Overlooked Narratives: Clare Chong Illuminates the Subtleties of Everyday Life
A filmmaker passionate about revealing the beauty within the mundane, Electriclime° Singapore’s latest signing, Clare Chong, is known for her exploration of overlooked narratives. With a background spanning various roles in the filmmaking industry, Clare's storytelling style is deeply influenced by her experiences.
Speaking with LBB, she sheds light on her transition from creative director to full-fledged film director and the pivotal moments that guided her decision. Clare also discusses the impact of her recent participation in the Locarno Filmmakers Academy and how it influenced her growth. Her insights into balancing artistic vision with commercial expectations, along with her unique approach to storytelling, provide a captivating glimpse into her world of filmmaking.
LBB> Your work is centred around the subtleties of everyday life and the subjects often overlooked by society. Could you share the inspiration behind your unique approach to filmmaking and how you select these often quiet and overlooked narratives?
Clare> There’s a lot to appreciate and see within the mundane. A large part of our lives comprises tiny actions and tasks, which are also the little things that bring us comfort. In cinema, we often focus on the big events, so I just want to turn the lens in a different direction. Stories often come to me in various ways—some through people’s memories, others through dreams, and sometimes through personal experiences.
LBB> You've been involved in various roles across the filmmaking industry, from a production assistant to a film director. How has your diverse experience influenced your storytelling style and directorial choices?
Clare> Having experienced working on set in a variety of roles, I have learned so much about how each department functions and how I should collaborate with each one. These experiences helped me in effectively communicating the ideas I want to bring to life and in creating a kind and productive environment for the crew to work in. As for my storytelling style and directorial choices, I would have to attribute them to the influence of watching numerous films and commercials.
LBB> Could you tell us about the journey and pivotal moments that led you to embrace filmmaking fully?
Clare> There are a few moments in my life that truly affirmed my decision to pursue filmmaking. The first was when I watched Jim Jarmusch’s 'Mystery Train' when I was about thirteen years old. I had never known that films could be structured that way, and it prompted me to delve into independent cinema, where I discovered so many more amazing films. The second moment occurred when I watched Hu Bo’s 'An Elephant Sitting Still.' It's a four-hour-long film that I watched alone in the cinema, and when I stepped out of the cinema I burst into tears. I had never imagined that a film could evoke such profound sadness and pain in me, which really goes to show the immense impact narratives can have.
The third pivotal moment was my recent participation in the Locarno Filmmakers Academy, where I had the opportunity to watch numerous inspiring films and meet filmmakers from all over the world. I formed some truly meaningful friendships there, and this whole experience really boosted my confidence in pursuing this path.
LBB> You were recently a participant at the Locarno Filmmakers Academy 2023, presenting your short film "A Waking." How did this experience impact your growth as a filmmaker, and what insights did you gain from this platform?
Clare> I was writing my next short film while attending the academy, and I found that being in an environment where everyone is in love with cinema really helped push me forward in the writing process. I also attended many masterclasses that gave me plenty of insights. Many people would say not to meet your idols, but for me, it was a little different. It was nice to see that these famous filmmakers and artists are also human and that they, too, share the same aspirations, insecurities, and fears.
LBB> You've worked with various brands like Intel, Lenovo, Olay, and Amazon. How do you balance your artistic vision with the commercial expectations of your clients while maintaining the authenticity of your work?
Clare> I love this question! I think there’s this perception that if you want to make narrative films, experimental films, etc. You can’t make commercials and vice versa. I guess people romanticise the fact that you should focus on one craft to be the ‘expert’ in that area. The truth is, that is kind of boring, and most people don’t work that way. I feel that because I have worked in so many different fields, all these experiences have given me the luxury of choice, and I can pick and choose what approaches and styles I’d like to incorporate into my next project.
I have clear demarcations regarding what I do in each area of work. For example, when I’m making a narrative film, I really let myself be free, and I create for self-expression, then there’s very, very meticulous storyboarding and extensive rehearsals involved. When I make a dance film, I approach it as an exploration - It becomes a process of creating over a period of time and is ever-changing. For commercials, it is always about what the brand and the product need to express. What is the brand story, and what is important to the client and agency? I love bringing the brand’s ideas to life, and I also really enjoy the process of working with the creatives in an agency. Authenticity in commercials comes from knowing the brand, knowing the history and the cultural significance of each piece. So, definitely, lots of reading, researching and also casting the right people.
LBB> Your press release mentions your interest in fantastical worlds, dreams, and the surreal. How do you incorporate these elements into your filmmaking process, and how do they contribute to your storytelling?
Clare> Frankly, I’m not sure. If I say it just comes naturally, that sounds pretty pretentious. So, I would say that when I write a script or a scenario, I already start with something a little dreamlike and surreal.
LBB> Your films explore how preconceived notions and judgments influence our observations. Can you provide an example of a project where you intentionally challenged viewers' perceptions through your visual storytelling?
Clare> My latest short is about a friendship between a woman with no tongue and a murderer. I can’t tell you too much about it yet, but it’s my darkest and goriest film so far. I really wanted to question what is right and wrong and where the lines start to blur once you start to feel empathy. The film poses a question with no answer, which might frustrate many people.
LBB> Your films have been showcased internationally, and you've recently expanded your presence through Electriclime°. How do you envision your work evolving regarding cultural and global influences?
Clare> I used to have a very rigid and clear idea of what I wanted to achieve by a certain age, where I wanted to be in life, etc. Lately, that has changed, and I believe it’s because I’ve learned to let go, learned to take a rest, and learned to slow down my own pace a little more. I feel a lot calmer and ready to embrace whatever life has for me. So, in terms of evolving, I am keeping a very open mind, and I’m ready to go wherever life takes me. I want to absorb every experience, and I’m curious to see how my work will change over the years.
LBB> You mentioned your meticulous approach to production design, wardrobe, and makeup. Could you share an instance where these details significantly enhanced the storytelling and emotional impact of your film?
Clare> One of my favourite commercials I’ve done is for Libresse’s Wonders of the Womb. We created a womb room, and I actually used AI to create some initial sketches of this. I was also very inspired by Matthew Barney’s The Cremaster Cycle. Everything from the production design to the wardrobe was custom-made, and we also composed a track for it. It turned out exactly how I imagined it to be, and although there was a lot of fear that it might not work, I’m really glad I stuck to my intuition. So, in the end, what was created feels magical and surreal, and I think it’s super fun to watch. I don’t think it even feels like a spot in the first few seconds (except for the initial logo), which was definitely what I was going for.
LBB> As a filmmaker, what role do you think the film plays in sparking conversations about social issues and highlighting the experiences of quiet outcasts in society?
Clare> Films, media, words, and photographs all create awareness and are part of something way bigger when released into the world. When creating a piece of work, you’ll never know how much impact this will have years later, no matter how big or small. Everything affects everything else, and I feel that way about my work. I feel there is weight in what I/we do, and so by creating narratives about people or things we might forget, I’m trying to preserve these memories for generations to come.
