30 years into an illustrious career, Eric Khoo stands today as one of Singapore’s most prominent filmmakers. Even with his earliest films in the ‘90s, Khoo showcased a clear point of view, marked by nuanced social commentary and a focus on Singapore’s heartland locations. His first film, Mee Pok Man, was an unconventional story about a misunderstood noodle seller and his obsession with a disillusioned sex worker.
A bleak social drama, the film has been credited with single-handedly reviving Singapore’s film industry, which at the time was reeling from a mass exodus of locally-made cinema. Through the years, Khoo has made many more notable movies and garnered a long list of accolades. My Magic, a haunting film about a single father taking on a dangerous new job to provide for his son, became the first Singapore production to be nominated for the Palme D’Or at The Cannes Film Festival.
Khoo’s latest project, which arrived this year, marks yet another milestone. Titled Spirit World, the film stars French cinema legend Catherine Deneuve, who plays Claire, a singer who flies to Japan for a final sold-out concert and dies there. A poetic yet fantastical exploration of what the afterlife might hold whimsical new film gained the support of Chanel owing to its artistic value.
A reflection of the fashion house’s deep ties to the art of cinema, Chanel provided financial backing for the production, support to costume designer Pascaline Chavanne, and the loan of jewellery creations for Catherine Deneuve as well as Chanel outfits and accessories for actress Maiya Goshima. “I am very glad that Chanel believed in Spirit World enough to support our little film. Costume design was very important in our film especially as there weren’t a lot of wardrobe changes, so this aspect had to be spot-on and impactful,” Khoo shares.
Here, Khoo reflects on the making of Spirit World, his decades-long career, and what lies ahead.
You have had an astounding journey and accomplished so much. What has been a lesser-known highlight of your career?
Winning the new Special Achievement Prize for my banned short film Pain at the Singapore International Film Festival 1994. The sponsorship in kind enabled me to produce my first feature and by the end of that year I was shooting Mee Pok Man—it travelled to over 30 film festivals and inspired many Singaporeans to venture into filmmaking.
“Catherine’s intelligence, her film savvy, and her genuine love for Japan made this an incredible trip for all of us in the beautiful land of the rising sun.”
Many of your films depict life in Singapore and highlight scenes from the city that go unseen. What has been your motivation behind making films like these?
I was tired of watching the Singapore depicted in free-to-air television dramas and I wanted to capture the real Singapore in the moment. Especially the buildings and the environment that would be gone in our fast-changing landscape.
How do you think the film indsutry in Singapore has progressed since you started in the ‘90s?
The support of the Singapore Film Commission has been instrumental in encouraging the growth of local filmmakers and their films. Back in 1997, working with like-minded colleagues, we wrote the white paper that resulted in the formation of the SFC 1998. Thus, many worthy local films have been feted at prestigious foreign film festivals which lead to distribution overseas, which is crucial as Singapore is a relatively small market.
We learned that Spirit World was written by you and your son, Edward Khoo. Could you give us some insight into how this collaborative screenplay came about, and what working with Edward was like?
I was trying to write the script in between HBO shows I was show-running but wasn’t coming out with anything strong. Ed finally came onboard after much nagging from me and decided to pivot into Japan’s music history, which led us to the waves of Chiba, where surfing in Japan was birthed. Indirectly, the movie became our tribute to The Beach Boys’ Brian Wilson’s ‘Surfer Girl’. Ed and I would watch old black and white films for inspiration during the pandemic.
Tell us more about the themes that Spirit World delves into. What drew you to this film, and what do you hope viewers will leave the cinema feeling?
Wouldn’t it be nice if you finally met your soulmate in death if you hadn’t had the opportunity while you’re alive? This is a positive spin on death and the afterlife which I hope the viewers will take away with them.
In Spirit World, you worked with French cinema icon, Catherine Deneuve. What was the experience directing her like?
It was an inspirational experience. As she’s bilingual, we could communicate very well. She was able to give a lot to her character Claire—her intelligence, her film savvy and, most of all, her genuine love for Japan made this an incredible trip for all of us in the beautiful land of the rising sun.
The film gained the support of Chanel, and costume designer Pascaline Chavanne was able to utilise jewellery, accessories and outfits from the house for various characters. What role do you think costume design played for Spirit World?
I am very glad that Chanel believed in Spirit World enough to support our little film. Costume design was very important in our film especially as there weren’t a lot of wardrobe changes, so this aspect had to be spot-on and impactful.
Are there any parallels you see in your own efforts for the film industry with that of Chanel in their relationship with cinema?
Well, of course, Chanel has a history that is closely linked with cinema. Chanel understands the power of cinema to connect with an audience. I believe in that same power of cinema to tell stories that are important to me and have the potential to engage.
You’re an incredibly versatile filmmaker and have worked with a variety of mediums. What is one thing you’re excited to do next?
I truly want to direct a spooky ghost story that will have chills running down the audience’s spine. I have been a big fan of the horror genre since childhood thanks to my mother as that was her favourite genre. I am looking forward to producing a horror film that will live up to her expectations.
