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‘Citizen Hustler’ by Tan Biyun: A heart-wrenching and necessary exploration of struggles faced by Singapore’s elderly poor

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4 years ago

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(Note: Spoilers of Tan Biyun’s ‘Citizen Hustler’ ahead)

While Singaporeans may have frequently read news reports and academic studies on the elderly poor in the country, ‘Citizen Hustler‘ by filmmaker Tan Biyun viscerally captures the essence of the struggles they face, often hidden and rendered invisible in the shadows of the republic’s gleaming skyscrapers.

The film, slated to be premiered on 5 December at the Singapore International Film Festival, centres the story of a hawker in his late 60s who was evicted when the Sungei Road flea market was forced to close in 2017.

Plagued by various ailments, Uncle Chan Fook Seng and his partner Seah Siok Tiang are left with little recourse. For them, negotiation is imperative to their survival not only in their informal trade but also in navigating their way through the thicket of bureaucracy to access financial aid.

The film opens with the closure of Sungei Road flea market, with tenants being evicted at night as construction crew begin to fence the area off.

People are seen setting up their wares just outside the fence but are soon told by enforcement officers that they have to leave.

Uncle Chan ends up selling illegally at the Chinatown market, along with many other vendors, as he was not one of the few evicted vendors who were granted a license.

The film follows Uncle Chan’s struggles to make a decent living and navigate the red tape of government aid.

The setting shifts to his home — depicted as being filled with so much stuff the audience might think they are watching an episode of “Hoarders”.

No real explanation was given to why the items were there — however, there is a general idea that these items will be taken out bit by bit to be sold on the streets.

The items ranged from jewellery to old phones and radios and even a laptop.

Uncle Chan heartrendingly reveals that he worked as a cleaner but is unable to take up that job anymore due to his old age and weakened limbs. He has no Central Provident Fund (CPF) savings to speak of either, having run out of his CPF payouts.

Relying on welfare and government aid via the Silver Support Scheme that he has to stretch for two people, Uncle Chan get about S$700 from the government. But his expenses go up to over S$1,000 a month.

His partner isn’t on welfare. She is also two years short of being able to withdraw her CPF savings — the two of them subsist on whatever financial aid they get from the government and income brought in from hawking.

The impression I got from it is that hawking income is rather negligible in the grand scheme of things.

When Uncle Chan loses his wallet which contains his and his partner’s ID cards, getting replacements prove to be just as difficult. He says the interview process by the ICA felt like he was being interviewed for welfare assistance.

Eventually, he got a replacement and a waiver on the replacement fees. However, he had to fork out S$60 for his partner’s replacement ID card.

Still, despite every single stumbling block and challenge—aching legs, no money for proper meals, barely a social life, and the crushing resignation that the system is not designed to make your life easier—they still push forward. They go out, hawk some goods, chill at a kopitiam together and banter with the staff.

Throughout the film, you see Uncle Chan being helped by the film director herself.

Tan helps him find a Family Services Centre (FSC) to help get his ID card replaced. She helps him source out other avenues of financial aid. She translates official letters addressed to him from various government agencies.

It baffles me that the government does not simply send him letters in a language he understands and is comfortable with, particularly given that Mandarin is also one of Singapore’s official languages.

But of course, there’s only so much one person can do. Even the social workers who handle Uncle Chan’s case are limited by laws and regulations in terms of how much help they can extend to him and elderly low-income persons like him.

Uncle Chan’s struggle in accessing what appears to be a labyrinthine government aid system is also brought to the spotlight in Tan’s film.

For example, Uncle Chan’s Silver Support payout is only S$300 each quarter of the year, as he is on welfare. His medical expenses are deducted from his Medisave before welfare kicks in — he is essentially paying his own medical expenses.

His monthly NTUC vouchers also eventually expire. It appears everything has to be reapplied for, with no guarantee that the aid will be renewed.

The film sheds light on possible gaps in Singapore’s social support system that led to Uncle Chan—and undoubtedly many others like him—falling through the cracks, leaving them with no option but to drink only coffee for breakfast or dumpster dive to find potential items that could be sold for cheap.

One thing that Uncle Chan says about two-thirds of the way into the film that struck me is that people like him are “useless” after 60.

It is clear that Uncle Chan thrives from working and keeping a steady momentum. Perhaps something people–or at least I–have never considered before is that a social safety net has to comprise more than just financial aid.

Quality of life is more than just being able to put food on the table and a roof over one’s head.

Such basic needs must be met before one could address existential struggles such as battling the feeling of uselessness, of course, but the significance of a dignified life is one we should be taking into account.

The film tells us that Aunty Seah has been flagged as a vulnerable person by social workers and is now on short term welfare handouts, pending further review of her case.

If nothing changes, then Aunty Seah will very likely have to continue navigating the same aid bureaucracy that Uncle Chan had been doing for both of them before he died. Only now, she has to do it without her partner. That’s possibly the most heart-wrenching part of this story.

It’s not an easy film to watch, emotionally, but it’s one that should be seen. It needs to be seen not only by everyday folks who may not be aware of just how bad it can get for the aged poor in this metropolis, but also hopefully by the bureaucrats who designed and maintain the system that is not working as effectively as often touted.

The film notes that about 5,000 people are on welfare in Singapore. Only 5,000. Even Uncle Chan found it hard to believe that the official figures are so low. The thing is, how many have fallen through the cracks? And how many who have been caught by the net are still struggling to live a dignified and comfortable life?

These are questions the film have raised for me. I hope it raises questions for you too and similarly inspires action.

Watch an excerpt of the film here:

 

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Arts & Culture

Epigram Books to close SAM bookshop amid low sales and footfall

Epigram Books will shut down its bookshop at the Singapore Art Museum on 26 January 2025, citing low sales and foot traffic. The independent bookstore, known for supporting local authors, will continue to operate its online store, but its future in brick-and-mortar retail is uncertain.

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4 weeks ago

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19 September 2024

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Epigram Books, a major supporter of Singaporean literature, will close its Epigram Coffee Bookshop at the Singapore Art Museum (SAM) on 26 January 2025.

The decision comes after years of struggling with low sales and foot traffic at the Tanjong Pagar Distripark location, marking the end of the bookstore’s three-year lease.

The announcement on 19 September follows Times Bookstores’ closure of its final outlet in Holland Road, highlighting the growing challenges faced by brick-and-mortar bookstores in Singapore.

Edmund Wee, publisher at Epigram Books, expressed disappointment, stating: “We tried everything to make this work. Over the past three years, we’ve often asked ourselves, how many people even knew our bookstore existed here, let alone visited?”

Despite efforts to boost traffic, including operating shuttles to increase accessibility, the bookstore struggled to attract visitors consistently.

Epigram Coffee Bookshop, previously located at the Urban Redevelopment Authority Centre on Maxwell Road and later in a pop-up at Beach Road, relocated to SAM in May 2022 in partnership with Balestier Market Collective.

The 20-seater store featured towering shelves showcasing local and Southeast Asian titles, including books from other independent publishers like Ethos Books and Math Paper Press.

However, the location’s industrial setting, which only saw spikes in visitors during major exhibitions like Olafur Eliasson’s, limited consistent footfall.

The closure coincides with the end of Eliasson’s exhibit on 22 September 2024. Although the exhibition provided a temporary boost to the bookshop’s sales, Epigram noted that the increased traffic was short-lived.

Epigram’s future in physical retail remains uncertain. Mr Wee indicated that high rental costs make reopening a physical store unlikely: “Unless rent prices relent, it’s unlikely we’ll move into another space.”

Epigram Books has been a significant presence in Singapore’s independent book scene, promoting local authors and holding literary events.

The bookshop was also a community hub for the literary arts, hosting numerous book launches and events supporting local writers. “These spaces are special to our literary arts community. They’re where book lovers gather, where literary events and book launches happen in support of our writers,” said Mr Wee.

Despite the closure of the SAM store, Epigram will continue to operate its online store. The publisher emphasized the need for continued support from readers: “We’ve come this far with everyone’s support, and we look forward to continued support from our readers as we transition to focus on online sales.”

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Arts & Culture

2024 Golden Horse Film Project Promotion unveils 63 selected projects, celebrating global creativity and innovation

The 2024 Golden Horse Film Project Promotion has unveiled 63 selected projects, featuring a diverse array of genres and international collaborations. With 38 films in development, 13 in progress, and 12 series, this year’s lineup highlights innovative storytelling and global creativity.

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1 month ago

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3 September 2024

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The Golden Horse Film Project Promotion (FPP), a prestigious platform dedicated to nurturing emerging talent and fostering international collaboration, has revealed its 2024 project lineup.

This year, the event will showcase 63 selected projects, including 38 Film in Development (FPP), 13 Work-in-Progress (WIP), and 12 Series selections. These projects represent a diverse array of genres, styles, and creative visions, underscoring the dynamic and evolving landscape of Asian and global cinema.

Diverse and Cutting-Edge Filmmakers Dominate FPP Selections

The 38 projects selected for the FPP section reflect a broad spectrum of themes, with many films pushing the boundaries of traditional storytelling.

This year’s selections include works from acclaimed filmmakers, many of whom have previously been recognized by the Golden Horse Awards. These projects promise to bring fresh perspectives and innovative approaches to the big screen.

Among the standout selections is “Wake Me Up When the Mourning Ends,” directed by LAU Kok-rui, who won the Golden Horse Award for Best New Director with The Sunny Side of the Street.

This film is expected to deliver a poignant exploration of grief and healing. Another highlight is Water of Immortality, directed by LIN Chun-yang, known for Eye of the Storm. This film tells the touching story of sculptor HUANG Tu-shui and his wife, blending art, history, and personal struggle.

Venturing into the horror genre, The Room Raising Children’s Soul by CHANG Yao-sheng, director of A Leg, explores themes of revenge and the supernatural, promising to captivate audiences with its eerie narrative.

LOU Yi-an’s Snake in the Dreamscapes combines elements of history, suspense, and politics, weaving a complex tale where three past-life dreams unravel three murder mysteries. WANG I-fan’s The Cat out of the Bag, with its violent aesthetics and revenge-driven plot, is set to be another visually striking addition to this year’s lineup.

Comedy also plays a significant role in this year’s FPP selections. God’s Lie in the Wonderland by veteran Hong Kong producer Roger LEE and director Kris LI uses a bizarre aquatic monster as a metaphor for the absurdities of real estate economics, offering a satirical take on modern society. Grannies Revenge by HSIEH Pei-ju, known for Heavy Craving, introduces a “women’s avengers” squad of grandmothers seeking justice against their unscrupulous husbands, promising both humor and empowerment.

Social issues are at the forefront of several FPP projects, often explored through the lenses of crime, thriller, and horror. Far End of Heaven by TSAO Jui-yuan, executive produced by Sylvia CHANG, follows the intense journey of a father and son on a wilderness escape, while Truth in Quarters by Boi KWONG, director of Geylang, delves into society’s interpretation of truth through a mysterious murder case.

The Day Before Tomorrow by LEE Yi-fang presents a suspenseful depiction of the immense pressure the education system imposes on students.

These selections not only reflect a deep engagement with contemporary issues but also highlight the diverse range of voices contributing to the cinematic landscape.

Films like Will You Please Reply, Please? by Jeffrey POON, which explores the disillusionment of post-1997 Hong Kong speculators, and Isolation by YU Chih-chieh, which uses a zombie crisis to comment on cross-strait tensions, illustrate how filmmakers are using genre cinema to address real-world anxieties.

The FPP lineup also includes historically inspired projects that offer authenticity and insight into significant events. LIFE DERAILED by CHAO Hsuan, for instance, explores the Puyuma train derailment accident, while He Sang a Dirge by Malaysian director LOH Din-yung exposes a scandal involving fake degrees and a corrupt tutoring empire in Malaysia.

Documentary filmmakers are well-represented in this year’s FPP section, tackling topics ranging from cultural identity to historical injustices.

The Songs from Within by Elvis LU focuses on the identity struggles of indigenous youth, while Exodus from China by LI Wei provides a poignant portrait of young people’s quest for freedom in the post-pandemic era.

Animated projects like Boy A-Nee-Gu Gets into Trouble Again! YA~ by Jack SHIH and The Dog That Lost His Home by CHEN Qiang add a unique visual element to the FPP selections, highlighting the versatility of animation as a medium for storytelling.

Emerging filmmakers are also making their mark with exciting new projects that reflect the evolving trends in global cinema. Japanese director NAKANISHI Mai’s Child, Uninvited uses suspense to explore societal pressures on women, while Indonesian director Jason ISKANDAR’s First Breath After Coma captures the turmoil of a fractured family against the backdrop of Indonesia’s 1990s regime change.

WIP Selections: A Glimpse into the Future of Cinema

The 13 projects selected for the WIP section offer a tantalizing glimpse into films that are currently in production but still seeking additional funding or collaboration opportunities. These films, which are already generating buzz within the industry, reflect the abundant creativity and diverse storytelling approaches that define this year’s Golden Horse FPP.

Among the highlights are Running Wild, a noir road film directed by WANG Yi-ling and executive produced by LIAO Ching-sung, and BLIND LOVE, directed by CHOU Mei-yu and starring Ariel LIN. These films promise to combine compelling narratives with strong visual storytelling.

Documentaries in the WIP section also stand out for their engagement with pressing social issues. One Day in the Future by JIANG Xuan-nian and JI Hang explores gender diversity and family dynamics, while A Thousand Winds by MOK Kawn-ling documents social movements in Hong Kong, providing a powerful commentary on contemporary struggles for freedom and justice.

Regional perspectives are again a key feature of the WIP selections, with projects like Malaysian filmmaker YEO Joon-han’s You Are Here and Singaporean director ANG Geck Geck Priscilla’s AH GIRL bringing unique cultural insights to the forefront. These films, along with others like Kong Tao, a horror film by Malaysian directors YONG Choon-lin and GOH Pei-chiek, emphasize the global nature of this year’s event.

Series Selections: Imagination Meets Reality

The Series section, now in its fifth year, continues to expand its scope with 12 projects that explore everything from fantasy and science fiction to crime, suspense, and drama. These selections are marked by their imaginative storytelling and bold narrative choices, reflecting the increasing convergence of television and cinema.

Fantasy and science fiction dominate several of this year’s Series selections. Super Cat, produced by HUANG Hsin-yao, deconstructs modern life through the surreal experiences of 10 delivery workers, while Survival Guide for Doomsday Kids by Kiwi CHOW presents a dystopian world where two siblings must navigate survival in the absence of adults. The blend of folklore, technology, and social commentary in Islanders, co-directed by YAO Hung-I, SHEN Ko-shang, and WU Mi-sen, promises to captivate audiences with its unique narrative approach.

Crime and suspense are also central to several Series projects, including The Fundamentals by YEO Siew-hua, which investigates the dark underbelly of a cult through a series of gruesome murders, and Godless by CHEN Kuan-chung, inspired by a real-life Taiwanese serial murder case. These projects highlight the versatility of the Series format in tackling complex themes and engaging viewers with gripping narratives.

Other notable Series selections delve into the world of medical professionals, sports, and jazz music. The Hand of God, from the creators of The Hospital, explores the high-stakes decisions faced by doctors, while Toh-kiu, directed by HUNG Tzu-peng, uses the drama of table tennis to examine the life lessons learned through competition. Jazzers by YAO Chiang, meanwhile, brings a unique animated twist to the world of music, portraying anthropomorphized musical instruments composing their symphonies in a world dominated by humans.

Looking Forward to the Golden Horse FPP Event

The 2024 Golden Horse Film Project Promotion will be held in Taipei from 18 to 20 November, culminating in an awards ceremony on 20 November. The event promises to be a celebration of creativity, innovation, and collaboration, bringing together filmmakers, producers, and industry professionals from around the world. With its diverse selections and strong emphasis on cross-cultural storytelling, this year’s FPP is set to be a highlight of the global film calendar, continuing the Golden Horse tradition of showcasing the best in contemporary cinema.

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