THE FILM VERDICT: You worked on Ajoomma for six years. How does it feel to finally be able to share it with an audience?
HE SHUMING: It’s been great. I started working on the script during my time at the AFI. Being an independent filmmaker in Singapore is not easy, you spend a lot of time developing the project, while also having to make a living. We finally managed to shoot it in January of this year. Seeing different reactions in different places has been incredible — I just got back from Manila. But certain scenes get the same reaction almost everywhere, so there is a universal quality to the film.
TFV: It’s also very specific in some regards. Given the Korean theme that runs through the film, how big of a deal was it to have the world premiere in Busan, South Korea?
HS: A little nerve-wracking, to be honest. I wasn’t sure how the Korean audience was going to react, but they were very generous: we had two sold-out screenings, and the Q&As were great. I enjoyed seeing the Korean audience relate to a Singaporean Auntie and realize there’s a similar dynamic between Korean mothers and their children.
TFV: Is the similarity why you decided to use a Korean title?
HS: Yes. It was originally going to be Auntie, the Singaporean English word for an older woman. I quickly realized Ajoomma, which means the same in Korean, was more suitable for the film’s tone and the use of Korean drama within the story. And it’s a very catchy title, especially in Korea.
TFV: Does it help that your film is coming out at a time when Korean culture has more mainstream appeal on a global level?
HS: Yes, I think so. You know, when I started working on the script, it was based on my own mother, who is a huge fan of Korean dramas. My producer kept saying it was a fad that would die out, whereas I thought it would get even bigger. And there’s a whole Korean wave now, with movies and pop music. I’m a huge admirer of Korean cinema and getting to work there was a huge opportunity. I learned a lot, and I understand why their film industry is so successful.
TFV: It is often said that mainstream Hollywood films don’t know what to do with actresses past a certain age. What’s the situation like in Singapore?
HS: Well, my lead actress Hong Huifang has mainly done supporting roles on TV, and in a couple of films. When she first came in to audition, she assumed it was just another Auntie role, and that the son would be the protagonist. Then she got the whole script and was surprised to find out she was going to play the lead, which I found amusing since the character’s name is in the title. Now she’s hoping to be able to expand to other Chinese-speaking markets.
TFV: There was a recent article in Variety suggesting the selection criteria for the International Feature Film submissions should change, with one argument being that most people don’t bother watching films from certain countries. How do you respond to that?
HS: Now that I’m actually involved, it’s crazy to see how much effort goes into the Oscars campaign. You can clearly tell some territories have a stronger presence in terms of publicity, by looking at the ad space in the trades. Still, I think the current system, while having room for improvement, is a good one because it brings attention to films that wouldn’t be on people’s radar otherwise.
TFV: You divide your time between Singapore and Los Angeles. Have there been noticeably different reactions to the film on different ends of the Ocean?
HS: Surprisingly, no. Specific emotional responses may vary, but overall, it’s been the same in that people come up to me and tell me how it makes them think about their relationship with their mother. Of course, part of the conversation in L.A. has been about remaking the film for American audiences, and the same happened in the Philippines.
TFV: Were there to be an American remake, who would you want for the female lead?
HS: I have actually thought about it: Kathy Bates. It could be funny to have the story set in the more conservative parts of the U.S., with a character who secretly loves watching Korean dramas.
(Interview by Max Borg)
