[BANNED] Shadows of Fiendish Ancestress And Occasionally Parajanov on Durian Cialis

The film will no longer be shown, sorry for the inconvenience
Director – Chew Tze-Chuan | Fantasy Drama | Malay (English subs.) | Singapore 2017  | Producers – Wutami Matsuoka, Chew Tze Chuan | 90 mins | Banned in Singapore


Suitable Only for Persons of Eighteen Years and Over


Cast: Lim Poh Huat, Shin Yong, Umi Yushi, Gillian Tan
In an island perpetually suspended by Asian values, the spirit of a dionysian culture lays dormant. What stays awake is the daily repression of sensuality in the name of a constructed morality naturalised by the weight of history. Within this landscape, underground director Chew Tze Chuan continues the search for depictions of native sexuality in history which remains undocumented and only whispered about.
With reference to native historical texts and the mythological and religious depiction of the “Holy Whore”, Chew constructs a mythology of a hermaphrodite who comes to town to impart a wisdom that proves to be too carnal and untimely. Years in the making and strung together with documentary-like footage of orgiastic happenings, punctuated with moments of refrain into randomness, the film soon escalates into a schizophrenic psychedelia of multicultural and polymorphous sexuality.
Director’s Statement
“Who is the (most) iconic antagonist in the Singaporean cinema since The Revival in1995? The winner is most probably a lacklustre character from some crowd pleasing comedy films or a melodramatic TV series.
Occasionally we have had anti-heroes/heroines like the late Toh Hai Leong, the retired Singaporean porn star persona Annabel Chong, and the exiled Amos Yee. The potency of their creative singularities and candid personalities were illuminating and fleeting like a ship passing in the night. Castration, denigration or demonisation await them, just like
the female natives’ sensuality was transmuted to diabolic horror in our early cinema.
Human vitality must somehow be reduced to an undead amnesiac. Violence, neuroses and ridicules are preferred over the candid depictions of carnal joys and expressions.
Where have the original texts of the natives erotic imagination gone to?
Against these odds the filmmaker perseveres and creates a naive idyll without enemies; a serene idyll where lovers embrace regardless of race, language, religion, gender and sexuality. Finally we have a Singaporean film with an androgynous heroine who does not end up dead, amok, or punished for her carnal aspirations.
Lesser#9 is a journal containing the realizations of certain societal facades and repressions that may have hindered the creative energies and potential within the Singaporean filmmaker. The transcendental function of this film brings the viewer beyond the subjective pornographic imaginations, gaining a more balanced development of individuality.
The Operatives/Experiences of (a) Lesser (film):
  • Detach oneself from the desired look and sound
  • Detach oneself from the fear and hatred of failure
  • Cultivate compassionate contemplation on all creations
  • Be patient to recognise the conditions behind the endless cycles of repression and indulgence.
  • Celebrate imperfection (of randomness) and impermanence (of the self).
By venturing beyond the artistic, generic, entertaining and masturbatory, Lesser #9 reveals and reconciles the inner conflicts within the neurotic Singaporean psyche. It strives to open a creative discourse on Sexuality within the local filmmaking community, thus making an ethical gesture of contribution towards the maturity of the Singaporean Cinema.
On 24th November 2017, Lesser #9 received a ‘Not Allowed for All Ratings’ (NAR)classification from the Infocomm Media Development Authority, Singapore.”