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River of Exploding Durians - Trailer 【榴梿忘返】 预告片

《榴槤忘返》主要讲述一群中六生面对即将袭来的稀土厂一阵慌乱,人生产生了变化之余,在反对稀土厂的过程中,这群学生产生革命情感和一些单纯的爱慕情怀。A coastal town is turned upside down by the construction of a radioactive rare earth plant. An idealistic teacher and a group of high school students find themselves battling for the soul of their hometown. Based on real-life events, River of Exploding Durians is a sweeping tale of Malaysian history and its youth, where people are enveloped by politics and sadness while searching for love. #riverofexplodingduriansStarring: Zhu Zhi-Ying 朱芷瑩, Koe Shern 高圣, Daphne Low, Joey 梁祖仪Written, directed and edited by Edmund YeoProduced by Woo Ming Jin and Edmund Yeo Executive producer: Eric YeoDirector of Photography: Kong PahurakProduction designer: Edward Yu Chee BoonMake-up and wardrobe: Kay WongSound: Minimal Yossy PrapapanMusic: Woan Foong Wong

Posted by River of Exploding Durians 榴莲忘返 on Saturday, October 18, 2014

Friday, May 22, 2015

Just some of my photos of Hong Kong (May 2015)

On my trip to Seoul for the Green Film Festival in Seoul last week, I stopped over in Hong Kong for three nights.

Utopia for book lovers.

A photo posted by Edmund Yeo (@edmundyeo) on



It's a long way down.

A photo posted by Edmund Yeo (@edmundyeo) on



Walking from Causeway Bay to Wanchai

A photo posted by Edmund Yeo (@edmundyeo) on



Bye bye, room.

A photo posted by Edmund Yeo (@edmundyeo) on



Various panoramic shots on the way to HK Convention and Exhibition Center.

A photo posted by Edmund Yeo (@edmundyeo) on

David Letterman

The finale "Late Show with David Letterman" was aired today. I have yet to watch it. But I have this to say, because somehow, the show makes me nostalgic.

The Late Show with David Letterman ended today. My earliest memory of the show comes from 1995. (what? 20 years...

Posted by Edmund Yeo on Thursday, May 21, 2015

And now, other articles, videos and posts about David Letterman's retirement. So that years from now, when I read this post, I remember.

As he closed out a 33-year run in late-night television, David Letterman went for laughs rather than tears. (Warning: Spoilers ahead.)

Posted by The New York Times on Wednesday, May 20, 2015

"The difference between Letterman—always an entertainer, but definitely nobody’s fool—and guys like Fallon is that...

Posted by Matt Zoller Seitz on Thursday, May 21, 2015

Tonight, after 33 years on TV, the legendary David Letterman says goodnight one last time.Remember more of Letterman's greatest moments here: http://on.msnbc.com/1PXCpHx

Posted by msnbc on Wednesday, May 20, 2015

If only everything could feel this real forever...

Posted by The Huffington Post on Thursday, May 21, 2015



Thank you and goodnight -David Letterman #ThanksDave

Posted by Late Show with David Letterman on Wednesday, May 20, 2015

Featured on nüyou Magazine (May issue)

谢谢《男友》杂志的专访。 (其实是《女友》杂志啦, 但加了一部分是给男读者的。)


Wow, the May 2015 issue of nüyou Malaysia magazine has me in it! Thanks to Andy 池存健 for the great interview!(There's a...

Posted by Edmund Yeo on Monday, April 27, 2015

Thursday, May 21, 2015

RIVER OF EXPLODING DURIANS @ Singapore Chinese Film Festival 2015 + Films I caught at the festival

Has there not been update on this blog for that long?

It happens, when you are buried with work.

A month ago, RIVER OF EXPLODING DURIANS was shown at the Singapore Chinese Film Festival.

At the very same festival, I was able to meet Taiwanese directors like the legendary Li Hsing (considered a godfather of Taiwanese cinema), the influential Wan Jen (of the Taiwan New Cinema, a contemporary of Hou Hsiao-Hsien and Edward Yang's), and the much respected Yang Li-Chou (whose critically and commercially successful documentaries opened the way for Taiwanese documentaries to be shown in their cinemas).

[English text below] 跟两岸三地的华语电影不一样,东南亚的华语电影不只有着不同的语调,关注的事情也不尽相同。在异邦因为生活而被磨练出来的掺杂语言之下,依然保有中华文化精髓的南洋华人,在华语电影世界里,也有我们想说的话。...

Posted by David Lee Fu Nang on Thursday, April 23, 2015

马来西亚新晋导演杨毅恒你好!欢迎来到新加坡华语电影节,与《榴莲忘返》的影迷们见面交流!It's up-and-coming Malaysian director Edmund Yeo! Catch him at the Q&A for...

Posted by Singapore Chinese Film Festival 新加坡华语电影节 on Friday, April 24, 2015

刚抵达新加坡。李行导演, 万仁导演, 您好! Just arrived at Singapore. Managed to take a group photo with two other newly-arrived festival...

Posted by Edmund Yeo on Friday, April 24, 2015

昨天晚上看了杨力州导演执导的纪录片《那时.此刻》, 描述金马奖50年的历史, 还有台湾电影, 台湾政治社会在这50年里的改变, 起伏。 看了很感动, 感受到时间流逝, 不同时代的电影人, 明星, 导演与影迷们, 都被电影深深的影响了他们的人...

Posted by Edmund Yeo on Saturday, April 25, 2015

Well, 3 hours before the Singapore screening of River of Exploding Durians 榴莲忘返! It's going to be pretty fun to show...

Posted by Edmund Yeo on Friday, April 24, 2015

With director Wan Jen after the screening of his film IT TAKES TWO TO TANGO (2013). That was his first film in 12 years....

Posted by Edmund Yeo on Saturday, April 25, 2015

Director Edmund Yeo with the legendary director Li Hsing, whose career has spanned 60 decades

Posted by River of Exploding Durians 榴莲忘返 on Thursday, April 30, 2015


I was very grateful that I had relatives and old classmates from primary and high school attending my screening. Meant a lot to me, even if I was unable to articulate them into words. Only thank you.


今天在新加坡举行的《榴莲忘返》放映会对我很特别, 小学的同学们来棒场。 我们都一起长大, 一起谈理想, 我儿时发导演梦的时候, 时常就把剧本的IDEA说给他们听, 真的辛苦他们了。 如今, 我真的拍了人生第一部长片, 能与你们分享我的作品,...

Posted by Edmund Yeo on Saturday, April 25, 2015

我也非常感谢二舅母Sia Lay Hua, 表弟 Chik Junxiong, 表妹Wince Chik出席今天《榴莲忘返》的放映会。 人生第一部长片, 能与自己的家人分享, 真的是太开心了! 有你们, 我才更加想继续加油, 继续拍好电影给...

Posted by Edmund Yeo on Saturday, April 25, 2015

上个周末, 《榴莲忘返》导演杨毅恆出席了新加坡华语电影节举行的放映会, 非常感恩观众们热烈的回应。 也很兴奋, 能与几位来自台湾的前辈们合影。 例如电影风格深入台湾电影界的李行导演, 台湾新电影重要导演之一的万仁导演, 以及拍了不少非常重要...

Posted by River of Exploding Durians 榴莲忘返 on Thursday, April 30, 2015


Now, aside from my own screenings, the beauty of film festivals is being able to catch great films.

The first night of the fest, I caught Yang Li-Chou's THE MOMENT - FIFTY YEARS OF GOLDEN HORSE, an exquisite documentary that covers fifty years of the Golden Horse Awards (known as the Chinese Oscars) and the sociopolitical situation in the region that shaped its cinema. It inspired me a lot for the documentary that I am now shooting.


The following day, after my own screening, I caught Wan Jen's latest film, the comedy IT TAKES TWO TO TANGO. A departure of style from his previous works.


And finally, Chenn Hsiang's directorial debut, EXIT 迴光奏鳴曲. Chen Shiang-chyi, who had been in most of Tsai Ming-Liang's films, won Best Actress at last year's Golden Horse Awards. It's unsurprising, she carried the entire film by herself.


Chenn Hsiang, by the way, is the great cinematographer of one of my favourite Taiwanese films of all time, BLUE GATE CROSSING. Tis a photo I took with him in Taipei back in 2011.

Chien Hsiang, the awesome cinematographer of BLUE GATE CROSSING

Posted by Edmund Yeo on Monday, November 21, 2011

I also wanted to catch RUBBERS by Han Yew Kwang, whom I had the pleasure to meet at the Network of Asian Fantastic Films in Bucheon Film Festival. Alas, my time in Singapore was too short, and at that time, the film had yet to show. Nonetheless, I still like this photo very much.

#RubbersMovie is Now Showing in Singapore!

Posted by Thomas Chia on Saturday, May 9, 2015

Monday, April 20, 2015

Undercover Barista (Beta version)

Photos from a one-day shoot last week.

The entire album is here.

Photos taken by TK Cheng during a shoot last week.

Posted by Edmund Yeo on Thursday, April 16, 2015

Here are some of my favourites.

Group photo!

Posted by Edmund Yeo on Thursday, April 16, 2015

They shoot each other. I drink coffee.

Posted by Edmund Yeo on Thursday, April 16, 2015


23 Jump Street

Posted by Edmund Yeo on Thursday, April 16, 2015

She uses the same knife to cut cheesecakes and murder innocents

Posted by Edmund Yeo on Friday, April 17, 2015

Malaysian remake of a Wes Anderson film.

Posted by Edmund Yeo on Friday, April 17, 2015


"No phones on the set, please"

Posted by Edmund Yeo on Friday, April 17, 2015

"WAAAAAH" were the only thing they could say after seeing the footages.

Posted by Edmund Yeo on Friday, April 17, 2015

And this is my absolute favourite, in which I was heroically taking a bullet for the team.


A director should learn how to take a bullet for the team.

Posted by Edmund Yeo on Friday, April 17, 2015

RIVER OF EXPLODING DURIANS 破裂するドリアンの河の記憶 @ Malaysian Film Week マレーシア映画ウィーク

Yesterday (19th April) was the last screening of RIVER OF EXPLODING DURIANS at the Malaysian Film Week, held in Roppongi. Thanks for organizing the screenings, Malaysia Film Week. And thanks to Ando-sensei for doing the Q and A session after the screening.


RIVER OF EXPLODING DURIANS is screening at Roppongi Cinemart シネマート六本木 as part of the Malaysia Film Week! Screening...

Posted by River of Exploding Durians 榴莲忘返 on Monday, April 13, 2015

いよいよ本日が最終日となりました。マレーシア映画ウィーク、ヤスミン監督がいま存命なら、次世代の監督たちへ何と言ってくれるでしょうか。本日最終日は、ただいまヤスミンの盟友ホー・ユーハンの『心の魔』を上映中。13:30より『破裂す...

Posted by マレーシア映画ウィーク Malaysian Film Week on Saturday, April 18, 2015

【上映作品紹介】破裂するドリアンの河の記憶 River of Exploding Durians東京国際映画祭「アジアの風」で一世を風靡したマレーシア・ニューウェーブの監督たちですが、意外な事にコンペティション部門のノミネートは未踏で...

Posted by マレーシア映画ウィーク Malaysian Film Week on Saturday, March 28, 2015

【上映作品紹介】破裂するドリアンの河の記憶/River of Exploding Durians 監督:エドモンド・ヨウ港町に暮らす高校生たち。肉まんを買い食いしたり、海辺で散歩したりと、初々しいデートを重ねるミンとメイ・アン。一方、地...

Posted by マレーシア映画ウィーク Malaysian Film Week on Wednesday, March 18, 2015

The Malaysian Film Week is a mini-film festival that was screening numerous Malaysian films in Roppongi Cinemart.

This festival had some mini-focuses on the late Yasmin Ahmad, the works of James Lee (his award-winning CALL IF YOU NEED ME and the two editions of 3 DOORS OF HORROR he produced, which include a segment that I directed, FLOATING SUN) and a few of Pete Teo's stuff that he produced (the ever popular 15 Malaysia film omnibus), two shorts produced by actress Sharifah Amani etc.

Woo Ming Jin's THE SECOND LIFE OF THIEVES (which I produced and co-wrote) also made its Japan premiere here.

Feedback after the three screenings had been overwhelming. Thanks to everyone who took their time to tweet their thoughts on the film. ありがとうございます!


















































I tried replying to some of the tweets, to various comedic effect.

On replying whether it was a homage to Edward Yang's THE TERRORIZERS (it is, I went through the film, along with some of Hou Hsiao-Hsien's films, while preparing to shoot Durians):



On RIVER OF EXPLODING DURIANS actress Joey Leong.


On the similarities to Hou Hsiao-Hsien's DUST IN THE WIND and Edward Yang's THE TERRORIZERS.



Next stops for Durians in April?

Singapore Chinese Film Festival.

Kiat's recommendation to Singapore Chinese Film Festival 新加坡华语电影节River of Exploding Durians 榴莲忘返 25 Apr, Sat, 1.30pm,...

Posted by Chew Keng Kiat on Wednesday, April 15, 2015

Los Angeles Asia Pacific Film Festival.

RIVER OF EXPLODING DURIANS, part of our International showcase, screens on Wednesday, April 29, 2015, 7pm at the...

Posted by The Los Angeles Asian Pacific Film Festival on Sunday, April 19, 2015

Sunday, April 05, 2015

Rest in peace, Manoel de Oliveira, the oldest film director in the world


Manoel de Oliveira, the oldest working director in the world, passed away three days ago, on the 2nd of April. He was 106.

Portugal paid its final tribute to him yesterday before his burial.

I have written about him on 2012 to commemorate his 104th birthday. In my post, I wrote about my experience of trying to catch his film at Berlinale 2009.


Frankly, I only knew about Oliveira when I was at the Berlin Film Festival in 2009. They were giving him a Berlinale Camera award (a lifetime achievement award), and was also screening his film ECCENTRICITIES OF A BLOND-HAIRED GIRL. (It's a 1-hour film)

Intrigued and curious (a lifelong virtue of mine, I humbly believe) to see the film of a then-101 year old director, I braved through the snow of Berlin city after going through the workshops of the Berlinale Talent Campus (which I was attending), hopping into one train after another, and then running around, trying to find the cinema.

I was lost, but I met a young nice couple who offered me a ride (no kidding) to the place. (Yep, I hitchhiked my way to a Manoel de Oliveira screening at Berlin Film Festival, this is tale I can always tell my kids, if they don't end up being ignorant and unappreciative to the arts)

I reached the venue just in time for him to give a speech before the screening. They also presented that Berlinale Camera award to him during the speech. Despite my exhaustion, I was absolutely delighted, elated, joyous that I was able to personally witness such a monumental event! And I was sitting on the third row! With, presumably, the media! (it was the only seat left)

I snapped a photo.

Screening of Manoel De Oliveira's ECCENTRICITIES OF A BLOND-HAIRED GIRL. At the time, Manuel De Oliveira was 101 years old.

Posted by Edmund Yeo on Tuesday, August 21, 2012

After that, Oliveira left, and the film began.

I marveled at the crisp digital cinematography. The film started in a train, a train conductor walking about clipping tickets in an immaculately-composed shot. The sound of the train was rhythmic, hypnotic, soothing...

... and so, I fell asleep.

(Okay, I woke up halfway during a scene when Debussy's ARABESQUE NO. 1 was played on a harp in the background... which lulled me back to sleep again)

Yes, all the hassle that I went through and I ended up sleeping through the screening. I woke up at the thunderous sound of applause.

The end credits were rolling. I was staring in horror, realizing that I had missed the entire bloody film. It really wasn't something I was proud of. So embarrassed by my own weakness that I sneaked away before the post-screening Q and A session began. I don't think I snore when I sleep, but what if I did? What if I had been snoring the whole time, to the utmost annoyance of those who were sitting next to me? I didn't want to take any chances.

And so, I missed the opportunity to catch my very first Oliveira film on the big screen. :(

So forever, this would be how I remember Manoel de Oliveira. With a tinge of regret, and some hint of humour. Just like his films.

I never had the chance to catch a Manoel de Oliveira feature film on the big screen, but I have twice seen his works in an omnibus film, both in Japan.

The first was the Recontre Unique (Sole Meeting) segment in the 60th anniversary Cannes Film Festival omnibus, Chacun son Cinema (To Each His Own Cinema). Although I didn't exactly follow his segment at all because I couldn't keep up with the Japanese subtitles due to my rudimentary Japanese skills. His segment was a silent movie. There's a pope. Also accompanied by Debussy soundtrack.


Manoel de Oliveira - Rencontre unique by Moonflux

Alas, still no English subtitles.

The second was his rather funny segment that concluded the HISTORIC CENTER (Histórias do cinema) omnibus film, which featured him and three other directors: Aki Kaurismaki, Pedro Costa and Victor Erice.

Therefore, the very first Manoel de Oliveira film I really saw in its entirety was THE STRANGE CASE OF ANGELICA, which is arguably his most famous film internationally during the past decade. The film was whimsical, but also coloured by undercurrents of melancholy. A protagonist who falls in love with a ghost, and finds himself perpetually disconnected from the rest of the world, his fascination is only with the past.

I couldn't believe that it was a film made by a director who had lived for more than a century, but then, perhaps it was because he had lived for a century that the emotions of the film felt genuine, and you could suspect that the photographer protagonist (played by his grandson, Ricardo Trepa) was a surrogate for Oliveira.

Oliveira had lived through it all: Silent movies. German Expressionistic cinema. Gone With The Wind, Citizen Kane, Casablanca. The French New Wave. Antonioni. Fellini. Tarkovsky. Kubrick. American New Wave. Taiwan New Cinema etc. His career spanned 75 years. His first film was a silent documentary, his last few films were shot digitally.

It blows my mind when I realize that many of the long-departed legendary directors I mentioned above were actually even younger than Oliveira!

For me, he's an inspiration. To think that he became supremely prolific beginning from the 1990s (after he reached his late 80s) and was averaging at least a film a year. There wasn't any slowing down, he just continue doing what he loved, for cinema. What a life!

Manoel de Oliveira, the world's oldest working director (and a great one!) had just passed way at the age of 106. Rest in peace. Probably flying through the sky like Angelica did.

Posted by Edmund Yeo on Thursday, April 2, 2015

Manoel de Oliveira is indeed an inspiration. Being able to make films until you are 106, films feeling increasingly youthful. 106 is indeed too early.

Posted by Edmund Yeo on Thursday, April 2, 2015

In the past few days since his death, there had been many great tribute articles about him which made me wish that I've seen more of his works. I can always start now. The beauty of cinema is that there will always be countless great films from past, present and future waiting to be seen.








For me, what lingered more in the past few days were videos him dancing.


Manoel de Oliveira - Chaplin Dance from Cinema Guild on Vimeo.




Sunday, March 29, 2015

Weddings of old friends

During the past two Saturdays, through some stroke of coincidence, or maybe because they were fortuitous days, quite a few weddings were held.

So, for two consecutive Saturdays, I attended weddings of old friends from primary school. One was Jasmine, a dear friend from then to now, another was Iong Ying, a friend whom I kept in touch with intermittently, but he had done a lot trying to keep us all connected.

After all, at this day and age, I guess it's quite rare to still be able to remain connected with friends from primary school! That's even harder than high school! Yet we did, with our teacher Tu Lao Shi (Lao Shi as in "Teacher", Tu as in her family name, although her actual English spelling is Thor, which gives her an even cooler name, Teacher Thor), starting from Friendster groups to Facebook groups to Whatsapp groups, whatever it was, we kept up with times.

It's not that we communicate that much, but the line of communication is still there. No one is lost forever. Perhaps that's the beauty.

Today, my pal Jasmine Khew got married. I knew her since Standard 1. A great day indeed. Wish you and Kelvin Yap a...

Posted by Edmund Yeo on Saturday, March 21, 2015

For the second straight Saturday, I attended an old friends wedding. Iong Ying is a pal from primary school. Congrats pal.

Posted by Edmund Yeo on Saturday, March 28, 2015

The truth is, I've become increasingly fascinated by this connection of ours. 18 years after we have left primary school, all of us 30-year-olds connected by collective memories of ourselves when we were 11, 12-year-olds.

Perhaps there is nostalgia for simpler funner days, perhaps there is a feeling of fondness of seeing how all of us have chosen disparate paths in life. Some married, some single, some corporate, some artistic, some in the country, some out of the country, yet for a few years in our childhood, we all spent everyday together in a tiny little classroom.

I have always been fonder of my primary school days than secondary school. Things were simpler, people were nicer, I was less angry, less cynical, less bitter. Perhaps that is why I connect less with people from secondary school. Perhaps the feeling is mutual, based on my current contrasting relationship with my secondary school and primary school,jeez.

I openly feuded against my old secondary school because they almost jeopardized my film shoot. On the other hand, I remain forever grateful that my primary school had listed me as a notable alumni during their 100th anniversary and invited me to meet up with the kids. Yup, primary school is nicer. :)


Today, I went to my old primary school Puay Chai to meet up with the standard 6 kids and give a brief talk (also took...

Posted by Edmund Yeo on Wednesday, October 1, 2014

This was a conversation from after a wedding, with someone who is skeptical about attending weddings of people he haven't kept in touch for years, it made me thing. This is not an accurate transcript, because I don't have a photographic memory, thus it is dramatized for poetic effect:

Him: I find it odd and awkward to attend wedding dinners of people I have not kept in touch with for years. In truth, we have all drifted apart. Why invite old classmates from a long-ago life?

Me: I too, am always reluctant to attend wedding dinners. Or rather, things generally happen during past weddings of friends. A film shoot, a preparation of film shoot, being in Japan, people assuming that I were still in Japan, being in a film festival etc. I generally have no interest in attending weddings if it's from a Facebook Event invitation. But if I were personally contacted, then there's cause for consideration.

Him: We are no close anymore, or ever, therefore, to me, it's rather odd to attend these things. Life goes on.

Me: (Musing) As much as I build my life in chasing after an unknown future, I often find myself sifting through memories. His wedding is a once-in-a-lifetime thing, we, as primary school classmates, were parts of his childhood memories. There is nothing wrong with him trying to reconnect with his past in such a special day. The day belonged to his, and we are there because we are bridges to more innocent time. There is nostalgia, there is fondness. He is who he is now because of his encounters and interactions with us, the past is bloody annoying, so are memories, but then, they define who we are now. Perhaps that's the beauty of these things. The wait can be insane, but if your presence means something to those who are there, then why not?

So ultimately, it's really about the convalescence of past and present.

I found myself remembering something I posted on this blog in 2013. About someone who was reluctant to attend weddings. It started like this.

The idea of attending a friend's wedding had always been a scary one. They remind him of the passing of time, or his inability to find love.

Yet this was an invitation that he was unable to turn down.

He knew the groom since Standard 1 (they were both seven), at primary school.
He knew the bride since he was in Form 4 (they were both sixteen), at secondary school.

The bride and the groom were high school sweethearts, having been together for eleven years.

Thus, he decided to attend his first wedding of friends, which were seemingly different from the wedding of uncles and aunts in his memories, different from his cousin's weddings, different from the weddings of his parents' friends, or the children of his parents' friends.

When he arrived at the venue of the wedding dinner, he saw a sea of familiar faces, either from primary school or from secondary school.

Happier than he expected himself to be, he said hi to everyone he could recognize, and hi to those he thought he recognized, and hi to those he didn't really know but were either friends of the bride or the groom.

The post went on and on from a supposedly detached, third-person perspective that had probably alienated the majority of its readers... but it ended like this.


A few hours earlier, when he was on his way to the wedding dinner, he recounted the whole thing to the driver (one of the best friends of the bride, and also someone he himself knew since they were both seven).

"The feeling of having people from my past attend my screening is a very strange thing. I think this whole filmmaking part of my life had separated myself from my past, everyone had gone on to live their lives. Mine is one of solitude. To see both of them drive all the way to Kuala Lumpur for my screening, the gratitude I felt was indescribable. I was moved." He said, without irony or sarcasm.

And without noticing, they became part of his life again. An unexpected convalescence of past and present.

A few hours later, "Old Wolf" was the one to give him the ride home. Looking out through the window, the night view of Kuala Lumpur city passed him by, streetlights, buildings, the Petronas Twin Towers.

The idea of attending a friend's wedding had always been a scary one. But somehow, after being to one, for reasons he was unable to comprehend, he felt at peace.

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