The filmmaker talks to KrisWorld about the Singapore film industry, the difficulties of making movies in the country, and his creative influences.

Directors such as Jack Neo and Eric Khoo are practically household names in Singapore, even to casual moviegoers, and understandably so. Both are successful — in different ways — filmmakers who have played integral roles in the flourishing of the local film scene. Yet Singapore cinema might not have experienced a resurgence in the ’90s without its other early champions — ones who, till this day, fly under the radar. Kelvin Tong is one of them.

A prolific filmmaker and an established figure in local showbiz, Tong has been making movies since the late ’90s and now boasts more than 10 feature film directorial credits under his belt, including international collaborations such as 2016’s The Faith of Anna Waters. He has made forays into a wide variety of genres, worked on both commercial and independent projects, and most recently directed A Year of No Significance, a film exploring an important slice of Singapore history through the perspective of a man left behind by the nation’s inexorable march for progress.

KrisWorld speaks with Tong about his thoughts on the local movie industry, his favourite Singapore directors and movies, as well as his artistic influences.

Hi Kelvin. You’ve been in showbiz for more than two decades. What are your thoughts about the current local film industry, and how has it changed over the years?
The Singapore film industry has grown by leaps and bounds. When I started my career, there was only a handful of filmmakers — barely enough to fill a mini-bus. Today, I think you’ll need a double-decker or two. There are a lot more of us now, working across a large variety of genres, building up Singapore cinema one film at a time.

You’ve done international collaborations before, directing films with Hollywood and Hong Kong industry professionals. How does our film industry compare?
Though our film industry has come a long way in the last two decades, we are still in our adolescence compared to mature industries like Hollywood and Hong Kong, which have been making movies for more than a century. Film practitioners there are definitely more skilled, more experienced, and more professional. As the new kid on the block, however, the local film industry is full of zest and quick to learn.

You’ve directed a diverse body of films spanning different genres. Is there a specific genre that you like most?
I can’t choose. I love horror because it is so fiendishly difficult to scare audiences who know every trick in the book. I love thrillers because I am in a mental race against the viewer, trying to stay one step ahead all the time. And I love historical dramas because they allow me to live vicariously in past eras. I’m just like a kid in a mama shop — loving everything and utterly, utterly unable to choose.