The show, as hinted at by its rather catchy name, investigates the type of building most commonly found in Singapore’s cityscape: the one being built.

The exhibition is small in scale, presenting three works produced by four returning NTU alumni. Unfortunately, it is even smaller in its curatorial scope.

In its 96-minute golden-brown haze, Taste of Cherry is an exploration of primal and socio-ethical responses to suicide – from fear, bewilderment, and disdain, to empathy and peace. For a film fuelled by its protagonist’s desire to die, it is remarkably quiet and almost meditative.

In the mere opening moments of this French-Norwegian theatrical adaptation of Moby Dick, the line between humans and puppets blurs into an unsettling enigma, plunging audiences into a world where flesh and string intertwine. This disconcerting ambiguity sets the stage for a 90-minute odyssey that probes the very essence of existence: how does one navigate a life shrouded in uncertainty––or, in the narrator Ishmael’s words, “a half-known life”?

Tic-tac-toe. Noughts and crosses. Xs and Os.

These are the names different people use to describe the same pencil-and-paper game.

A lot, yet very little happens in Wim Wenders’ Perfect Days, an affecting portrait of a public toilet janitor in Tokyo. Hirayama’s daily routine is almost perfectly clockwork: he wakes up to the sound of a neighbour sweeping, suits up in his “The Tokyo Toilet” uniform, and as he steps out of his door…he looks to the sky and heaves a happy sigh, regardless of how he is actually feeling.