Exposure
Welcome to NTU Film Society’s in-house publication.
Reviews of works, especially positive, that help an audience regard the film deeper.Op-eds or dissenting pieces that provide something different from the mainstream.Reviews, criticisms or pieces that view the art through a new, specific or varied lens.Essays that delve deeper into the theoretical aspects of film, often academic in nature.
Unravelling Myths: The Fall of Historical Giants in Fairytale (2022)
Guest Writer Khushi Pai reviews Fairytale (2022), Alexander Sokurov’s experimental adult animated fantasy which was screened at this year’s Perspectives Film Festival in Singapore.
They Are Going To Love You: The Substance (2024)
Staff Writer Ezekiel Sen reviews Coralie Fargeat’s sensational “splatterfest”, The Substance, which won Best Screenplay at the Cannes Film Festival earlier this year.
An Audience’s Dance into Madness in Joker: Folie à Deux (2024)
Staff Writer Angelica Ng reviews the recent premiere of Joker: Folie à Deux (2024), the much-awaited sequel of Joker (2019).
Oddity (2024): An Odd Encounter Between Supernatural Horror and Realism
Honorary Financial Secretary Venesya Ko reviews Damian McCarthy’s horror film Oddity and finds a new kind of scariness.
Film Review: The Wild Robot (2024)
President Daryl Cheong reviews DreamWorks’ latest film The Wild Robot — a testament to the spirit of kindness and a deserved Oscar frontrunner.
Film Review: Speak No Evil (2024)
President Daryl Cheong and Honorary Financial Secretary Venesya Ko collaboratively review James Watkin’s 2024 take on the 2022 Danish film, Speak No Evil (2022).
Sound and Music in Cuckoo (2024)
Honorary Financial Secretary Venesya Ko reviews incoming horror flick Cuckoo (2024), which sees Euphoria alum Hunter Schafer in her first lead role in a feature film.
Film Review: Kinds of Kindness (2024)
Vice-President Rhea Chalak reviews the upcoming Lanthimos triptych, Kinds of Kindness (2024).
The Monk and the Gun: Enforcing a Democracy
Henrique Bravo draws insights on the broader Bhutanese political scene within his review of Pawo Choyning Dorji’s The Monk and the Gun (2023).
In Perfect Days (2023), It’s Okay to Cry
Jeongrak Son ponders on Wim Wenders’ stoic representations of sorrow and the mundane, writing about the Kōji Yakusho-starrer Perfect Days (2023).
The Lobster: Yorgos Lanthimos’ Satirical Dive into Modern Relationships
Asish Moturu delves into The Lobster (2015), an absurdist black comedy about relationships in an imagined dystopia, and examines its critique of modern society.
"If you're not paranoid by now, it's probably too late." Is 'Leave the World Behind' a warning?
Mohamed Shafiullah contemplates the film adaptation of Rumaan Alam’s novel of the same title Leave the World Behind (2023), set in a dystopian, apocalypse-ridden America.
Nature and Urban Spaces in The Falls (2021)
Kuo Yi Quan delves into the role nature and urban spaces come to a head in the Taiwanese film The Falls (2021), set during the COVID-19 pandemic.
SGIFF Film Review: Tedious Days and Nights
Content Creator Phyllis Chan writes a moving and powerful rumination on the Chinese docudrama Tedious Days and Nights, which exposes the current lives of former poet-activists in Mainland China.
In Search of Flowing Time: From Ink to Memories
Jeongrak Son reviews two films revolving around the exploration of time that screened at the Quantum Shorts Film Festival.
PFF Film Review: The Shout
Content Creator Phyllis Chan reviews The Shout (1978), Jerzy Skolimowski’s British horror film based on a short story by Robert Graves.
Race and Masculinity in Surrounded (2023)
Mohamed Shafiullah explores the themes of Race and Masculinity in Anthony Mandler’s Western film Surrounded (2023), starring Letitia Wright as the subversive and pivotal hero.
“Summer Hours”, and What Follows After
Jeongrak Son reviews Oliver Assayas’ film, Summer Hours (2008), about a family dealing with the aftermath of a loved one’s loss.
The Aesthetics of Nostalgia in All About Lily Chou-Chou
Content Creator Goh Cheng Hao ruminates on Shunji Iwai’s 2001 cult-favourite film, All About Lily Chou-Chou, through the lens of the present fixation on the Y2K subculture.
Tarantino's Guns and Bhansali's Roses: Tension within Film
Suchittra Rao writes about two of her favourite scenes in film — Inglourious Basterds (2009) and Gangubai Kathiawadi (2022) — and dissects the reasons that drive them to be so impactful.