As Singapore prepares for the annual Lunar New Year homecoming, A Good Fortune《百万红包》 arrives with the familiar comforts of festive comedy, and even brings something surprisingly heartfelt beneath the laughter. The film follows Kai Xin (Xixi Lim), a struggling influencer who flees to Malaysia after falling victim to a scam, only to reunite with Zi Hao (Wang Weiliang), the boy who once stood up for her when no one else did. Their paths collide amid a string of mishaps and a high-stakes, million-dollar pineapple tart competition organised by a formidable Thai matriarch, setting the stage for a story about ambition, family, and the often-misunderstood meaning of “good fortune.”

Marking the directorial debut of local filmmaker Jason Lee, A Good Fortune leans into distinctly Singaporean textures: festive rituals, generational dynamics, and the emotional weight of Chinese New Year, all while keeping its tone accessible and joyous. Featuring a multigenerational cast of familiar local faces alongside rising talent and international newcomer Usha Seamkhum (Thai blockbuster hit How to Make Millions Before Grandma Dies), the film reflects Lee’s desire to create something deeply personal yet widely resonant. In this interview, Lee reflects on why this story felt right for his first feature, the symbolism behind pineapple tarts, and how making the film reshaped his own understanding of fortune, success, and happiness. Read the interview in full below:

Bakchormeeboy: A Good Fortune《百万红包》 marks your directorial debut. What was the moment or experience that convinced you this was the story you wanted to tell for your first feature?

Jason Lee: I was very aware that this was my first feature, and I didn’t want to start with something that felt distant from who I am or the audience I grew up with. Chinese New Year is one of the few moments in Singapore where everyone — across generations — comes together in a shared emotional space.

The turning point was realising that a CNY comedy could still carry depth, specificity, and heart. A Good Fortune allowed me to tell a story that’s entertaining and commercially accessible, but also deeply human. It felt like the right bridge between personal storytelling and speaking to a wide audience.

Bakchormeeboy: The film centres on a pineapple tart competition. Why did you choose this as the main narrative?

Jason Lee: Pineapple tarts are more than just a festive snack. I think they’re a symbol of prosperity, effort, and pride. Every family has an opinion on what makes a “good” one, and that immediately creates stakes. As a narrative device, a pineapple tart competition lets me externalise ideas of success, validation, and tradition in a way that’s playful but meaningful.

Bakchormeeboy: Lunar New Year films often lean heavily into nostalgia or broad comedy. How did you strike the balance between heartfelt emotion and laugh-out-loud moments in this story?

Jason Lee: I always approached the story emotionally first. I asked myself: what hurts here, what’s unresolved, what’s being avoided? Once that emotional core was clear, the humour almost wrote itself. 

Bakchormeeboy: The cast spans multiple generations of familiar local faces alongside newer talent like Xixi Lim. How did you approach directing such a diverse ensemble, especially as a first-time feature film director?

Jason Lee: I think this is a good mix and it is intentional. We have not quite seen a local movie that spans such multiple generations of local faces. As a first-time feature director, my approach was to create a shared sense of trust and clarity. I made sure everyone understood the tone and emotional centre of the film, while allowing each actor to bring their own experience and energy into the role. I hope it worked well!

Bakchormeeboy: Xixi Lim takes on her first leading role here, while Usha Seamkhum makes her international debut. What drew you to these casting choices, and what surprised you most about their performances?

Jason Lee: With Xixi, I was drawn to her natural warmth and emotional honesty. She has a presence that feels effortless. For Amah Taew, even though this was her international debut, she was fearless. She wasn’t performing “for the camera” — she was simply present. That confidence and openness were a real gift to the film. I am very grateful for both of them, and it is really a combination that works.

Bakchormeeboy: Family dynamics and “good fortune” are central themes in the film. As a Singaporean filmmaker, how do you personally interpret the idea of good fortune — and has that meaning changed for you through making this film?

Jason Lee: For me, good fortune has come to mean being able to do what I love, and being surrounded by people who genuinely root for me. Earlier on, it was easy to think of fortune in more tangible terms — success, money, recognition. But making this film reminded me that those things only matter if you have people to share them with.

Bakchormeeboy: A Good Fortune arrives during the Lunar New Year homecoming period, when many families are watching films together. What do you hope audiences take away after leaving the cinema with their loved ones?

Jason Lee: Releasing A Good Fortune during the Lunar New Year homecoming period feels especially meaningful because it’s a time when families come together. I hope audiences leave the cinema feeling happy — lighter, closer, and reminded that happiness itself is incredibly important, above all else. If the film gives them a reason to smile together, that already feels like good fortune to me.

Bakchormeeboy: Now that you’ve completed your first feature film, how has the experience shaped you as a filmmaker and what kinds of stories are you excited to explore next?

Jason Lee: I hope they leave simply feeling happy — smiling, lighter, and grateful for the people they walked in with. If the film gives families a couple of hours of joy together, that already feels like good fortune to me.

A Good Fortune is now showing at cinemas in Singapore, such as Shaw