Introduction

The Apprentice is a psychological crime drama from Singapore that probes the heavy theme of the death penalty and does a conceptual assessment of its moral implications. This film was directed by Boo Junfeng and handles the capital punishment issue rather delicately, engaged in the emotional interplay between a juvenile prison officer and a seasoned prison executioner. In this case, the film treatment examines rather than preaches: the notions of justice, depravation, and accountability in relation to crime-completion, the crime and justice divisions.

The Apprentice captivates its viewers on the tension generated throughout the film, emotionally, twisting moral issues, and evoking intense feelings in the context of a southeast Asian prison. It now goes at the heart of more than just a genre of crime drama and instead advances an Osage perspective by depicting the psychological burden whereby one gets embroiled in the final decision of justice- taking away a person’s life. With such riveting actors and direction, the movie makes stimulating arguments with regards to what such ramifications are on the ‘American’ society processes hence each spectator requires a little uneasiness yet the necessary dialogue.

Release Date

The Apprentice had the first premier at the 2016 Cannes Film Festival, taking place in the Un Certain Regard section. After its screening at Cannes, the film managed to go on the international festival circuit before opening in Singapore full theatrical releases on June 30, 2016. This was followed by international releases in countries like France, Hong Kong, and the United Kingdom as the film started gaining traction in the international film market.

Language

The language of the Apprentice is love in Malay as it captures the cultural diversity reflecting in the story that is set in Singapore. The English version of the film is available to the international audience with the help of subtitles which does not however relate to the tenor of the original composition or recreate its depth. The Amok is primarily in Malay due the reason that it depicts the diversity that is appurtenant to the setting where the film is filmed, Singapore. The Domestic helps to position the characters and the plot within the actual backdrop of the Singaporean prison. Subtitled international versions are also the preferred choice of the audiences, and especially, women of Adult Amnesiac.

Genre

The film can be said to lie simultaneously in the categories of psychological and crime drama, as it deals with the psychological aspects of capital punishment. Although suspense and tension are included, it is not a straightforward thriller. Rather, The Apprentice excels through its emotion, moral complexity, and character conflict. The film also brings forth examination of the polity and thus its drama is strong and compelling.

Film Location

The Apprentice was shot in the real prison where the majority of the film was picturised which in turn backs up the theme of the film. The stark, lifeless prison architecture, dull and derelict, both physically contains the action and serves as a parallel to the lethargic feelings of the characters dealing with the execution. They say that a film cannot function without some sort of aesthetic, and within the frame of this film, where there are no happy motherhood images, the tools of aestheticization are rather ‘perverted’. Filming these locations also contributes to the overwhelming impression that both prisoners and guards live in that sense of Mexican standoff that governs their lives.

Cast

The film is centered around an impressive cast spearheaded by Fir Rahman, who plays Aiman, the young correctional officer. There is something distinctly painful about the way Rahman steps into his role of an apprentice executioner. On the other hand, veteran actor Wan Hanafi Su portrays Rahim, the chief executioner who has been in the profession for decades. Sukoni contained much in his performance as Rahim, a man of few words who warms up with time as he changes his demeanor and teaches Aiman. Together, the two lead actors create a tension that is remarkable on the screen, combining the inner contradictions of their characters.

Mastura Ahmad takes on the role of Suhaila, Aiman’s sibling, with such other supporting actors as Crispian Chan, Nickson Cheng and Gerald Chew extending the storyline of the prison system and its repercussions.

Director

Boo Junfeng is the director of The Apprentice and he is also a Singaporean filmmaker who has won critical acclaim. Boo is known for making films that address sociopolitical concerns, his cinematographic efforts, too, deal with human life, ethics, and selfhood. He manages to be both subtle and fierce in his depictions in The Apprentice, as he doesn’t shy away from the intimate relations of capitalism and politics. The subtle and simple style employed by Boo, which is quite in contrast of the films arouses the tension of the viewers and makes them think about the issues concerning capital punishment and its effects on society.

Writer

Boo Junfeng is the writer of The Apprentice screenplay. The script is intense and full of emotion defined at a very slow pace to make sure every character is defined deeply. In Boo’s attention to detail concerning the death penalty, a storyline entwined with guilt, justice and family is established. The story gives the audience a chance to appreciate the emotional and ethical issues of execution in a multi-dimensional space and challenges them at the end with the moral issues surrounding the issuing of death penalty.

Cinematography

It was not only the filmic aspects of the work that were well-received; its cinematography, lead by Benoit Soler, adds to the tension and oppressive ambiance of The Apprentice. Soler conveys the stifling nature of the prison environment with close-ups, desaturated colors, and dimly lit shots. The bare nature of the shoots renders the feeling of loneliness surrounding the characters even more profound, Aiman especially as he gains more involvement in the world of the death penalty. Thanks to Soler’s work the film remains realistic, physical and penetrating in its emotional impact.

Music

Alexander Zekke has composed the music of the Minimalist music of The Apprentice. The main theme of the film is barely present and whenever it is, it is never used to grab the attention of viewers. Still, most of the time the film uses no music with the art there is plenty of tension building even without a score. It cuts into how Zekke highlights handling the voice – more contemplative, in the background, and rarely on the outer action.

Producer

The Producer of The Apprentice was Raymond Phathanavirangoon and Fran Borgia. Both the producers contributed significantly towards the realization of Boo Junfeng’s dream. Their cooperation ensured that the film did not stray from its substance but was still marketable outside the domestic audience.

Production

The Apprentice was produced by Akanga Film Asia in partnership with other coproducing companies from Germany, France, and Qatar. Such activities earned the film international exposure, including at Cannes and film festivals across the globe. In particular, the production design has focused on realism, notably developing an actual prison setting which fully serves the weight of the emotional impact of the story.

The Apprentice remains a gripping and disturbing film, was extraordinarily searching the inter-human with political issues of the film about the death penalty. Filled with fantastic acting, beautiful storytelling, and effective plot, the film will linger on the audience’s mind even after the credits are shown.