Once the filming was done, Cardona took the film stock and parts of the production with him as the three girls waited to hear from him. The production becomes a communal affair, but Cardona lords over it with a destructive air that only worsens as time goes on; he seems to consciously slow the production’s progress before stealing the end result, presumably obstructing Tan’s success as a twisted means of spreading his own failures to feel less alone in the world.“Shirkers” didn’t vanish forever because its footage becomes the backbone of Tan’s documentary. I was weaponised with storytelling.” In other words, her success as a novelist meant she could tell her story on her own terms. “Shirkers” sketches Cardona as a hell of a peculiar figure whose true origins are as undefinable as Tommy Wiseau’s, and who claimed to have inspired James Spader’s character in “sex, lies and videotape.” And that’s just the tip of the investigative iceberg.Yet “Shirkers” isn’t about Cardona, but about Tan reclaiming the film and the story that he had taken away from her. “Shirkers,” the documentary, is a hybrid caper confessional. Over one wild summer, and a budget gap Tan and Ng had to drain their savings to close, they completed the rogue production. Nick Clegg joins protests over 'shirkers' tag This article is more than 7 years old Tory rhetoric on welfare criticised and Lib Dems accused of indiscipline on day of coalition relaunch
But when the women went their separate ways in America and Europe, leaving Cardona with the film materials, the entire project simply disappeared for 25 years.Based on the footage, Tan’s road movie may have been no more than a doodle from a filmmaker still in development, but it’s colorful and quirky and bursting with youthful energy, combining the spirit of the French New Wave and American independent films that influenced it. Was it traumatising? 'Shirkers': Sundance Review By Fionnuala Halligan 2018-01-21T20:10:00+00:00 Director Sandi Tan sets out to discover what happened to her debut road movie, shot in 1992 “I don’t think of him as a villain at all. Though the film is largely ambivalent about Cardona, he comes across as a creep; a creative leech who manipulated the girls and used their money to complete the project before commandeering it himself.Tan sees it differently.

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© Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. In this sincere, engrossing documentary, director Sandi Tan looks back a quarter of a century at Shirkers, a quirky indie film she helped make that captured a mostly bygone Singapore. The girls drifted away over the years, their hard work living only in memory. Tan’s actual debut, “Shirkers” takes its title from her earlier effort, an adorably deranged slasher movie in which she starred as a bored young woman killing men to pass the time. Shirkers (2018) : A Stolen Fiction Given an Afterlife.

It’s this teenage sense of obsession and boundless imagination that makes Producer Sophie Siddique and Sandi Tan on the set of the original Shirkers in 1992.Producer Sophie Siddique and Sandi Tan on the set of the original Shirkers in 1992.Sandi Tan photographed at this year’s Sheffield Doc/Fest for Observer New Review. Read full review. ‘Shirkers’ Review: The Fascinating Mystery of a Stolen Movie Gives Rise to a Great One — Sundance 2018 . Her journey takes several dark turns, which she captures in a crisp digital format which contrasts nicely against the dreamy footage of the original “Shirkers,” which was its own twisted take on melodrama, surrealism and existentialism.
It’s almost too painful a thought: Where could have the careers of women directors have gone if they hadn’t been thwarted by sexism? Far more than a classroom instructive, Cardona takes Sandi and her friends around for late-night drives, as old VHS footage documents their joy rides through empty roads as if they’ve broken into the set of “Trash Humpers.” Cardona may be crossing boundaries with his students, but they’re just thrilled to break all the rules.At first, he’s Tan’s key to realizing the creative utopia in her head, as the pair travels America together before she starts college in London. Twenty years later, when she was miraculously reunited with the unseen footage, Tan decided to return to Singapore and revisit the making – and losing – of the film that haunted her for decades.The resulting documentary is a collage of interviews with the people who worked on the project, footage from the original film, and letters, drawings and photos from Tan’s youth.


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