Royston Tan 15
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| 15 | |
|---|---|
| Directed by | Royston Tan |
| Written by | Royston Tan |
| Produced by | Tan Fong Cheng Eric Khoo |
| Starring | Shaun Tan Melvin Chen Erick Chun Vynn Soh Melvin Lee |
| Cinematography | Lim Ching Leong |
| Edited by | Jeff Stevens Nigel Fernandez |
| Music by | Yellowbox |
| Distributed by | Zhao Wei FIlms |
Release date | 27 April 2003 |
| 96 minutes | |
| Country | Singapore |
| Languages | Hokkien Mandarin |
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15 is a 2003 Singaporean coming-of-ageblackcomedy-drama film about teenage gangsters in the Singapore suburbs. Directed by Royston Tan, the film is an expanded version of Tan's 2002 award-winning short film, also titled 15. It is one of the few Singaporean films to feature brief full-frontal male nudity, together with the Singaporean-Thai film Pleasure Factory and the Singaporean-Hong Kong film Bugis Street.
Plot[edit]
Cast: Melvin Chen, Vynn Soh, Melvin Lee, Shaun Tan, Erick Chun. Fifteen (15) – Whilst Japan and China are firmly established players in world cinema, with Korea fast making a name for itself, other East Asian countries have yet to enjoy such a presence. From Singapore comes the teen-punk rebel picture, 15. 15 – Royston Tan. Expanded from his 2002 award winning short, Royston Tan’s debut feature 15 has been kicking up a storm in his native Singapore. Taking its title from the age of its five street kid stars, whose real life experiences provided the initial inspiration, 15 is an unflinching account of youth marginalised by Singaporean society. Royston Tan - 15 (Fifteen) 2003 The following clips are taken from Royston Tan's movie 15. 15: The Movie, also known simply as 15, is a 2003 Singaporean fil.
The film stars three real-life juvenile gangsters, all aged 15, giving an accurate depiction of Chinese teenage gang-life in the Singapore suburbs. The 2003 film features two more gangsters as characters as well as a fight sequence with more affluent English-educated Singapore youths. Rather than scripting the movie or employing professional actors, Tan attempted to capture the troubled lives of his characters in realistic fashion, apparently without much prior scripting.
Distribution[edit]
In Singapore, the film premiered during the 2003 Singapore International Film Festival.[1]In 2003, it premiered in Canada during the Montreal World Film Festival,[1] and in Britain during the London Film Festival.[1] In 2004, it premiered in the United States during the Sundance Film Festival,[1] and in Australia during the Sydney Film Festival.[1] The film also saw its first US theatrical release in New York City on 13 April 2005.[1][2]
In Singapore, the film is distributed by Zhao Wei Films. In North America, it is distributed by Picture This! Entertainment.[3]
Reception[edit]
Censorship[edit]
While the Media Development Authority (MDA) ruled that the film should be passed uncut under the then R(A) rating, the Singapore Police Force was concerned that fights could break out given the use of real gang names, locations and secret society chants in the movie, requesting cuts/edits to be made through the MDA for law and order reasons.[4] Under pressure, Royston Tan ended up making reportedly 27 cuts to the film.[5] Opposition was also raised against the heavy use of Hokkien in the film,[citation needed] which is discouraged by the Singapore government in favour of Mandarin and English. These restrictions infuriated Tan, and later led him to create his satirical short film Cut.[5]
Critical reception[edit]
The film received mixed reviews from film critics.[6] On Rotten Tomatoes it has an approval rating of 50% based on 10 reviews.[7] On Metacritic the film has a score of 47% based on 6 reviews.[8]
The film has been advertised outside of Singapore in gay publications, due to the heavy homoerotic tension between the characters. However, in an interview segment of the DVD Royston's Shorts, a collection of Tan's short films, Tan affirms that the boys whose lives he portrayed do not identify as gay.
Awards[edit]
- FIPRESCI/NETPAC Award, Singapore International Film Festival (2003)[9]
- Best Fiction, Tampere International Short Film Festival (2003)[9]
- Prize of the Youth Film Competition (Special Mention), Oberhausen International Short Film Festival (2003)[10]
- Grand Prix Asturias (nominated), Gijón International Film Festival (2003)[9]
- Best Director, Buenos Aires International Festival of Independent Cinema (2004)[9][11]
See also[edit]
Notes[edit]
- ^ abcdefIMDB: Release dates for 15: The Movie (2003).
- ^15 at Box Office Mojo.
- ^IMDB: Company Credits for 15: The Movie (2003).
- ^15 at IMDb.
- ^ ab'Take a big breath, you'll survive.'Archived 11 February 2009 at the Wayback MachineThe Standard. 27 July 2006.
- ^See 15 at Rotten Tomatoes and 15 at Metacritic.
- ^15 at Rotten Tomatoes.
- ^15 at Metacritic.
- ^ abcdIMDB: Awards for 15: The Movie (2003).
- ^'Internationale Kurzfilmtage Oberhausen: 2003 Award Winners'. Archived from the original on 17 October 2014. Retrieved 25 January 2019.
- ^6th Buenos Aires Festival Internacional de Cine Independiente: Winners.
References[edit]
Reviews[edit]
- Bradshaw, Peter. Review.The Guardian. 4 February 2005.
- Dawson, Tom. Review.BBC. 1 February 2005.
- Elley, Derek. Sundance 2004 review.Archived 27 July 2009 at the Wayback MachineVariety. 30 September 2003.
- Fox, Ken. Review.TV Guide. 15 April 2005.
- French, Philip. Review.The Observer. 6 February 2005.
- Johnson, G. Allen. Review.San Francisco Chronicle. 10 June 2005.
- Ng, David. 'Thirteen+2: Aimless Singaporean rebels in directionless youth flick.'The Village Voice. 5 April 2005.
- Smith, Matthew. Review.Film Journal International. 27 October 2005.
- Stevens, Dana. 'Young and Adrift in Singapore.'The New York Times. 13 April 2005.
- Walsh, Brian. 'Street Survivors'.Time. 1 September 2003.
External links[edit]
| Wikiquote has quotations related to: 15 (film) |
- 15 at IMDb
- 15 at AllMovie
- 15 at Rotten Tomatoes
- 15 at Metacritic
- 15 at Box Office Mojo
Royston Tan 15 Download
Opens June 10 in SF, UA Galaxy 4.... help support! If you want to get directly invovled and see a sneak preview leave me a comment. | |
OPENS JUNE 10 in SF ! UA Galaxy 4 Cut! Royston Tan's 15 The notoriously controversial 15 has finally broken out of its native Singapore and into the eyes of the rest of the world. Royston Tan's nihilistic attitude towards the traditions of both his country and the filmmaking process within have attracted more attention to the film than it probably deserves - although how can one turn down an invitation to view a film considered 'a threat to national security' by the Singaporean censorship board? Tan's exploration of the alienated and disturbing lives of five fifteen year-olds on the glossy streets of Singapore's metropolis provides a chilling insight into the degradation of overlooked fringes in a wealthy Westernized society. Abandoned by disintegrating value-systems, such as their schools and families, the boys drift through an aimless routine of skipping school, dealing drugs, indulging in tattoos and piercings, not to mention other ills of consumer-focused societies. One sequence follows a boy with his friends seeking to find a suitable building from which he can leap to his death, commenting on the rising suicide rates of children in school. Another sequence shows a beautifully shot drug-taking experience, filmed in a similar light to desirable products in adverts. But then this is followed by a harrowing, gritty hand-held sequence showing us how the drugs are trafficked. As one of the boys suffers in swallowing bags filled with ecstasy, do we suffer watching him grow sick to his stomach. Tan's use of real life street kids who reinterpret his vision from their eerily similar lives certainly drives home the point, but more provocative than the violence, bad language and drug use (of which the films of Larry Clarke have portrayed more extremely) is Tan's heavily stylized and unconventional style. His fast-paced slicing of the film is muddled with MTV chapter titles and scenarios depicted in true video game aesthetics. But, simultaneously, Tan presents the friendship and comraderie of these gang members in some patient sequences with stunning, if sometimes inconsistent, cinematography. Tan uses the cut with skill and precision - sometimes to present the apathy and emptiness of these boys lives, while other times extending their suffering, editing repeated shots into extended sequences (such as boys cutting themselves or the torturous drug-trafficking). continue... Tan's criticism and confrontational style is what makes the film an interesting study in what is technically familiar ground. The backdrop of the sleek modern metropolis is more than just a location, but a cause of the many symptoms from which these boys suffer. Tan seems to be angrily questioning the post-colonial identity of modern day Singapore. Possibly the most interesting scene of the film is not exploited enough, when the delinquent teenagers crash heads with their nemeses: a group of preppie English-speaking students who look down on their poor education and lower class vices. Tan's film is dramatically torn between the conflicts of an Asian country's sub-culture, which has had its values distorted by an economically obsessed society. The boys obsession with popular music and its image is amusing and distressing at the same time, much to Tan's credit. A very funny animated sequence is also a disturbing insight into young adolescent's attitude towards suicide - an Itch & Scratchy-like recklessness with no consequences. The lack of respect for their own bodies seems to be another focus of the film's as Tan goes out of his way to repeatedly show close-ups of body piercings, tattoos impaling skin, drug use and relished violence. Where Tan's film falls short is in the characterizations of these rebellious junkies portrayed as victims whose actions are merely reactions. Whether it is the result of Tan's record-breaking 27 edits to the film (courtesy of the censorship board), or simply his victimization of the same aesthetics that have corrupted his protagonists, is unclear. Despite Tan's filmmaking skills and unpredictable originality, his characters find little time to reflect on their lives, encouraging the equally thoughtless behaviour of banning this study of suburban adversity.Ziad Semaan http://www.firecracker-magazine.com/review 3 | |
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