How the ’90s reignited Singapore’s dormant film industry and shaped a new cinematic legacy.
As a child, I bonded with my grandparents over late-night screenings of classic Malay films. From the comedic misadventures of Bujang Lapok to the haunting Sumpah Pontianak, these films opened a window into Singapore’s vibrant cinematic past—a past that nearly disappeared after the Golden Age of Singaporean cinema.
Between the late 1940s and early 1970s, Singapore was the Hollywood of Southeast Asia. Studios like Shaw Brothers and Cathay-Keris produced hundreds of iconic films, launching the careers of stars like P. Ramlee and Zubir Said. However, post-independence, social unrest, television’s rise, and a shift toward industrialization caused a talent drain and a collapse of local filmmaking. By the 1980s, Singaporean cinema was effectively dead.
A glimmer of hope emerged in 1987 with the first Singapore International Film Festival, and by the ’90s, a full revival was underway. Films like Eric Khoo’s Mee Pok Man and 12 Storeys broke new ground with their unflinching portrayals of Singaporean life, while Jack Neo’s Money No Enough brought box office success back to local productions. Cult classics like Bugis Street and The Teenage Textbook Movie added to the renaissance, showcasing diverse narratives and unique cultural perspectives.
Today, Singapore’s film industry thrives with auteurs like Anthony Chen (Ilo Ilo), Kirsten Tan (Pop Aye), and Royston Tan (15). Their works explore complex themes, from capital punishment to LGBTQ+ issues, reflecting the nation’s evolving identity. With restored classics available through the Asian Film Archive and modern films on streaming platforms, Singapore’s cinematic legacy is accessible to new generations.
The journey of Singaporean cinema—from its golden beginnings to its modern renaissance—underscores the importance of storytelling in shaping national identity. By preserving this legacy, we ensure future generations can experience and understand Singapore through the lens of its filmmakers.
