Clare Chong is a Singaporean filmmaker, video artist and creative director whose work spans cinema, installation and community based art. She is a graduate of the School of the Arts Singapore and LASALLE College of the Arts, where she earned a BA in Film. In 2023, she was selected for the Locarno Filmmakers Academy, where she presented her short “A Waking”. “Tamasira” is her latest short, which she co wrote with Moira Loh, while Mattie Do served as executive producer. The movie is screening at the Fantasia International Film Festival
The movie begins with Ruby, a young woman watching another, much fitter woman getting dressed so intently that the latter eventually tells her off. After the woman leaves, Ruby picks up one of the shirts from the floor, which probably belongs to her, and tries it on, imagining how she would look if she could fit into it. The next scene finds Ruby with her mother as a woman who seems to be the hostess welcomes her to the retreat. Although her mother is somewhat reluctant about Ruby attending, she remains adamant. It soon becomes clear that the establishment is a yoga retreat, where Ruby finds herself exercising among women who are much fitter than her and look almost completely like one another. As a result, she stands out like a sore thumb.
This becomes even more apparent during the exercises, which everyone seems to complete with ease apart from her. The mysterious instructor, Yogini, appears willing to help, but her methods have intense effects on Ruby. Before long, she begins seeing things that she is not sure are actually there, most of them horrific. As she becomes increasingly aware of how far she falls short compared with the rest of the people in the retreat, the horror begins taking over her mind more intensely.
The rather negative comment about the pursuit of beauty and the broader concept of improving oneself, is quite evident here and essentially forms the basis of the short. At the same time, the presentation of the other women introduces a comment on conformity and how women in particular are pushed by society to abide by certain standards of beauty and appearance, as well as prescribed states of mind. The way Ruby cuts her ties with her past in order to achieve this beauty is somewhat excessive, especially towards the end. Nevertheless, the comment gets through, and that is the point here. Consequently, the context is rather rich, particularly when one considers that the movie is just 18 minutes long.
As the narrative gradually turns into supernatural horror with a touch of sensuality, the comment becomes even more intense, with this particular approach adding considerably to the story. At the same time, it raises the level of entertainment the movie offers. Aaron Ang’s cinematography, Maryann Yee’s special effects, Yu Ting Yen’s sound design and Russell Goh’s production design are all top notch, giving “Tamasira” an audiovisual quality that is not often found in shorts. Furthermore, the editing allows the story to unfold at a fast pace without lagging, while the sudden cuts occasionally become an integral part of the horror.
Granted, some of the developments, particularly towards the end, are somewhat excessive, while the extreme close ups do not work particularly well. As a whole, however, the movie is technically on a very high level. In terms of acting, Rebekah Dorai is excellent as Ruby, communicating her curiosity, despair and resolve before presenting something completely different by the end. Her expressive eyes do much of the work for her. Moira Loh, as Yogini, is both seductive and dangerous, playing the role of the evil instructor to perfection.
Although some details could have been handled better, particularly in the final section which rushes a bit, “Tamasira” is a very competent short that artfully combines entertainment with social commentary, all within an impressive audiovisual package.
