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.
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.
How Does One Responsibly Represent a Filmic Queer Reality?
Content Creator Goh Cheng Hao questions the portrayal of queerness within film.
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.
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.
Gerwig’s Barbie: A Ken out of Ken?
Kimberly Ler takes us on a whirlwind journey through summer’s blockbuster Barbie (2023), infused with witty and incisive commentary.
Rouge: A Study of Hauntology and Nostalgia
Content Creator Phyllis Chan reflects on NTU Film Society’s recent film of discussion, Stanley Kwan’s Rouge (1987), through the lens of Derrida’s Hauntology.
“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.
Rouge: The Eternal Moon of Autumn
Head Programmer Lee Peng Ming reviews Stanley Kwan’s Rouge (1987), the recent film of discussion at NTU Film Society, expressing why it had such a lasting impression on him.
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 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.
“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.
Now I am become Death, the Destroyer of Worlds
Editor-in-chief Rhea Chalak explores how the latest Nolan blockbuster Oppenheimer (2023) appears as a derivative of the famous and revered Hindu text, the Bhagavad-gītā.
The Art of Adaptation in “Adaptation”
Vice-President Fidel Tan kickstarts our publication Exposure by exploring Spike Jonze’s meta-dramedy film, Adaptation, based on Susan Orlean’s 1998 nonfiction book The Orchid Thief.