Press Play to start
At the 16th edition of Five Flavors, as last year, there is a system of booking seats at cinema screenings for accreditation and pass holders. It is important to us that we take care not to overcrowd the rooms and avoid queues at the entrance.
Only a reservation guarantees you a seat at a screening!
The reservation system is very simple and is based on similar principles as buying tickets for individual screenings - just login to your account, visit the page of the selected film and click "book". Detailed information can be found below.
Please make reservations only for the screenings you wish to attend. Reservations can be cancelled, even at the last minute - please remember this and always cancel your reservation if you cancel your screening - this will allow other viewers to use the available space.
Reservations will be possible from Tuesday, 15 November from 12:00 p.m. for all the festival's films.
Reservation of seats
for pass and accreditation holders
Tuesday, November 15, 12:00 pm
If you decide to attend a screening at the last minute or for any other reason you do not book in advance, and there are seats available in the auditorium, your booking will be made "automatically" at the entrance to the auditorium after scanning your pass.
For most of the screenings there will be free seats before the show itself. However, please pay special attention to the screenings of Edward Yang's works and the screenings of those films that we only show in the cinema - we expect the highest attendance at these screenings.
This year, you will also be able to use an electronic pass by presenting it to ticket takers on your phone screen.
The story of a sound specialist appearing on the screen in 24 scenes. We see him at work, recording sounds, listening to the human voices, capturing the noises of everyday lives – conflicts, intimate encounters, fierce talks about politics, the natural soundscape. The locations are also carefully selected. He is interested in both the city and the jungle. He goes to the movies, walks around a graveyard, records musicians performing. An unobtrusive listener, an unwavering ghost behind an imaginary glass wall – present, and yet unable to interact with the surrounding world, voiceless. He rarely reacts to the overheard scenes, sometimes smiling at a joke or the absurdity of a situation. The voice of each person he listens to becomes yet another piece in a larger puzzle.
Royston Tan returns after a few year’s break with another numerical project. This time, he encloses his observations in a meditative mosaic, portraying the most invisible of film professions – a solitary sound specialist, left alone in a patient state of listening. He is played by the director’s long-time collaborator, James Choong, the author of sound design for most of Tan’s films. Through his perspective, the Singaporean artist talks about Singapore, seen and described by its inhabitants when they think no one is listening. In Tan’s lens, the world may be static, but it doesn’t mean that the reality is still and homogeneous – this is the Singapore seen and heard in 24 frames per second, filled with ghosts, street humor, and micro-contexts just waiting to be discovered.
The most active Singaporean film director. He was born in Singapore in 1976. He got a degree in visual communication from the Temasek Polytechnic and began his career creating music videos. In 2003, he made his feature debut 15. After directing the intimate drama 4:30, Tan turned to getai, a very particular type of outdoor musical performance, exemplified by his blockbuster comedy 881. Tan’s work is filled with numerical motifs – numbers can be found in almost all titles of his films. His latest project, 24, is by far the most contemplative film in his career.
2009 12 Lotosów / 12 Lotus
2003 15: The Movie
2001 Hock Hiap Leong
1997 Adam. Eve. Steve