{"id":5463,"date":"2026-08-04T09:06:04","date_gmt":"2026-08-04T09:06:04","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=5463"},"modified":"2026-08-04T09:06:04","modified_gmt":"2026-08-04T09:06:04","slug":"singapores-first-wuxia-film-the-house-on-the-moon-unveils-clip-ahead-of-locarno-competition-bow-director-nelson-yeo-decided-to-fully-embrace-genre-exclus","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=5463","title":{"rendered":"Singapore\u2019s First Wuxia Film \u2018The House on the Moon\u2019 Unveils Clip Ahead of Locarno Competition Bow: Director Nelson Yeo \u2018Decided to Fully Embrace Genre\u2019 (EXCLUSIVE)"},"content":{"rendered":"<div>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tSingapore has never really had a wuxia feature film \u2013 though the genre was a fixture of local television in the late 1980s and early 1990s, when a wave of wuxia serials cast actors like Li Nanxing and Zhu Ming. <\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=5461\">Tadanobu Asano, Yukino Kishii\u2019s Cannes Title \u2018All the Lovers in the Night\u2019 Lands North American Distribution (EXCLUSIVE)<\/a><\/p>\n<p>\nNelson Yeo is closing that gap with \u201cThe House on the Moon,\u201d a lunar reimagining of the Chang\u2019Er myth landing in Locarno\u2019s international competition. <em>Variety<\/em> is exclusively unveiling a clip from the film, ahead of its world premiere.<\/p>\n<p>\n\tWuxia is the Chinese genre of sword-fighting heroes and martial fantasy that has powered everything from King Hu\u2019s classics to Wong Kar-wai\u2019s \u201cAshes of Time.\u201d<\/p>\n<p>\n\t\u201cIt was quite ambitious when we first started having this idea of picking wuxia,\u201d Yeo tells <em>Variety<\/em>. \u201cFor this one I decided to fully embrace genre and see where the film can take us.\u201d<\/p>\n<p>\n\tYeo has a habit of returning to Locarno. He attended the festival\u2019s Filmmakers Academy in 2018, then premiered his 2023 debut feature, \u201cDreaming &amp; Dying,\u201d there, where it won the Filmmakers of the Present Golden Leopard and the Swatch First Feature Award. Three years on, he\u2019s back for a third time.<\/p>\n<p>\n\t\u201cI\u2019m super glad to be back in Locarno,\u201d Yeo says.<\/p>\n<p>\n\tThe film reimagines the legend of Chang\u2019Er, the moon goddess, and her husband, the archer Hou Yi, picking up the story after Chang\u2019Er ascends to the moon and setting her on a journey to its dark side alongside a bandit from Earth. For Yeo, the appeal was less about honoring the myth than filling in what it leaves out.<\/p>\n<p>\n\t\u201cThe original myth has always been so simple,\u201d Yeo says. \u201cAs a kid, you can pretty much recite the whole story in a couple of lines and people will get it. But then at the same time, you always wonder what are these characters really going through? What are their emotions like?\u201d<\/p>\n<p>\n\tHe points to Peng Meng, the disciple mentioned only in passing in the traditional tale, as the character who benefited most from that expansion. \u201cIt\u2019s just a very basic foundation,\u201d Yeo says. \u201cSo I felt like I have more, I can take more liberties in terms of like building the character.\u201d Even so, he adds, the story remains centered on its heroine: \u201cChang\u2019Er is traveling to the dark side of the moon throughout the film, but essentially, it\u2019s about a journey inside herself and finding herself again and finding her own voice, in fact.\u201d<\/p>\n<p>\n\tThat affinity for late-1980s and 1990s wuxia runs deep. Yeo grew up on Hong Kong genre cinema and the wuxia television serials that were once a fixture of Singaporean TV, and he cites Tsui Hark\u2019s \u201cZu: Warriors From the Magic Mountain\u201d as a touchstone alongside Wong Kar-wai\u2019s \u201cAshes of Time.\u201d But reviving that language now came with practical headaches. \u201cSourcing for the props was a nightmare,\u201d Yeo says. \u201cAnd in terms of location wise, because Singapore being such a modern city, we had a lot of trouble finding proper locations to shoot the film.\u201d<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=5459\">Haugesund New Nordic Films Unveils French Focus Including a Case Study on \u2018Ibelin,\u2019 From \u2018The Imitation Game\u2019 Director Morten Tyldum (EXCLUSIVE)<\/a><\/p>\n<p>\n\tThose constraints pushed part of the production to Taiwan, Yeo\u2019s first time filming there. \u201cIt was quite an eye opener in terms of how things are done there,\u201d he says. The Taiwan leg also brought him into the orbit of Lee Kang-sheng, the Taiwanese thespian and longtime Tsai Ming-liang regular, a collaboration Yeo calls a highlight of the production. \u201cHe\u2019s amazing because he\u2019s a one-take wonder,\u201d Yeo says. \u201cEverything that he does on the first day is just perfect. And I\u2019m so fortunate to work with him.\u201d<\/p>\n<p>\n\tThe film\u2019s tonal balance owes much to its bandit character, written to speak Singlish and cast, Yeo says, to give audiences an entry point among a story otherwise populated by immortals. \u201cI really wanted that character to be the one that the audience can really relate to,\u201d he says. \u201cAfter all, he a mortal in among all these immortals. He\u2019s the closest to the audience.\u201d The role also reshaped the film\u2019s register. \u201cThe original character that was written was much darker and the film was much darker,\u201d Yeo says. \u201cI felt like having this different element, this slightly more comedic character, lightens things up a little bit.\u201d<\/p>\n<p>\n\tShot partly through virtual production, \u201cThe House on the Moon\u201d pushed Yeo toward tools he still regards with caution. \u201cFirst and foremost, I feel like virtual production is a game changer,\u201d he says. \u201cAt the same time, it\u2019s not so accessible to independent filmmakers because of the inherent cost of it.\u201d He\u2019s warier still of artificial intelligence\u2019s growing role in production. \u201cNothing beats being on the real locations, having the actors interact with the space,\u201d Yeo says. \u201cThere\u2019s so much more room for creative freedom on set in terms of blocking or improv. <\/p>\n<p>\n\tWorking with a cast and crew spanning Singapore, Taiwan and beyond, including a German visual effects team and an Indonesian composer based in Berlin, was, Yeo says, a deliberate widening of his usual process.<\/p>\n<p>\n\tAs for what the film\u2019s Locarno premiere means to him, Yeo would rather audiences approach it without a map. \u201cI guess just to give in to their senses and not go in with any expectations,\u201d he says. \u201cThe plot maybe on the surface it sounds really complicated, but as long as you follow the characters\u2019 emotions, I think you\u2019ll be fine.\u201d<\/p>\n<p>\n\tWhether \u201cThe House on the Moon\u201d spins off into a franchise remains an open question for Yeo. \u201cIf it happens, if it happens,\u201d he says. \u201cI won\u2019t force it. I won\u2019t force myself to make a sequel of the film.\u201d He\u2019s already looking elsewhere: a horror project he\u2019s drafted, and \u201cBlack Sun,\u201d a film he\u2019s been trying to get made for more than a decade.<\/p>\n<p>\n\t\u201cThe House on the Moon\u201d\u00a0is produced by Tan Si En, Wendy Lie and Kuek Shee Heng for Momo Film Co (part of Fremantle), and Aview Images, in co-production with Weydemann Bros., 9LB Film, KawanKawan Media and Widewall Pictures. It is financed by the Taiwan Creative Content Agency (TAICCA). The film\u2019s proof of concept secured support from the VP Innovation Fund by Singapore\u2019s IMDA.<\/p>\n<p>Parallax Films holds worldwide exclusive sales rights (excluding German speaking territories, Taiwan, and Singapore) and non-exclusive rights for all other regions in Southeast Asia.\u00a0<\/p>\n<p>\n\tThe film stars Lim Shi-An, Dominick Rustam, Harry Chang and Akira Huang, with a special appearance by Lee Kang-sheng.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=5457\">Hwang Bo-reum, Lee Geum-yi Among Authors in Busan Story Market\u2019s 2026 Selections<\/a><\/p>\n<p>\n\tWatch the clip here:<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Nelson Yeo discusses Singapore&#8217;s first wuxia feature &#8216;The House on the Moon&#8217; ahead of its Locarno bow.<\/p>\n","protected":false},"author":1,"featured_media":5462,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[4295,1508,3432,3434],"class_list":["post-5463","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-lee-kang-sheng","tag-locarno-film-festival","tag-nelson-yeo","tag-the-house-on-the-moon"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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