Anthony Chen's 'We Are All Strangers' Makes Oscar History for Singapore

From Singapore to the World Stage

When I first heard that Anthony Chen's latest film, We Are All Strangers, had been selected as Singapore's official entry for the 99th Academy Awards, my mind raced with all the implications. This isn't just another cinematic achievement—it's a cultural milestone. After all, Singapore has never had a film represent it at the Oscars before, and now, with Chen's trilogy closing out on this global stage, we're witnessing something truly special.

"These stories belong to Singapore, and presenting this final chapter of the trilogy on the global stage is a privilege for me as a filmmaker," said Chen in a statement.

This is more than just an award nomination; it's a testament to how deeply embedded Singaporean identity can be within universal storytelling. Chen's work has always been a mirror held up to contemporary life, but with such emotional depth that transcends borders.

The Growing Up Trilogy: A Decade of Craft

What makes this selection so poignant is the journey these three films have taken over nearly a decade. Starting with Ilo Ilo, then continuing with Wet Season, and now concluding with We Are All Strangers, Anthony Chen has crafted a trilogy that's not only personal but also deeply political in its portrayal of Singaporean life.

His films have been lauded internationally, earning over 50 accolades, including multiple Golden Horse Awards. The recognition didn't stop there—Ilo Ilo even took home the Caméra d'Or at Cannes, a nod to the power of storytelling rooted in place and character.

• Ilo Ilo (2013): First film in the trilogy; earned international acclaim and represented Singapore at the 86th Academy Awards
• Wet Season (2019): Continued exploration of family dynamics and social change; represented Singapore at the 93rd Academy Awards
• We Are All Strangers (2026): Final installment; now representing Singapore at the 99th Academy Awards

Each film builds upon the last, exploring themes of identity, belonging, and family relationships against the backdrop of modern Singapore. What's remarkable is how each entry has grown in scope while staying true to its roots.

The Power of a Narrative

We Are All Strangers follows in the footsteps of its predecessors, focusing on the complex bonds within families and how unexpected life changes can reshape them. It stars Chen's frequent collaborators Yeo Yann Yann and Koh Jia Ler, with Andi Lim and Regene Lim rounding out the cast.

Set in contemporary Singapore, it captures both the city-state's urban landscape and its intimate human stories. The film is produced by Chen's own Giraffe Pictures, supported by the Infocomm Media Development Authority (IMDA), and has already been making waves internationally—rolling out across markets and opening at the Toronto Film Festival.

"After careful deliberation by the selection committee, we are proud to present 'We Are All Strangers' as Singapore's official entry to the 99th Academy Awards," said Yvonne Tang, assistant chief executive at IMDA's Media Industry Group.

It's not just a vote of confidence in Chen's work—it's an affirmation that Singapore's cinema is no longer a regional curiosity but a global voice. The film's inclusion in the Berlin Film Festival's main competition was historic, marking the first time a Singaporean film competed for the Golden Bear.

Cultural Resonance Beyond Borders

What strikes me most about Anthony Chen's work is his ability to make personal stories feel universal. In a world where cultural specificity often gets lost in translation, Chen's films remain rooted in their setting while speaking to a much broader audience. This is particularly evident in We Are All Strangers, which grapples with themes of displacement, connection, and the search for belonging.

His storytelling is intimate, unflinching, and emotionally honest—a quality that resonates far beyond Singapore's shores. And while the Oscars may be a Western institution, the best films rise above such boundaries. This is one of those rare cases where the narrative itself is an act of cultural diplomacy.

Looking Ahead

With We Are All Strangers now set to compete on the world's biggest stage, we're not just witnessing a film's journey—it's a reflection of Singapore's cinematic ambitions. For a country that has long been a hub for technology and finance, the fact that its voice is being heard in Hollywood speaks volumes.

But beyond that, what this represents is a shift in how we think about storytelling—how personal can be political, how local can be global. The Oscar race might be intense, but if anything, it's clear that Anthony Chen and his team have already won something more significant: the right to tell Singapore's story on its own terms.

This isn't just a film—it's a movement, and I'm thrilled to see where it leads next.