Singing in Graveyards

Pepe’s occupation is to be the impersonator of Joey Smith, the almost seventy-year-old legend of Filipino rock. In this particular case, the two men are one, as the latter interprets the former, thereby somehow interpreting his own self. Hence, the film and its main figure welcome a paradoxical abyss: being oneself while always playing someone else. Soon, Singing in Graveyards builds in a new disruptive challenge when this scattered individual is forced to write a love song, in his own name, for the opening of a concert featuring his very model. Bradley Liew sets a dreamy and humorous tone for this chronicle anchored in an everyday life constantly pierced and hijacked by the imaginary. These imaginary openings are never emphasized; on the contrary, they appear like the continuation of reality.  (Arnaud Hée)