it's a testament to the director's ability to elicit the best performance possible from his cast, and it's indeed a revelation that this actor could act, if given the right role, and having his ability coaxed right out of him. While the character had to disappear for a bit toward the last act, his Mr Lim stood for how the typical father would under dire circumstances, speaking little, and digging deep from within to weather the storm, picking up any job to tide through tough times. If you, like me before who is unconvinced by Chen Tianwen's acting abilities, you're in for a huge and pleasant surprise.

Fans of Lav Diaz's films would be no stranger to Angeli Bayani, who plays Teresa/Terry the maid, and nailed her role through and through as the dutiful servant with a mind of her own, standing up for herself from the onset when bullied. Leaving her family and young son behind, the character echoes many of those under similar circumstances, having to come to our island to look after someone else's kid instead, while at the same time bearing witness to the secrets each household owns. And rounding up the principle cast members is Koh Jia Ler as the young kid of the Lim family Jiale, a rascal of a kid, spoilt in a sense, and being the bane of Teresa at the start. Ilo Ilo has their story arcs central to everything else happening around them, and the chemistry between these two performers was one of the highlights of the movie, as we journey through their changes in attitudes that gave way to mutual respect, and love. Probably the child actor at the moment, having to co-shoulder the weight of the film on his shoulders as the unlikely antagonist who jump starts situations.

Anthony Chen has thrown the gauntlet down for local filmmakers to raise their own bars in filmmaking, leading the charge of the next generation of filmmakers who have their unique vision and stories to tell. It's rare in our filmmaking community to find storytellers who straddle between art house and commercial films, but Ilo Ilo shows that a combination of both is possible. So while the film continues to make waves overseas, and prestigious, international awards aside, there's nothing but true testament for any filmmaker, than for audiences in the home country to respond to the film in a show of support through a ticket. And it's not blind promotion - Ilo Ilo is the best local film to hit our shores this year, and perhaps in recent years, that it deserves as wide an audience as it can get from Singapore. You'll laugh, cry and will invariably be moved. A definite recommend!

Director Anthony Chen's brilliant debut feature film 'Ilo Ilo' is a compelling drama about how a simple Singaporean middle-class family gets affected by the Asian Financial Crisis of 1997.

'Ilo ilo' is a Mandarin phrase which means 'Mom and dad are not at home'. The setting itself was quite nostalgic, personally. A simple middle-class family, two hardworking parents, a naughty son, and how he gets attached to the new Filipino maid hired by the family. Everything goes normal until the financial crisis hits the community; people start losing their jobs, and we see its effects on the community through the lives of these four characters.

All the characters in the story are quite intriguing: The honest hardworking father, who after losing his sales job, tries to hide it from his family and applies for other jobs. The pregnant working mother, who's always irritated by her naughty son's antics at school, but feels jealous when she notices the close bond her son forms with the maid. The single child, Jiale, who's known for his naughtiness, but slowly mends his ways when he finds a friend in the new maid. The Filipino-immigrant maid, who has a baby of her own (back at her sister's house), but stays and works at this house, and also does hairdressing part-time, trying to make ends meet; she finds a son in Jiale, and starts caring about him immensely.

Even when situations get really bad, we as people often try to mask our pain and difficulties in front of our friends and relatives in order to appear fine and sorted; that's what seems sad in our communities. The urge and need to maintain our image takes precedence over anything else.

All the four leads are really talented actors, and have done a commendable job. The cinematography and the crisp colours make the story quite rich and real. The screenplay is simple and uncomplicated, yet immensely moving and absorbing. And the most beautiful aspect of the movie is that there is no background score at all. Instead, the silence lets us ponder over the real and moving situations unraveling in front of our eyes. The only song in the movie is played in the last scene, and it's a really beautiful Filipino song.

There are many beautifully shot and memorable scenes in the movie. By the time the movie ends, you unconsciously become a part of the family, and empathise with each of the four characters.

ILO ILO is a breath of fresh air in the complex, exciting world of Asian cinema. I hadn't seen any films before dealing with Singaporean society so I was looking forward to watching this one and I wasn't disappointed. ILO ILO is a beautifully shot, beautifully acted family drama and I find it hard to believe that the director was only in his 20s when he made this. What a talent!

The story is a small-scale one designed to highlight the melting pot of cultures and identities that co-exist in the city state. The main character is a Filipino maid who comes to look after the spoilt son of a Chinese family living in Singapore. Initially the boy hates her, but gradually the maid becomes a part of the family. However, the recession blighting the country during the late 1990s is a cloud that looms on the horizon.

ILO ILO is very good at putting across a sense of time and place and I particularly enjoyed the backdrop of financial difficulty in which job loss, quiet desperation, and even suicide are themes. What keeps you watching though are the expertly-drawn characters who are brought to life through sparse dialogue. The maid is a thoroughly sympathetic protagonist, but the real delight is child actor Jia Ler Koh; I really appreciate films where you initially hate a character but end up loving them and that's the case here. I'm not a huge fan of art-house cinema but this is a film I can recommend to all.

Ilo Ilo tells a deceptively simple story with a lot of care and heart.The film is roughly set in the middle of the Asian financial crisis which also affected this small island nation.It tells of a friendship which grows between a young and rebellious boy who has just lost his beloved grandfather and his maid who arrives from Philippines to help his pregnant mother with her hectic schedule. The boys father loses his job and his mother juggles the tantrums of the brat and the increasing demands of her job which she needs to retain at all cost.

Ilo Ilo demonstrates that the role of a nanny and domestic servant is very special.The tightrope that both employer and employee walk in balancing "you are a paid servant" and " you are a part of the family" can be so tight and the casualties so subtle that we don't notice the injuries until much later.In a dramatic scene, the school bully teases Jialer that his maid does not actually love him, she is just doing a job for which she is paid.This infuriates Jailer who lunges at the bully in a fit of rage. The director says the film was based on his personal experiences and how he felt that its very cruel for parents to allow maids to become like surrogate mothers and suddenly sack the maid for some reason.This can be a huge emotional trauma for the child who is unable to appreciate the reasons.While the film does not indict the system of foreign domestic helpers, it frames its argument for considering the human cost involved in a gentle way.

The character of Teresa reminds us that those of us who were raised by nannies owe so much to them, and we often never acknowledge the debt fully.I completely admired the performance by Yan Yan Yeo who played Jailan's mother as the slightly humorless but ultimately kind woman.She navigates the role with the responsibility that the character must have felt, with her world crumbling around her in trying circumstances. Her performance is pitch perfect and I was amazed to know that her character was not conceived as being pregnant but after she was cast she became pregnant.She managed to convince the director to rewrite the role.Angela Bayani as the diminutive maid Teresa also delivers a stellar performance in a role that requires her to be vulnerable, strong, emotional, stoic and pragmatic at different points.Her chemistry with Jialer played by a very natural Koh Jia Ler is excellent and completely believable.

The beauty of this film emerges when we juxtapose its sombre sepia images with the glitz and glamour of present day Singapore.Needless to say the intimate and de-glamorized cinematography by French lensman Benoit Soler plays a big role in creating this magic.The humour is one of the strengths of the film and although I may not have understood all the jokes about growing up in Singapore, going by the reaction of the audience Mr Chen has been successful in his efforts.Yes I did go in with very high expectations and the film did not meet all of them but that should not take anything away from this sweet and intimate film.The quality of the craft is impeccable and there are no rough edges in the film which is remarkable for a debutant director.

I recently saw another period Singapore film – That Girl in Pinafore, which although not as elegant as Ilo Ilo tells an equally touching and boisterous tale of a group of teens being typical teens against the backdrop in xinyao music.These are the only two Singaporean films I have seen so far, but we foreigners who live in Singapore need to discover Singaporean cinema, which offers a window into its unique culture.

Anthony Chen is the new poster boy of the fledgling film industry of Singapore after winning the Camera d'or at Cannes this year.This is his first full length feature after making eight highly acclaimed short films. Ilo Ilo is certainly a glittering debut film and hopefully the first in a long and interesting career.It may be Singapore's first Cannes winner but there must have been better films which have not garnered this kind of limelight.One hopes that Ilo Ilo is a watershed moment in Singapore cinema.

This movie captures the atmosphere of the end of the 90's in Singapore, when an economic tsunami devastated much of Asia, through the memories of a 10-year old.

When Antony Chen was looking for a subject for his first feature film, he recorded an event of his childhood that he had since nearly erased from this memory: how he was heartbroken when the Filipino maid who was living with his family had to leave, following his mother's decision to stay at home to tend to the family. From there, vignettes of the past came back to him, that he sought to transcribe them in the movie in the most authentic manner possible.

Antony Chen pushed that search for authenticity pretty far, as to find Ko Jia Le (the boy playing the central part), he trawled schools seeing some 2000 boys, interviewing hundreds, and inviting a hundred of them to do workshops. The result was not to take the cutest or the best-looking - something the director wanted to avoid - in fact you often feel ill at ease watching him, playing obsessively with him Tamagochi (remember those?) or making a nuisance of himself in all sorts of ways. You love him and you hate him, was the director's comment, and shooting the movie appears never to have been easy. "There were two children on the set, one in front of the camera, one behind", reminisced Chen. The embarrassment you feel watching him is a compounded by that caused by the tensions between the characters, sometimes so painful and so real that you wonder what you are doing there watching them.

The period of the film is, in 2013, highly unusual: nobody to my knowledge has yet set an entire film in the 1990's. But none of the usual tricks to show the audience the period: no camera lingering on a period calendar, no newsreels announcing events identifiable with the period. Part of the time you forget about it, and get reminded by an audio cassette or an electronic typewriter.

The movie is upheld by a brilliant cast of very eclectic actors. Chen Tian Wen (the father) comes from Singapore TV soap operas, Angeli Bayani is Filipino and worked in the Philippines in theater and in movies. The fact that the mother (Yann Yann Yeo), was really 6-month pregnant during the shooting, adds humanity to a character who would otherwise appear excessively domineering. The art director is French, met by Chen in the London school of cinema. Chen expressed how he had fears that being a westerner he would show a romantic view of Singapore, something like Woody Allen in Paris, which would have gone against his search for authenticity. The shooting does avoid any romanticism but remains highly interesting, occasionally tripping into a dreamlike quality at odds with the rest of the movie.

In short, this is a movie like none other.