(Siffest is annual pilgrimage for film-enthusiasts in Singapore where suddenly Shaw Towers building feels alive, thanks to the flock of people who seem to have lack of choices except to roam around the almost-dead building while waiting for their screenings.)
It may be best to get yourself feeling full, but not bloated, after taking lunch, for it helps you survive through the afternoon-session of film screenings, be them for 2 pm or 4 pm show.
In fact, heavy lunch will not knock you down to sleep, you’ve got enough energy to sustain and to keep you awake throughout art-y flicks which are initially made solely based on ideas, without any intention for the makers to put themselves in audience’s shoes. Any audience intended, and that means their own group of niche market.
Yet, there is still quite a number of audience who are willing to take the risk of bracing themselves in fronting these self-ego work of arts. The ocean of 12 people in Singapore History Museum this afternoon who gathered to see Faozan Rizal‘s labor of love film, Aries, is the pool of people with different background united in the spirit of Zen: peacefulness.
Which translates nicely into dozing off.
Whether these audience had a big lunch like what I had had is beyond my knowledge, but their ability to stay throughout the real surrealist film amazed me, eventhough it had to be paid off with missing a few scenes, thanks to the sleep.
On the other hand, having too much of your meal for dinner did not serve well if you watch Notre Musique afterwards. The latest from one of the icons in French New-Wave movement, Jean-Luc Godard, the film starts with horrifying images of living in the world as one helluva hell on earth. Move forward, we begin to unravel the film as interrogative proclamation on bridging endless philosophic question of life/death, hell/heaven, and subtly, freedom/restriction.
Gone was the signatural off-beat and hip style of Godard, certainly the major reason among most of the audience why they chose to attend this screening instead of more popular Tarnation. Depending on how one sees this part-documentary, part-narrative film, I find Godard sings his film a little off-key, and the false note might be a little too much for some audience who decided to walk out when the film has not even reached its half point.
Just like one’s feeling after eating what he craves for, so much of the anticipation yet you don’t get enough satisfaction.