SGIFF Film Review: The Parade

Content Creator Phyllis Chan reviews Ryan Benjamin Lee’s The Parade, an animated short that explores the intricacies of politics and individuality.

Art in contemporary Southeast Asia can never be removed from the region’s political discourse. Even if we attempt to deny it, it is clear that many of us live under authoritarian governments, where every move we make is up for scrutiny. Artists have become experts in skirting between the roles of “creative” and “activist”, using their works as an important medium to commentate and bring awareness to issues often under the radar.

Animator and director Ryan Benjamin Lee describes Singapore politics “as a dance: one step forward and two steps back; a city where socio-economic change moves with incremental cautiousness.” Having its Southeast Asia premiere in the 34th Singapore International Film Festival, Lee’s short film The Parade (2023) parodies Ferris Bueller’s Day Off (1986), transforming the quiet city-state of Singapore through colourful mixed-media animations of dance and karaoke.

In Ferris Bueller’s Day Off, rebelling is a major theme in the coming-of-age film. Going against authority and learning to let go of the rules to have simple, harmless fun for yourself is the main moral of the film. The film perfectly fits into the American narrative of freedom and dreams. Lee cleverly subverts this message for The Parade, presenting an alternative outcome of rebellion in the Singaporean context.

The Parade follows “Ferris”, a star-shaped child in bright yellow, who lies to his parents that he is falling sick. His parents are worried about his health, but there is an abject juxtaposition with the concerned tone of the audio in contrast with the unsettling visuals of the parent’s design, especially the father’s. His colours are much less vibrant compared to “Ferris”, and the hollowed-out eyes are soulless and unnerving. The movement of his animation is much more rigid and unnatural, and the stark contrast makes his concern seem almost farcical. The most striking aspect of his design is his uncanny physical resemblance to the country’s founding father, recalling the complex figure famous for his foresight, but also his ruthlessness and authoritative stances for the nation's progress.

After his successful lie, “Ferris” proceeds to break into a musical number, transforming the city-state into a highly saturated and vibrant world. The people around him break into dance, confetti, and vivid scribbles decorate every corner of the frame. The brutalist buildings shift and move, grooving along to the music. Momentarily, the dull city that we know has been transformed into a whimsical wonderland. But everything comes to a screeching halt once his father catches him in the act. The world turns dull again, and the intense motion of the screen slows down. His harmless rebellion is stopped by a figure of authoritarianism, forcing “Ferris” to contain his individualism and bright personality.

Politics seems to be a touchy subject in Singapore these days, and unfortunately, many young Singaporeans tend to take an apolitical stance, preferring to avoid conflict with their peers. Many tend to avert discussions about it, reasoning that “it has nothing to do with them” or that “they have no influence.” The education system has successfully cultivated a breed of youth that are afraid of going against the authority. Fears of a compromised future have resulted in many sacrificing their individualism and keeping their personal opinions to themselves. An obedient population is indeed easier to rule over, but the lack of diversity in opinions and views limits the progress and future of our nation.

Under the guise of its colours and eccentric characters, The Parade presents the reality of many Singaporeans, who have to tilt the fine line between individualism and societal expectations. Though “Ferris” was stopped by his authoritative father in the short film, his star-like design remains — a reminder that there is always an opportunity for him to terrorise us with another big musical number.

THe parade (2023) PREMIERES IN SOUTHEAST ASIA AT THE SINGAPORE INTERNATIONAL FILM FESTIVAL UNDER THEIR SOUTHEAST ASIAN SHORT FILM COMPETITION PROGRAMME. CHECK OUT SGIFF’S WEBSITE FOR THIS YEAR’S FESTIVAL LINE-UP HERE.