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.
Show, Not Tell: Two by Satyajit Ray
Staff Writer Billy Steven Tay reflects on the iconic film, Two, by the late multi-hyphenate filmmaker Satyajit Ray and rethinks the age-old question: What makes a good story?
Empowering Creativity: Films from Pokka Coffee Short Film Competition 2023
President Daryl Cheong reflects on the drink that ties the world—coffee—and the winning films from Pokka Coffee’s Short Film Competition 2023 that raise a toast to it.
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).
Film Review: Kinds of Kindness (2024)
Vice-President Rhea Chalak reviews the upcoming Lanthimos triptych, Kinds of Kindness (2024).
Past Lives: Change and the Choices Destiny Allows
Programmer Venesya Ko ruminates on Past Lives (2023), and the tender manner it portrays the complexities of human relationships over time.
SGIFF Film Review: Tótem
Content Creator Goh Cheng Hao reviews Lila Avilés’ film Totem (2023) which explores the plurality of illness through a child’s point of view.
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.
SGIFF Film Review: Buddha Mountain
Editor-in-Chief Rhea Chalak reviews Chinese-language film Buddha Mountain (2010), directed by Li Yu and starring Fan Bing Bing.
SGIFF Film Review: The River That Never Ends
Content Creator Phyllis Chan reviews JT Trinidad’s short film the river that never ends (2022).
SGIFF Film Review: Evil Does Not Exist
Vice-President Fidel Tan reviews Ryusuke Hamaguchi’s latest film Evil Does Not Exist (2023), following the themes of capitalist greed and gentrification in conflict with nature.
SGIFF Film Review: La Chimera
Content Creator Phyllis Chan reviews Alice Rohrwacher’s 2023 drama film, starring Josh O’Connor as a crumpled English archaeologist-turned-grave-robber.
Five Nights at Freddy’s, and the Problem with Game Adaptations
Mohamed Shafiullah reviews Five Nights at Freddy’s, the 2023 American horror film, based on Scott Cawthon’s video game franchise of the same name.
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.
Past Lives: Celine Song’s Attempt at Modern Relationships
Kuo Yi Quan reflects on the A24-produced film Past Lives (2023) which explores the relationship of two separated childhood sweethearts who are reunited later in life.
“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.
PFF Film Review: Perfect Days
Editor-in-chief Rhea Chalak reviews Wim Wender’s latest drama Perfect Days (2023) starring Kōji Yakusho in the role of a humble toilet cleaner.
“The Exorcist: Believer”: David Gordon Green’s Attempt at Supernatural Horror
Treasurer Sri Sakthivell S/O Ragavel reviews the latest release in The Exorcist franchise, The Exorcist: Believer.
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.
水泥地里种花: Hong Kong Cinema & the Youth
Head Programmer Lee Peng Ming provides an honest and raw outlook on the portrayals of youth within Hong Kong in more recent films. He puts forward his recommendations, ratings, and reviews.