A prominent Singapore Gen X filmmaker, Li Lin Wee has directed films for more than two decades. Her love of storytelling and visual art began at an early age. In her teens, she would visit video rental stores and cinemas alone.
Though she studied visual art, creative writing, and photography at university, she didn’t think about filmmaking until after taking a class. “‘This is it’, I told myself. Afterwards, the goal was overcoming insecurities and shyness to rise to the challenge,” she says.
Upon graduating, Wee began writing and directing short films like Norman On The Air (1997). She worked as an assistant director on Phua Chu Kang (1997), and directed Autograph Book (2003) and Gone Shopping (2007). By the last, she was considering setting up her own production company to protect the intellectual property rights of her films and other personal projects.
“In my 20s, I encountered people who could not pay their office rent or worked to make the rent and pay staff. “I just wanted to focus my energy on growing my craft and writing,” says Wee. Her parents, she adds, carved out space for her in their company warehouse, so she could store props and set clothing when she began as a freelancer.
Her husband, Charles Lim, is a visual artist and Co-founder of Bobbing Buoy Films. However, they rarely work together as she struggles to balance personal and professional relationships.
“He is my greatest supporter but this can lead to sensitivities and friction. I admire his creative integrity and singular vision immensely, and he always credits me for his career success. I’m happy to take some credit, but it’s all his vision.”
As a result of filmmaking, she is never lonely at work because she can connect with people from all walks of life. “I am fortunate to work with so many great people. In turn, I benefit from their perspectives and strengths. My late dad was just like that, he could always bring out the best in others. I’m glad I inherited that trait from him.”
Wee stresses the importance of storytelling in the community because stories can shift perspectives and teach us more about humanity.
“Singaporeans must be proud to share their stories and embrace their unique experiences within their fringe communities. Despite our distance from any story we hear, our shared humanity and complexity allows us to connect with it.”
Li Lin Wee on relating to each other
Her latest work, Dragon Head Phoenix Tail Brow (2024,) is a dramedy centred on an estranged mother-daughter duo. It was featured in this year’s Singapore International Film Festival (SGIFF).
“The SGIFF is such an important and beloved platform for Singapore filmmakers and film fans. I’m very happy to see it continue to evolve over the decades. My first short film was screened during the 1997 festival. To have another shot this year is heartening.”
Art direction: Ed Harland
Photography: Mun Kong
Photography assistant: Melvin Lee
Makeup: Keith Bryant Lee using Estee Lauder
Hair: Crystal Loh using Goldwell
