I'll say this for Singapore GaGa: it was a truly refreshing viewpoint of what a sociopolitical documentary could entail, especially in a country where filmic discussion of these issues is a risk. My limited exposure to the expositional nature of documentaries -- from the pseudoscientific National Geographic premieres to the adversarial hashes characteristic of Michael Moore -- has predisposed me to dislike the form, but Singapore GaGa does not follow suit, opting instead for a fluid narrative that retains the documentary classification only for its honesty (which is more than can be said for Moore's documentaries).

Director Tan Pin Pin weaves a patchwork of stories into a cohesive whole, none of which overpower the larger story, that of the neglected soundscape which forms part of Singapore's cultural identity. Segments of note: 4'33", an avant-garde classic piano piece, where only the immediate environmental sound is played; audio snippets of an interview with The Voice, that ubiquitous MRT persona, playing to a blank screen; and a hilarious commentary on the recorder, which formed the basis for an early topic I considered for my PI.

Singapore GaGa does not manufacture scenes, but I must give credit to the skill with which priceless moments are designed. We remain conscious of the camera and how it invokes the palpable unease or apathy of passersby, which elicit further nuances to the story that it wishes to tell. And the editing is powerful -- how many films can claim to seem shorter than they are?

In all, a highly recommended film. But either I have a different idea of what swearing by a film is, or Charmaine is wrong about my criteria for accolading one. Singapore GaGa stands unique among the films I have watched, so I cannot compare it to, say, Zhang Yimou's excellent Raise The Red Lantern -- though a case could be made for the unflinching eye in both.

(Yes, the timestamp is real, partly a result of my inability to function with void deck noisemaking, and the feverish air of the WP rally has thankfully subsided. Not to say that the audience reactions to "power should remain with the people, not the PAP!" weren't utterly cool, though.)