Blab Entertainment
Singapore Film Debate: Dear You Teochew Version Sparks Policy Discussion
When Dear You hit Singapore screens on 18 June, it did more than bring a Chinese indie drama to the big screen—it sparked a firestorm over the nation’s bilingual policy.
The following day, veteran filmmakers Eric Khoo and Jack Neo, in a letter to The Straits Times, called for a new direction that would be “beneficial to the stakeholders” in Singapore’s film industry. They noted that the original Teochew version premiered on 17 June at Sands Theatre and will be available for subsequent festival and niche screenings.
The Infocomm Media Development Authority (IMDA) said the move aligns with its approach to support the bilingual policy, which promotes Mandarin as the primary language among Chinese Singaporeans. According to the IMDA, full dialect films can be screened at festival or niche events to preserve access to content in its original language.
Khoo and Neo argued that dialect films are no longer a problem on home videos, streaming platforms, or even on airplanes, so why should cinemas bear the brunt of an outdated policy? They urged local operators and distributors to convert the high‑demand Teochew version into a commercial success.
Other filmmakers weighed in, with Boo Junfeng insisting he would not watch the Mandarin‑dubbed version because it “diminishes the authenticity of the film.” He added that watching films in their original Chinese dialects “is not going to erode our ability to be bilingual.”
Royston Tan said he plans to travel to Malaysia to see the original Teochew version, while Kelvin Sng noted that some viewers feel Mandarin makes the film more accessible to younger Singaporeans who may not understand Teochew, whereas others feel a dialect film loses nuance when dubbed, especially when the story is deeply rooted in Teochew culture and traditions.
Huang Junxiang said a dub strips away the nuances of the actors’ performances and the context of many Nanyang immigrants during the era. He added that the policy is unlikely to stop people from speaking Mandarin and may even spur greater interest in Chinese culture.
Colin Goh, a Teochew‑speaking cartoonist and lawyer, posted on Facebook urging viewers to “try to watch it in Teochew, not the ridiculous Mandarin dub.” He described the film as a “thoughtful, highly entertaining piece of filmmaking.”
The film’s release schedule reflected the policy’s dual approach. The Mandarin‑dubbed version opened on 18 June for most audiences. The original Teochew version was screened in eight sessions from 18 to 21 June at GVmax at VivoCity, with 4,800 tickets sold within two hours of its launch on 16 June. An additional eight Teochew screenings were added from 25 to 29 June, as reported by Golden Village and distributor Clover Films.
The debate underscores the broader tension in Singapore’s language planning. While the bilingual policy has promoted Mandarin and helped maintain a shared Chinese linguistic identity, it has also contributed to the decline of dialects such as Teochew. The Dear You case illustrates how film distribution can become a flashpoint for discussions about cultural preservation, market demand, and regulatory frameworks.
The IMDA’s stance suggests that the policy remains focused on supporting Mandarin while allowing dialect films in niche contexts. Filmmakers, however, argue that commercial viability and artistic authenticity should also be considered. The outcome of this debate may influence future licensing agreements, distribution strategies, and the availability of dialect content in Singapore’s cinemas and streaming platforms.
As of now, the Mandarin‑dubbed version continues to run in mainstream cinemas, while the Teochew version remains available in selected venues and at film festivals. The situation remains fluid, with filmmakers and regulators monitoring audience response and policy implications.
The Dear You release underscores the ongoing negotiation between Singapore’s bilingual objectives and the cultural value of dialects—a negotiation that will likely shape the country’s film industry and language policy in the coming years.
The following day, veteran filmmakers Eric Khoo and Jack Neo, in a letter to The Straits Times, called for a new direction that would be “beneficial to the stakeholders” in Singapore’s film industry. They noted that the original Teochew version premiered on 17 June at Sands Theatre and will be available for subsequent festival and niche screenings.
The Infocomm Media Development Authority (IMDA) said the move aligns with its approach to support the bilingual policy, which promotes Mandarin as the primary language among Chinese Singaporeans. According to the IMDA, full dialect films can be screened at festival or niche events to preserve access to content in its original language.
Khoo and Neo argued that dialect films are no longer a problem on home videos, streaming platforms, or even on airplanes, so why should cinemas bear the brunt of an outdated policy? They urged local operators and distributors to convert the high‑demand Teochew version into a commercial success.
Other filmmakers weighed in, with Boo Junfeng insisting he would not watch the Mandarin‑dubbed version because it “diminishes the authenticity of the film.” He added that watching films in their original Chinese dialects “is not going to erode our ability to be bilingual.”
Royston Tan said he plans to travel to Malaysia to see the original Teochew version, while Kelvin Sng noted that some viewers feel Mandarin makes the film more accessible to younger Singaporeans who may not understand Teochew, whereas others feel a dialect film loses nuance when dubbed, especially when the story is deeply rooted in Teochew culture and traditions.
Huang Junxiang said a dub strips away the nuances of the actors’ performances and the context of many Nanyang immigrants during the era. He added that the policy is unlikely to stop people from speaking Mandarin and may even spur greater interest in Chinese culture.
Colin Goh, a Teochew‑speaking cartoonist and lawyer, posted on Facebook urging viewers to “try to watch it in Teochew, not the ridiculous Mandarin dub.” He described the film as a “thoughtful, highly entertaining piece of filmmaking.”
The film’s release schedule reflected the policy’s dual approach. The Mandarin‑dubbed version opened on 18 June for most audiences. The original Teochew version was screened in eight sessions from 18 to 21 June at GVmax at VivoCity, with 4,800 tickets sold within two hours of its launch on 16 June. An additional eight Teochew screenings were added from 25 to 29 June, as reported by Golden Village and distributor Clover Films.
The debate underscores the broader tension in Singapore’s language planning. While the bilingual policy has promoted Mandarin and helped maintain a shared Chinese linguistic identity, it has also contributed to the decline of dialects such as Teochew. The Dear You case illustrates how film distribution can become a flashpoint for discussions about cultural preservation, market demand, and regulatory frameworks.
The IMDA’s stance suggests that the policy remains focused on supporting Mandarin while allowing dialect films in niche contexts. Filmmakers, however, argue that commercial viability and artistic authenticity should also be considered. The outcome of this debate may influence future licensing agreements, distribution strategies, and the availability of dialect content in Singapore’s cinemas and streaming platforms.
As of now, the Mandarin‑dubbed version continues to run in mainstream cinemas, while the Teochew version remains available in selected venues and at film festivals. The situation remains fluid, with filmmakers and regulators monitoring audience response and policy implications.
The Dear You release underscores the ongoing negotiation between Singapore’s bilingual objectives and the cultural value of dialects—a negotiation that will likely shape the country’s film industry and language policy in the coming years.
