Southeast Asian Film Lab


Submission Fees: None.
• Applicant must be a screenwriter and/or writer/director of at least 1 short film that has been screened in international film festivals.
• Applicant must be of Southeast Asian nationality, origin or residence.
• Applicant must not have made a feature length film before.
• Project submitted should still be at an early stage, and have not been developed beyond a first draft screenplay.
• If you have submitted a project for a prior edition of the Film Lab, the application should display a development from the previous application.

• A feature-length screenplay is defined as a work of fiction or non-fiction that serves as the blueprint for a film that equals or exceeds 60 minutes in length including opening and end credits.

• All entries must contain: a completed online  submission form, portfolio screener and project information.
• Submissions should reach us no later than Monday, 19 August 2019, 6.00pm (GMT+8)
• Incomplete submissions will not be accepted.
• Any submission received after the deadline will not be accepted.

• The SGIFF Southeast Asian Film Lab only accepts a secure online link of the portfolio work being submitted.
• Films in any other language other than English must have English subtitles.

• SGIFF Southeast Asian Film Lab will inform successful applicants of the selection results by mid-September 2019.
• SGIFF Southeast Asian Film Lab does not provide individual explanation on the non-selection of applicants.
• Once a project is selected, the applicant will not be able to withdraw the project from SGIFF Southeast Asian Film Lab.
• Workshops will be conducted in English; knowledge of English is essential in order to participate.
• The SGIFF Southeast Asian Film Lab will cover participants’ accommodation for the duration of the film lab. Travel expenses for participants from countries outside of Singapore may be partially subsidised.
• Ownership of the written materials produced during the SGIFF Southeast Asian Film Lab will belong solely to the participant.
• Participating projects must indicate SGIFF Southeast Asian Film Lab support in any subsequent project materials, by displaying the SGIFF logo, together with the caption “Supported by the SGIFF Southeast Asian Film Lab”.



Michel Reilhac is a narrative architect and long-time transmedia and immersive media pioneer. Reilhac is known as a leading international expert for innovation in hybrid storytelling across participatory, interactive and immersive experiences. As the Head of Studies at the Venice Biennale College and the VR competition curator for the Venice Biennale International Film Festival since its inaugural competition in 2017, Michel is regularly invited to speak and teach at major international events, including the Cannes International Film Festival, SXSW, Tribeca Film Festival, TEDx, CPH:DOX, Dixit, Power to the Pixel, Sunny Side of the Doc, FEMIS and many more. From 2002-2012, Michel was Head of Cinema & Film Acquisitions at Arte France and executive director of Arte France Cinema, co-producing around 30 international independent feature films each year, including Lars Von Trier’s Antichrist and Melancholia. In 2013, Michel was named Man of the Year 2012 in Film by industry magazine Le Film Français. Michel is also a virtual reality filmmaker himself – his first production Viens! premiered at Sundance in 2016. In 2017-2018, Michel was head of the award-winning independent production company Submarine Channel in Amsterdam. Currently, he also curates the immersive content program at Series Mania in Lille, France.


Lee Chatametikool is an award-winning editor and filmmaker. A long-time collaborator with Apichatpong Weerasethakul, including the Palme d’Or winning Uncle Boonmee Who Can Recall His Past Lives, he has also worked with key filmmakers in the Thai independent scene such as Anocha Suwichakornpong and Aditya Assarat, and on commercial hits such as Thai horror film Shutter. He was awarded Best Editor at the Asian Film Awards three times. He took a break from editing in 2013 to direct his debut feature film Concrete Clouds, which premiered in Busan and in competition in Rotterdam. Chatametikool co-founded White Light Post in 2010, a one-stop post production facility that has worked on films such as Railway Sleepers, Call Me By Your Name, and Cemetery of Splendour. Chatametikool also teaches at Mahidol University in Thailand.


Teresa Kwong is a promoter, curator and producer for film and cross-disciplinary arts practices. Currently the Programme Director of the Hong Kong Arts Centre, she is committed to nurturing and promoting the next generation of arts talents. She has started producing feature films with independent filmmakers in Hong Kong and China since 2006. She has been selected to participate in the renowned Produire au Sud Workshop 2008 – Nantes (France) and Rotterdam Producer Lab 2013 for co-production. Her titles as the producer include Addicted to Love (directed by Liu Hao, 2010), Big Blue Lake (directed by Tsang Tsui Shan, 2011), Flowing Stories (feature documentary by Tsang Tsui Shan, 2014), Dot 2 dot (directed by Amos Why, 2014), Napping Kid (Amos Why, 2018) and Suk Suk (Ray Yeung, post- production).


Aung Phyoe | Myanmar

At the factory, San becomes fond of Theint, a woman with a troubled past. San wants to bring Theint to her village for a visit during the season of fruit gathering. But their relationship turns into torment as the factory workers put up a protest for higher minimum wage.

Kristin Parreno Barrameda | Philippines

An amateur criminal who is desperate for money to bury his wife robs the local bank, and unknowingly takes a suicidal person as hostage.

Chew Chia Shao Min | Singapore

Two elderly cardboard collectors traverse Singapore in a tricycle cart to sell stolen handphones. Along the way, they test their friendship, confuse the police, and discover a city that has forgotten about them.

Cho We Jun | Malaysia

20-something Bonnie Lam gets more than she bargained for when she decides to abandon her family’s funeral parlour business to save the struggling cafe that her deceased mother left to her. The cafe is slated to reopen on the first day of the Ghost Month.

Eden Junjung | Indonesia

A new female worker at a bra factory is being sexually harassed at work but she decides to keep it a secret from her jobless husband. Unbeknownst to her, he finds out and decides to take revenge on the molester by disguising himself as a soldier.

Le Quynh Anh | Vietnam

On a ghastly night in Hanoi, where the dead and the living reside alongside each other, a mortician tries to stop his boss from disposing the body of a prostitute that will expose his influential father’s scandal.

Pamela L. Reyes | Philippines

Hidden from an ongoing war, a young girl lives in a secluded all-female town. When she learns her best friend has contracted a fatal disease, she leaves to find a cure, only to uncover the realities of warfare.

Xeph Suarez | Philippines

Astri, a 16-year-old Muslim transwoman and her 17-year-old boyfriend, Tambulah live in bliss in their conservative Sama Badjao community until Astri’s father tells her to marry the girl she is betrothed to.

Tan Siyou | Singapore

An exploration of Singapore’s societal and cultural expectations through the lens of a misfit in an all-girls’ school, as she leads a girl gang, navigates her queerness, and tries to pass the all-important final year examinations.

Michael Tay | Singapore

Koon, an 8-year-old boy, has been raised by his mother and told little about his father’s passing. When his wheelchair-bound uncle moves in with them, he starts to plant ideas that his father may still be alive.