finally writing this overdue post in honour of The Projector’s closing down which was very abruptly announced via their Instagram this afternoon.
Rachel was the one who first brought me to The Projector sometime last year, following our reconnection after more than 10 years. it started with a text asking if i wanted to watch a local film called Bugis Street, and what had particularly caught my attention was finding out that it had apparently been banned in Singapore for the longest time.
watching Bugis Street in August of last year was not only my first time watching a movie in a cinema in Singapore, it was also my first time watching a movie in a cinema since Covid, probably. hence, stepping foot into a cinema almost felt like a brand new experience at the time, made even more interesting by the fact that The Projector (even the Cineleisure branch) did not present itself as your typical commercial cinema; instead it felt more like a cinephile’s hangout joint, complete with a bar and a retro lighted-up board displaying quotes and puns related to the shows for the day.

Bugis Street opened with a 15-minute long brazen, startling, loud sex scene. once my shock wore off, my next thought was, Singapore sure has very different censorship laws from Malaysia. i looked at Rachel with a stifled laugh while the pair of angmoh guys next to me just guffawed away heartily.
the sense of awe i felt at Singapore’s censorship regime persisted throughout the movie, because this was definitely a movie that could not have been aired in Malaysian theatres. Bugis Street depicts the lives of several trans sex workers in 60s’ Singapore at the titular Bugis Street, which has since been redeveloped into the touristy shopping street it is now. Lian, the 16-year-old main character, begins working at the hotel where the sex workers work at, and though she was initially frightened upon discovering that they were transwomen, she eventually warmed up to the residents there, who took good care of her and offered coming-of-age advice based on their own stories and experiences of being part of an unorthodox community in Singapore.
it was a very refreshing watch, and shows the multiple characters as multifaceted people with emotions, histories and depth beyond the immediate labels they are accorded with, whether it be transpeople or sex workers.
my second movie at The Projector…also opened with a long, gratuitous sex scene. and also revolved around sex workers. which i watched with someone whom i was on a third date with. i swear, this is not a pattern.
but Anora is a very different type of film from Bugis Street, and while it would eventually go on to win many impressive awards in the motion picture industry, i did not feel particularly in awe or amazed by it. i will say that the main thing i liked about it (apart from Mikey Madison) was the way you had no idea exactly what kind of direction the movie was going towards, what the next scene was going to entail, and how the movie would ultimately conclude (for me, at least). i did enjoy the latter half of the film spanning across two to three full days of searching for Vanya, Ani finally finding and confronting him only to discover that he was full of shit, and her finally returning home back to where she started.
i watched The Outrun with Rachel at The Projector at Golden Mile Tower. it was my first time there and it was definitely a vibe shift from its new, modern counterpart at Cineleisure. the theatre at GMT is anachronistic, with steel folding seats bolted onto tiered cemented floors as opposed to your modern day cinema with large cushioned sofas and carpeted floors. its entrance was an inconspicuous lift which opened up into a modest but cosy lounge that had its own bar and seating areas for events or casual lepaking before the movie starts. the walls of the lounge (and even the toilets!) were fully pasted with posters of movies both old and new, indie and mainstream. it really made me feel like i was breaching a loyal space of Singapore’s artsy scene, which made me feel all the more at home.


The Outrun was a fantastic movie, made so by the talented Saoirse Ronan who played the perfect drunkard character, showing harrowing aspects of what it looked like to live a life suffering from a severe alcohol addiction, dealing with loved ones suffering from depression and bipolar disorder, the various struggles arising therefrom, and yet still being able to discover the little joys that life had to offer. the movie was set in Scotland, with a good chunk of it filmed in the beautiful (but also terrifying when laden with storms) Scottish islands.
attending the Green Snake x Sister Snake event at Golden Mile Tower with Rachel is one of my favourite experiences ever. i’ve talked about this so many times but Sister Snake, the novel by Amanda Lee Koe, singlehandedly revived my reading habit this year, and it all started because of this joint screening and book signing event.

Green Snake was the screened movie for Lee Koe’s book launch session because she had drawn inspiration from the 1993 Hong Kong film for her latest publication Sister Snake. but the characters being anthropomorphised green and white snakes derived from ancient Chinese folk tale is where the similarities between both media end. while Sister Snake was a modern depiction of these reptilian sisters in the metropolitan cities of Singapore and New York, Green Snake was your typical wuxia film involving animal spirits, demons and uhhh multiple NSFW scenes. nonetheless, it was a very enjoyable experience, followed by Q&A and book signing sessions with Lee Koe.


Past Lives seemed like the type of movie to be labelled a cult classic which many would write thinkpieces about on Medium. every single review i’ve read of the movie prior to watching it myself has described the heartache and sorrow that resonated with the audience. so when i saw that it was airing at The Projector with an exclusive Q&A session with Celine Song, the director, i bought tickets to watch it by myself. and while it was not my first time watching a movie in the cinema alone (which is an experience i would always recommend to everyone), it was certainly my first time doing so in Singapore.
i can understand the melancholy and sour-gut feeling induced by Past Lives; it is the greatest depiction of “what could have been”. 2010 tumblr-brained Michelle would have eaten this up endlessly, but present-day Michelle could understand and agree with the necessity of things turning out different for the two childhood friends. i have experienced the “wrong place, wrong time” effect more than i would like to admit, but also recognise that there is no point in forcing an impossible situation. also the guy sitting next to me in the cinema was definitely crying throughout the movie.
unfortunately there were technical issues that resulted in the director Q&A being delayed, so i left before that was fixed because i didn’t want to miss the last train home.
due to the delayed Q&A session for Past Lives, i was gifted a complimentary ticket to watch a movie of my choice. i decided to watch Flow, having heard many great reviews about the animation.
it was another lone movie date, and i had expected a chill, laidback film on a Friday night – instead what i got was endless anxiety and trepidation at the events befalling our main feline character and its comrades which got me gripping the edge of my seat. there was no dialogue needed; the animation of the animals’ expressions and mannerisms flowed (haha) so smoothly and naturally that it was hard to believe the film was made entirely on Blender.
just last week, i bought tickets to watch the screening of My Wonderful Life, an animated film by local filmmaker Calleen Koh followed by the classic Japanese animation Perfect Blue for this Saturday night.
hence i was shocked upon receiving an email from The Projector this afternoon announcing that it had gone into voluntary liquidation and thus all screenings from today onwards were cancelled with no guarantee for a refund. i immediately went on The Projector’s Instagram to confirm the sad news and was greeted with an outpouring of sorrow and appreciation from its patrons in the comments. i felt similarly, for the loss of not just a local independent cinema bringing us an array of carefully curated alternative film selections both local and foreign which was so much more than the average, commercialised cinema, but also an inclusive, safe and supportive space and venue for the creative community to gather and participate in exclusive events like book launches, Q&A sessions and forums, fundraisers and even poetry slams. The Projector was truly a place like no other, and now it is gone.
Singapore, for all its various flawed capitalist pursuits, harbours a thriving creative scene led by inspiring people who wish to keep their tight-knit communities afloat so that everyday people like us can discover and appreciate the joy, pride and camaraderie of creative expressions in the form of reading books, writing, watching movies and plays, and creating and celebrating art in general. among the many initiatives in Singapore, we have Wild Rice, a not-for-profit theatre that produces local plays (often in the form of clever renditions of classic favourites); Art Again, a secondary marketplace for art which often organises creative events open to the public such as life drawing sessions; Casual Poet Library, a shared community library in the heartlands aimed at providing a communal space for like-minded readers to gather and loan books – these are just a few of the initiatives which i have personally attended. you just know that these people do what they do for the pure love of their art, and that is all that truly matters.
initially intimidated, i have always felt at ease and right where i belonged whenever i patronise these places. it is because of the friendly ambience it possesses, and the reassurance and affirmation that everyone around you is there because of similar interests and passions. they are places where you do not feel the pressure of performing or spending, which is increasingly becoming a norm in this day and age (see: cafes, gyms, workplaces etc).
so i lament the closure of a beloved cinema, a precious third space in a metropolitan, capitalist, profit-driven society, at a time where creativity everywhere is threatened by the rise in soulless generative “art”. thank you for being a champion and advocate of local voices in the movie scene, and for striving to keep the art alive.


























