What’s more rare than a unicorn tap-dancing on a rainbow? An indie film rolling into a project market with a fully thought-out cinematic universe. Enter “Strange Root,” the indie project making waves at this year’s Hong Kong – Asia Film Financing Forum (HAF), attempting to charm co-producers with grand visions. Because who doesn’t want to invest in a little demigod drama over the reliable old “two people fall in love and discover themselves” trope?
Set in the illustrious 11th-century Singapore, the film presents viewers with a unique hero—a demigod spawned (yes, spawned) from a yam root. The poor guy’s life takes a turbulent turn when his worshippers decide they’d rather cheer for a mysterious beast that gets washed ashore. Because, clearly, nothing says “I love you” like abandoning your demigod for an oversized fish.
Writing and directing duo Lam Li Shuen and Mark Chua have dubbed their work a superb mash-up of Southeast Asian mythology and body horror. Because if there’s one way to get people intrigued, it’s with the comforting thought of horror creeping right into their folklore.
“It’s a dark allegory for the world today—think power, obsession, and all that juicy stuff,” Chua explains, taking a break from composing a symphony of woes. Thankfully, Lam jumped in to add some extra drama about the cyclical nature of falling from grace. Apparently, it’s not just politicians that enjoy a good spiral; it’s demigods too!
The filmmakers have ambitious aspirations to position “Strange Root” as the heart of a sprawling creative ecosystem. Who knew that cinema could morph into a universe on par with our galaxy’s black holes? Their plan involves transforming this singular narrative into spin-offs, video games, and possibly a cookbook featuring yam-inspired delicacies (because why not?).
So far, their expansive universe has featured a multimedia kinship called “Before and After the Unknown” at Singapore Art Week, alongside a visual performance aptly named “Born of the Yam” at Berlinale. Yes, you read that correctly: a visual performance about yams. What’s next, a dance-off between legumes?
“This experiential approach also cleverly addresses the commercial angle,” the duo clarified as they plotted their world domination. It seems they intend to permeate through various mediums, hoping to snag audiences using immersive experiences. Because nothing says “cinematic experience” quite like a walk through an art installation that prepares you for a movie about root veggies.
Co-producer Tan Bee Thiam bravely emphasized that such a strategic approach is crucial for indie cinema to thrive globally. I mean, who wouldn’t prefer to watch a cinematic spectacle about obsolescence while surrounded by an aggressive marketing campaign, rather than simply sitting quietly in a theater?
“In today’s chaotic cinematic landscape, audiences are drawn to experiences that Netflix can’t deliver—and that’s the game!” said Tan, possibly while donning a cape. It certainly sounds like a high-stakes game of hide-and-seek for collaborators, and the duo is leaving no stone unturned.
This shift toward “elevated genre” projects taps into a brilliant, trendy alignment with changing audience appetites. “Genre creates a culturally specific but globally digestible experience,” Lam noted, as if they’ve cracked the code to cinematic popcorn.
“Honestly, we’re worried that people aren’t visiting theaters anymore,” admitted Chua, looking a tad distraught. Nevertheless, they hold onto the belief that this genre might just rekindle that passion for cinema. After all, who could resist attending a majestic, horror-filled ode to yams?
