Jeremy Chua remembers his childhood as a lonely one, one primarily spent in what seemed to become a second home – the cinema. Growing up watching films that engaged and enchanted him, he recalls spending time doodling car parks, and in the cars parked within them, he would imagine people sitting inside, and all the little thoughts and stories that made up their lives, and why they came here.

“I think cinema was a medium that helped me understand how to respond and deal with social situations, and that really sparked off my interest and passion in film as a whole,” says Jeremy. The impact that cinema has had and found its way into his life is clear, where he spent his teenage years working for the Substation in experimental film, and continued to remain fascinated by these new worlds and perspectives all these makers opened him up to. That fire only continued into his adulthood, where in 2014, he founded Singapore-based independent film label Potocol to produce the works of distinctive Asian auteurs, and has gone on to produce critically-acclaimed films such as 2023 Cannes Camera d’Or winner Inside the Yellow Cocoon Shell, 2023 Berlinale Generations Competition film Tomorrow is a long time, and 2023 San Sebastian New Directors Competition film Last Shadow at First Light, and in 2023, was awarded the Outstanding Contribution to Asia Pacific Cinema by the International Federation of Film Producers Associations.

It feels correct then, that Jeremy has now taken on the mantle of General Manager of the Singapore International Film Festival. But it is perhaps surprising that while most people would jump at the chance, Jeremy was slightly apprehensive when he was approached by the team. “My first thought was that it would take up so much time, and I was wondering whether I’d be able to do it,” he says. “I’m not someone who takes orders easily; I like to do my own thing. But then I realised, even if I’m doing well as a producer, my role is small in the global context. Taking this on felt like an opportunity to handle something much larger, and have a greater impact on the scene and bring meaningful change, even if it means navigating bureaucracy and regimentation, which isn’t naturally my style..”

For Jeremy, the most important attitude he brings to SGIFF is one of intentionality, where he hopes everything from programming, partnerships, to even audience engagement goes beyond “doing it for the sake of doing it. “For example, we’re rethinking initiatives like labs. Why just put ten people in a room with mentors for a week and send them home with no follow-up? It feels half-hearted. If we’re going to do it, we need proper funding and a clear purpose,” he says. “We’ve also launched initiatives like the Cinephile Pass, which allows anyone with an interest in writing or film criticism to watch as many films during the festival as they want, so long as they end up writing about it on a platform of their choice. It’s really about building a community of people who genuinely love cinema and want to engage with it on their terms.”

As Jeremy reflects on the challenges of curating a festival, he highlights the tension between intellectual programming and accessibility.“Sometimes programmers feel this need to project sophistication over creating a balanced experience,” he says. “We’re trying to shift that by better understanding our audiences. Are the price points right? Is the presentation format engaging? These are questions we’re tackling and trying to address during the festival. More than that, the festival itself goes beyond watching a film; it’s also about meeting filmmakers, connecting with industry professionals, and leaving with something changed.”

Partnerships are another area where Jeremy aims to innovate. “I want partners who align with the festival’s vision, not just co-branding for the sake of it. Each collaboration should have a clear purpose, like choosing a wide shot in a film because it tells the story better,” he explains. “Still, as it’s my first year, we’re still very much in our research process, where we’re figuring out how to attract bigger investments and how to position the festival as a key player in the regional and global circuit.”

Yet, even with all the research and experience he’s had, Jeremy admits that there are still plenty of inherent problems faced by Singapore’s film industry. “In Singapore, there’s this hesitancy to take risks. It stems from policies dating back to the ’80s, which encouraged middle-management mindsets over innovation. Even in marketing, we lean toward safe choices, where we try to sell a mainstream film as hard as we can to scoop up the profits,” he says. “As a producer, I knew how important it was to play this game, where you are building a consistent brand for yourself around the kind of films you create, like how A24 has done. It’s a long game, and it can get exhausting to keep playing it. Sometimes it really just boils down to who has the most budget, and being able to have the connections to the right people.”

Still, Jeremy, while cautious, holds onto his big dreams for SGIFF becoming a true reference point for Southeast Asian cinema and for it to raise the bar for others to follow. “We’re working on cultivating not just a better festival, but a better ecosystem for cinema in Singapore. It’s about responding to reality, pushing boundaries, and ensuring that every effort we make is worth doing,” he says. “For now, my focus is on proving that we can deliver tangible results. Perfection isn’t achievable, but having the right intentions is key, and just like how a good movie leaves you with feelings that last long after leaving the cinema, we want SGIFF as a whole to be a festival you sit with, and in turn, stays with you as well.”

The 35th SGIFF runs from 28th November to 8th December 2024. More information available via their website here