There’s a certain tall-tale quality to Sandi Tan’s life. When the California-based filmmaker was growing up in Singapore in the 1980s and ’90s, movies were a powerful way of experiencing the world beyond her small native country, a place she continues to find stiflingly conformist. A fan of Jim Jarmusch, the Coen brothers, and the French New Wave, she discovered in cinema a countercultural voice that resonated with her inner rebel, inspiring her to find ways of creating something of her own. That spark of youthful cinephilia led her down a number of winding paths, which she revisits in her acclaimed feature debut, Shirkers. Shortlisted for the best documentary Oscar this year, the film recounts how, as an irrepressibly ambitious teenager, Tan embarked on her first directorial project, a collaboration with a group of like-minded misfit friends and a mysterious American grown-up named Georges Cardona, who ultimately ran away with all of the footage. After Cardona’s death eleven years ago, Tan located the kidnapped reels and started to build a movie around excerpts of this audacious, genuinely eccentric lost work, whose disappearance left a hole in the lives of the young artists who worked on it.
“It was insane!” she repeatedly exclaimed during our recent conversation at the Criterion offices. A natural storyteller with a gift for conveying the uncanniness of a narrative twist, Tan told me about how she’s managed to remain a spectral figure on the margins of the film world: after Cardona stole her footage, she landed a gig as a movie critic for the Singapore newspaper the Straits Times, and over the years she’s directed a few short films. But the success of Shirkers has given her a chance to finally come into the spotlight. We talked about her memories of Singapore’s burgeoning cinephile culture and what movie love has given her through the years.
Your film is such a wonderfully strange ode to cinephilia, one that’s rooted so specifically in the perspective of someone who grew up in Singapore in the 1990s. What opportunities did you have to discover classic and art-house cinema when you were a kid?
I come from a family full of movie fanatics. Singapore, even now, has the highest per capita rate of moviegoing in the world. Back then there was nothing to do but go to movies, and my father’s family would go a few times a week—they’d just shove the whole family in the car and go. They had Cantonese nicknames for all the Hollywood stars, like Tim Gaa-ze (sweet older sister). My mother’s family named all the kids after movie people—one was named after Alec Guinness, because of Kind Hearts and Coronets, and my mom was named Alice, after Alice Faye. So mainstream classic movies were always around in the house; that was very normal for me. What wasn’t so normal were art-house and foreign cinema. The first film like that that I vividly remember making me feel different and weird was The Tenant, which I watched with my mom on TV when I was eight.
I also loved soundtracks. Back in those days, everything was pirated, and I’d buy these soundtracks and listen to them obsessively, even for movies that I hadn’t seen. And then there was reading about movies, which became a gateway drug—first Tiger Beat, and then Us magazine, which was a little step above. And then I segued into American Film, just because it happened to have some movie star on the cover, and Film Comment. It’s not because I was an intelligent film appreciator at the time but because on the cover there was Harrison Ford in The Mosquito Coast! Or River Phoenix!
So when did you start getting into movies that were a little more off the beaten path?
My uncle was a botanist and a movie nut. Every weekend he’d go to the video store, which was full of these pirated tapes, and we’d rent six or seven of them. My uncle’s taste was extremely wide, and we’d go from really shlocky horror to art-house. There was one video store in town that had all the Artificial Eye VHS tapes, but they were all censored. Not a single thing wasn’t censored! Say there was a sex scene with Gérard Depardieu—it would just be [makes a buzzing sound]! And then written on the flap of the video case would be a list of all the excised bits. Every tape was individually censored.
There was also a film society in Singapore, and I’d just go there and terrorize the guy who ran it. I used to write him really annoying letters when I was fourteen or so—“Will you show Eraserhead?” or “will you show River’s Edge?” I saw him again recently because they hosted the Singapore premiere of Shirkers. It was funny to see him after all these years. When I was young, I couldn’t afford to pay, so I would bug him and sneak in and jump on the seats—I was so boisterous, a complete horror. He’s this mild-mannered guy, and I just learned that at the time he was only twenty-one, but he was the president of the film society! To me, he was like an old man.
Through a Screen Darkly: A Conversation with Micaela Durand and Daniel Chew
In the work of this New York–based filmmaking duo, the internet is an omnipresent force in everyday life, warping our perceptions and desires.
Into the Groove: A Conversation with Susan Seidelman
Beloved for her stylistic range and her vibrant portraits of New York City, the director discusses the feminist spirit that runs throughout her work and the collaborations that bring her films to life.
Meaning in the Method: A Conversation with Ellen Burstyn
The award-winning actor talks about training with Lee Strasberg, her involvement in the Actors Studio, and her on- and off-screen contributions to two of her most important films.
A Rich Counterhistory of Masculinities On-Screen
Writer-archivist-filmmaker Jenni Olson and critic Caden Mark Gardner discuss Masc, a collection of films on the Criterion Channel that explores the many forms of masculinity beyond the realm of cisgender men.
You have no items in your shopping cart