24 places, 24 frames per second. This sound recordist has 24 places to visit after his death, going on a journey from sex club to Peking Opera, passing through forests and concrete hallways, reminiscing at the lotus lake. The position of the boom operator comes to define how we hear and experience the soundscape of the place.
24, the most recent film by iconic gay/queer Asian filmmaker Royston Tan, follows his tradition of naming films after numbers. With camp aesthetic, he offers deep criticism of the rapid modernity of Singaporean life. The film works as a tongue-in-cheek commentary on the relationship between sounds and performativity of social norms, showing how queer positions go beyond gender and sexuality, transcending time, space, and the living realm.