This film is an intimate portrait of a mother’s love for her young daughter, as she teaches her about women’s strength and independence via the manifestations of the goddess Durga-Kali. Their rituals are a celebration of beauty, strength, life and the impermanence of it all. We see a unique expression of faith and love across diverse traditions from North, South and East India., that meet uniquely in the Indian diaspora in Singapore.

Negative/Positive Film is a hand-made, camera-less collage film composed of layers of erotic 16mm films from 1920s, 1940s and 1970s, intermingled with nature documentaries and layers of organic materials. This visual abstraction merges together both positive black-and-white film, and its negative black-and-white counterpart - on the same film base. This allows the film to exist in two versions, one positive and, the other negative. The artist once again uses the very delicate technique she has been perfecting over the past years of Emulsion Grafting, also known as Emulsion Lifting. The film is as an abstract remediation of female bodies dislodged from their original erotic context and, ripped away from their male co-protagonists. The man is removed from the picture, while the female body slowly merges with the body of insects and flowers at the crossroad between eco-criticism, decorative art, sculpture, and cubism. This unique film uses organic material, melted together with gelatine emulsion, first liquified then re-solidified, to produce a crystallized allegory of womanhood.

There are Ghosts in the Cloud Forest that suck the digital data out of humans to stay alive and to stay in the realm of memory. And there are also modern day Hungry ghosts who feed on the energy of political anger, racism and violence in our country. In return for the data of the living, these Ghosts from the Cloud Forest provide the spirituality of nature and the beauty of biology.
This film was shot in the sacred Huangshan Mountains of China.