I liked it when the camera moves, through the secondary woodland at Gillman Barracks, the spider and its web, the HDB, the high way, at night, which all portray Singapore’s landscape in an eerily spooky register that I’ve never seen before. As for the interrogation scenes, I’m not sure whether it was because my lack of exposure to such psychological tensions rendered in the Singaporean accent that I kept feeling a sense of incongruousness.

Graced by brilliant acting and witty storytelling, the film refashions the familiar message about embracing the messiness of (family) life. I absolutely enjoyed every moment watching the film.

Much of the acclaim this film receives appears to stem from its clandestine production and its subservience to the Iranian regime. The artistic flair of depicting delirious visions of a man on crack is certainly present, but coherence seems lacking. There is no thesis, just moodscapes.