Raphael Millet's extensive work chronicles Singapore's cinematic journey from colonial times to contemporary acclaim, featuring over 500 films.
Singapore, Singapore Jul 16, 2026 ALN: [SINGAPORE] The most ambitious and wide-ranging book on Singapore cinema is here. Singapore: A Cinematic Portrait is a 528-page survey of more than 500 films spanning 125 years.
It moves from the newsreels of the early 1900s to Hollywood’s exoticised visions of Singapore in the 1930s, the golden age of Malay cinema in the 1950s and 1960s, and the recent international successes of Anthony Chen, Yeo Siew Hua and others. This book serves as a comprehensive archive and analysis of the evolution of cinema in Singapore, reflecting not only the technological changes and artistic developments but also the sociopolitical transformations that have shaped the nation.
The book is written by Raphael Millet, a French film scholar married to a Singaporean. He has lived and worked intermittently in Singapore since 2002, which has given him a unique perspective on the local film industry and its cultural significance. Millet's connection to Singapore, both personal and professional, has undoubtedly influenced his approach to documenting its cinematic history.
Previously, Millet published two shorter books on the subject of Singapore film. However, Singapore: A Cinematic Portrait dwarfs those earlier efforts, bringing together decades of research in what is arguably the most extensive account of Singapore’s cinematic history yet published. This new work is a culmination of Millet's extensive research, which has involved not just watching films but also engaging with various archival materials and historical documents.
“I researched and watched, or rewatched, well over 700 Singaporean and Singapore-related films of all genres and formats (such as features, shorts, documentaries, fiction and experimental works, but not animation) produced between 1900 and 2025 to write the book,” Millet tells The Business Times. This rigorous methodology underscores the depth of analysis present in the book, as Millet examines films that reflect Singapore's diverse cultural landscape.
Historians often regard the 1950s and 1960s as the peak of Singapore’s cinematic golden age, when the island became the regional centre of Malay-language film-making. During this period, the local film industry flourished with a variety of productions that resonated with audiences across the region, showcasing the rich tapestry of Malay culture and narratives.
Back then, local studios Shaw Brothers and Cathay-Keris operated large sound stages and employed permanent teams of technicians, directors, writers and contracted stars, including P Ramlee, Maria Menado and Zaiton. These studios played a pivotal role in shaping the film landscape, creating works that not only entertained but also reflected the social realities and aspirations of the time.
Although the films were in Malay, their production was distinctly Singaporean, even before Singapore became an independent nation. Millet, however, challenges this paradigm, reframing the era as one that encompassed both Nusantara-themed films – which draw on the cultures and mythologies of the wider Malay archipelago – and Nanyang-themed films that explore the experiences and identities of the Chinese diaspora in Singapore. This nuanced perspective highlights the interconnectedness of various cultural narratives and the impact of migration on the cinematic landscape.
He also devotes a chapter to Singapore, a rarely discussed 1960 Hindi-language movie by Indian film-maker Shakti Samanta, and sheds light on the overlooked film-maker Rajendra Gour. By including these lesser-known works and figures, Millet expands the discourse surrounding Singapore's cinematic heritage, emphasizing the multicultural influences that have contributed to its development.
What emerges is not a neat, self-contained discussion of national cinema, but an analysis of the porous and multilingual film culture shaped by migration, commerce and the overlapping identities of different communities. This complexity is essential for understanding the evolution of Singapore cinema, as it reflects the broader societal changes that have occurred over the years.
“My focus is first and foremost on the films themselves, and how they collectively portray Singapore, like fragments of an ever-evolving mosaic,” says Millet. This metaphor of a mosaic captures the essence of Singapore's cinematic identity, where each film contributes to a larger narrative that encompasses the country's diverse experiences and cultural heritage.
“My hope is that readers will come away with a fresh perspective on Singapore, as seen through the lenses of the many film-makers – Singaporean and international alike – who have captured, documented, interpreted, reimagined and even fantasised (about) the island nation over 125 years.” This ambition to reshape perceptions of Singapore through cinema is a testament to the power of film as a medium for storytelling and cultural expression.
Millet drew on Singapore’s Asian Film Archive (which also published the book), the Hong Kong Film Archive and, in cases where films no longer exist, newspaper reviews, handbills and production records. The meticulous research process involved consulting a wide range of sources, ensuring that the book is well-grounded in historical accuracy while also being rich in narrative detail.
The book boasts some 505 illustrations, including rare photographs and posters. These visual elements not only enhance the reader's understanding of the films discussed but also serve as a visual history of Singapore's cinematic evolution, capturing moments that might otherwise be forgotten.
In his analysis, Millet writes that many contemporary Singapore films share two recurring sensibilities: melancholia and nostalgia. These themes resonate deeply with audiences, as they reflect the complexities of living in a rapidly changing society.
Melancholia pervades the work of directors including Eric Khoo’s 12 Storeys, Kelvin Tong’s Eating Air, K Rajagopal’s A Yellow Bird, Djinn’s Perth, Royston Tan’s 4:30, Boo Junfeng’s Apprentice, Yeo Siew Hua’s A Land Imagined and Tan Pin Pin’s various short films. These films often explore themes of loss, identity, and the passage of time, capturing the emotional landscape of individuals navigating a world that is in constant flux.
Nostalgia, meanwhile, is evident in many films that hark back to the past, including Glenn Goei’s Forever Fever and Revenge of the Pontianak, Jack Neo’s Homerun, Royston Tan’s 881 and Tong’s It’s a Great, Great World. These works often evoke a sense of longing for simpler times, reflecting the collective memory of a society that has undergone significant transformation.
“Singapore’s pace of transformation is quite extraordinary,” notes Millet. “Few countries have changed so profoundly within the span of a single lifetime, and in such a compact geographical space.” This observation underscores the unique context within which Singaporean cinema operates, as filmmakers grapple with the implications of rapid modernization and urbanization.
Melancholia and nostalgia, he says, are natural responses to this constant transformation. The emotional weight of these themes resonates with audiences who may feel a sense of dislocation in the face of change. “It is therefore not surprising that, particularly from the 1990s onwards, cinema has become a powerful medium for recording what has disappeared, mourning what has been lost, and preserving memories of places and communities that no longer exist.” This role of cinema as a repository of memory is crucial, as it allows for the documentation of cultural heritage that might otherwise fade away.
Millet stresses that the book is “not an encyclopaedia” and not exhaustive. Rather, it is an invitation to explore the rich and varied landscape of Singapore cinema, encouraging readers to engage with the films and the stories they tell. The work serves as a critical resource for scholars, filmmakers, and anyone interested in understanding the complexities of Singapore’s cinematic history and its cultural implications.
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