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Last night, both THE SQUARE and THE KILLING OF A SACRED DEER had their Singapore premiere as part of the 28th Singapore International Film Festival (SGIFF!) If you were there, you would have spotted me pushing our company's propaganda on your hands. Here's one flyer I rescued from the trash (kidding, kidding, not really from the trash:) So a few things: yes, those dates are fixed and you can catch our titles at our future home The Arts House Screening Room. Of course we will always try to find another cinema to play them in, but for the time being it will only be at The Arts House until further notice. Next, if you go to our website, our TICKETS link will lead you to our Peatix page. Yes, our tickets will be sold through Peatix, and tickets will go on sale only 2 weeks before the first screening date listed. So for example, for GOOD TIME with the listed date as 22 Dec, you can expect the ticketing link to go live on 8 Dec, 1200hrs. Now if you flip to the back of the flyer, you will see this: We are organising an exciting retrospective of Michael Haneke's movies, as part of our promotional efforts for his latest film HAPPY END, which was In Competition this year at the Festival de Cannes. Currently on our home page, if you scroll past our SGIFF films shoutout, you will see the titles we will feature in the Retrospective. Our co-organisers Alliance Française and Goethe-Institut are hard at work preparing to have this ticketing link go live by the beginning of Dec 2017, so watch this space for more details! We will also announce once tickets are ready to go on sale. I had a pretty long but fruitful day myself this Sunday. I had the pleasure of moderating the Online Distribution of Indie Films talk, with fellow panelists Warren Sin of A Little Seed, and Singapore director Boo Junfeng (APPRENTICE) and Singapore producer Asra Asman (BANTING.) (By the way, SGIFF fubbed up my personal Insta account handle in their Story, the @vincentwqh above isn't mine) During the talk, we shared about our experiences trying to navigate the new ways of distributing films online. Junfeng and Asra shared very candid insight into how their films worked through the festivals/theatrical/online/home video formats, and Warren provided some solid technical expertise into the new emerging terms every filmmaker should know if they take distribution of their works seriously. Personally, as an indie film distributor, I shared about the lifespan of a typical feature film. Providing a broad overview of the acquisition process, as well as how we exploit multiple revenue 'windows', I made sure to cover as much relevant ground because these things are very important to understand even for the typical cinemagoer. Why are some films released elsewhere first before Singapore gets them? Why do some distributors choose not to release their films on home video (DVD/Blu-ray) versus Online Distribution? I also shared some very candid thoughts about the elephants in our room - Netflix, Amazon Studios etc. I found the questions from the audience very insightful and I want to thank them for providing food for thought. One question posed was the dilemma between how we as distributors, choose which festivals or where to premiere the film, and if genre of the work mattered. Absolutely, and it is not mere coincidence that Anticipate Pictures chose to premiere some of our biggest films at SGIFF, and yes, even though we have more to offer (like HAPPY END by Michael Haneke,) sometimes we choose to hold back because of other circumstances. All in all, it was a very good experience for us panelists, and I sincerely hope our enthusiastic audience that afternoon enjoyed our session together. Later that day, I personally introduced THE KILLING OF A SACRED DEER to our first audiences in Singapore (as well as to hand out more flyers:) (A snap from an Insta story from a friend of mine at the screening. Thanks bud, you know who you are!) I hung back during the show to observe the audience's reactions to the new Yorgos Lanthimos shocker. I also spoke to some of you after the screening, and I think a lot of people had the same reactions as the Cannes crowd did - you absolutely frickin' loved it, or you found it an exercise in sheer torture. YESS!! That's exactly what we had hoped for - to ignite debates and heated discussions. We are so excited to show it to a larger audience this coming January!! Speaking of reactions to our films: Meanwhile, SGIFF Insta story posted feedback from one audience member to THE SQUARE that morning: I'm happy to hear a lot of you enjoyed THE SQUARE too! And yes, we will bring THE SQUARE back for a January run at The Arts House. If you caught our films, let me know what you thought! I'll be running around the Festival this whole week. In fact, we will be there at the Special Presentation red-carpet premiere of OH LUCY! this Thursday evening at Marina Bay Sands. Although I won't be giving an introduction before the screening, come say hi and pick up a flyer! (That's me announcing red carpet arrivals at SGIFF's Opening Night film ANGELS WEAR WHITE, director Vivian Qu's delicate yet fierce condemnation of Chinese patriarchy as seen through the eyes of 3 girls. Recommended.) Thanks for the support, and see you all at the movies!

Following last week's sold-out premiere of CITY OF GHOSTS, we are excited to announce that 3 brand new films from Anticipate Pictures will make their own Singapore premiere at our nation's prestigious Singapore International Film Festival 2017!! • THE KILLING OF A SACRED DEER (2017) dir. Yorgos Lanthimos Yorgos Lanthimos is one singularly weird filmmaker, of DOGTOOTH and THE LOBSTER fame. When we first read the script for this film, it was like 'WTF??!!' and it pretty much left us salivating over the prospect of seeing this on the big screen. The script just confirmed Lanthimos' reputation - he's one of the most original filmmakers out there, with stories that are at once so absurd in vision yet hugely illuminating of the darker corners of the human psyche - stories that only he can tell. We are so stoked to bring this devilishly twisted thriller all the way from its world premiere in Cannes to our island shores. It is best to go into this film not knowing an iota of what is going to happen, but if you must - there is a trailer: Colin is excited too. Also he wants you to know that a surgeon never kills a patient. This dude (actor Barry Keoghan) may have hit his head and died unspectacularly in DUNKIRK but he's about to fuck your life up spectacularly in this film. Be very afraid. • THE SQUARE (2017) dir. Ruben Östlund I had missed the world premiere of THE SQUARE and 4 whole days had elapsed before I got the chance to see this film. During those 4 days, three people on totally separate occasions told me to absolutely not miss this film, and that about 2 in 10 friends totally hate this, but the other 8 will love it - and in any case, great conversations (or arguments) will be had after you see it. So you can imagine I was like 'hell yeah I gotta see this' and over the course of some 142 mins of this film, I was shocked, elated, flat-out laughing, irritated, and just floored by the stupendous situations director Ruben Östlund organically presents in this follow-up feature to Oscar-nominated film FORCE MAJEURE. THE SQUARE was so damn entertaining I left the screening just buzzing from the entire experience and sent an email to the sales agent screaming "LET ME BUY THIS!!!!!!!!!!!!" which they promptly did. Then on Sunday they won the top prize at Cannes and everyone was vindicated. This is one film I can't wait to share with you - and especially your arty-farty friend. Total boob. She's definitely not a fan of you hitting-it-and-quitting-it. We are proud to present the international trailer of THE SQUARE, which in my humble opinion is waaaaay better than the U.S. version: • OH LUCY! (2017) dir. Atsuko Hirayanagi Back in 2014, a small Japanese short film played before screenings of BOYHOOD in Cathay cinemas. It was an unassuming little oddity about a Japanese woman going for an English class. Small details like that stick in my mind, and when I saw that a feature film of the same name was picked by Cannes Critics' Week this year, my curiosity was piqued and I promptly signed up for the screening. Yes, that's Josh Hartnett in the middle. First of all, where the heck did Josh Hartnett go all these years?! After he makes you crush on him in PEARL HARBOR, he go and disappear. Never mind, because Josh is back!! And now as a charming SoCal boy who is going to teach you how to speak like an American. But moving beyond the biggest name of this film, is the actress who plays Lucy. Shinobu Terajima may not be a household name here in Singapore, but her portrayal of an OL breaking out of her shell to embrace the flamboyant passion-seeking woman she always needed to be, is one heck of a journey. Shinobu Terajima as Lucy in OH LUCY! (2017) Subverting expectations at every turn, this charming and pleasantly unpredictable dramedy is a sweetly moving film that puts a wonderful character in the middle of it all. Middle-aged women are seldom portrayed as honestly and as movingly as that of Lucy. Her spirit will win you over, and it is to Atsuko Hirayanagi's credit, as the writer-director of the short film and this feature, whom is able to tap into that psyche and mine such powerful emotions. Check out the trailer here: And as an added bonus, guess who is coming to Singapore!!!??? We are so proud to have our good partners at the Singapore International Film Festival graciously inviting Josh, Atsuko and another member of the Japanese cast to Singapore to grace a Special Presentations slot on the red carpet!!! See more details on the SGIFF website. -- And that's it folks! THREE glorious titles to await with bated breath to. And don't forget to sign up for our mailing list, Like our social media platforms and stay tuned to this space for more of the finest cinema from around the world! There is also a special event coming soon in January 2018. We hope you will enjoy these movies as much as we enjoyed them!

You’re a math teacher on your way to work. Suddenly the earth shudders, bombs fall from the sky, and buildings collapse. The terrorist attack at your doorstep - the one you’ve always feared would occur one day – has arrived. In that moment, through the dust from rubble that give way to gray ashen faces, amidst building rubble - your entire world has changed, and things would never be the same again. If this sounds like the ad you saw on the MRT screens while waiting for the train to arrive – yes you know that one, with poorly CGI-ed explosions and flames from the MRT tunnels that end off with some form of a ‘Be Vigilant’ message – well it did happen. It happened to a city in Syria called Raqqa, which is a stronghold and headquarters of the IS terror organisation in the Middle East. Up until that point some time in 2013, the citizens of Syria who called Raqqa home lived normal everyday lives – a film student in college, a math teacher, a musician – everyday occupations coming to a screeching halt with a self-imposed rule by ISIL, suddenly dictating new laws, beheading suspected dissidents, raping women and recruiting children into their armies. No other film I saw in Cannes this year matched the gripping emotional story I saw in CITY OF GHOSTS, a documentary we had heard so much about since its World Premiere back in Sundance in January. The film is a product of some of the most devastating conflicts in recent human history, when there is the rise of nationalism following hot debate in Europe over how to deal with the refugees from Syria, who were often portrayed in their vast overwhelming numbers, never taking on individual identities. But to buck that trend and to profile some of these brave Raqqa residents is precisely why CITY OF GHOSTS is such an essential document of the ongoing mess in the Middle East. It is the only one you should actually pay attention to, amidst the constant avalanche of reports documenting atrocities committed by an extremist organisation. It drills down to the every day, people like you and me, who had their lifestyles upended in the course of a single day, having to fight and fend for their lives either in a dangerous side by side existence with a terror organisation relentless in totalitarian control, or crossing the Mediterranean to distant lands that offered not much better hope for salvation. How these citizens responded to the terror, risking their own lives to tell an uncaring world the truth, and the odds they face – far supersede the stakes in any inspirational biopic or tale you will hear this year. We are proud to be able to bring CITY OF GHOSTS to Singapore, and to premiere it in Singapore on Friday 20 Oct 2017 at the Perspectives Film Festival (PFF), a film festival run by students from the NTU Wee Kim Wee School of Communication and Information. It will play in its prestigious Opening Night slot, and we are glad that a film of such stature would take precedence at their Festival. There will also be a special video introduction by one of the journalists profiled in the film, who for reasons of safety was unable to make it to our premiere in Singapore. This video introduction is a world exclusive for the premiere at Perspectives FF. Tickets for this Singapore premiere can be found here. Following this Singapore premiere at Perspectives FF, join me and two writers Helon Habila (Nigeria) and Mohamed Imran Mohamed Taib (Singapore) on stage at the National Gallery on Saturday 4 November 2017 where we will discuss religious extremism in the world today after a screening of CITY OF GHOSTS. The film will then play at The Arts House for limited sessions, for an exclusive early engagement. These screenings are presented in partnership with the Singapore Writers' Festival. You can find tickets for these Singapore Writers' Festival screenings + special post-dialogue session here. Compared to the trials that the brave journalists Raqqa Is Being Slaughtered Silently (RBSS) face, our lives in Singapore feels safer in comparison. But the threat is ever present – as you will know about the recent coverage of an IS video featuring a Singaporean whom was radicalised and now fighting for IS in the Middle East. It feels apt to mention that we had an especially hard time classifying this film with the Singapore authorities as well, due to the sensitivity of the themes especially in these times – but eventually our authorities recognized the merit of the film’s pertinent subject matter and gave it an M18 rating, uncut. If you see only one documentary in cinemas this year, make it CITY OF GHOSTS. It will shake you to your core. Poster: Trailer: #RAQQA #Cannes #Film #Festival #Perspectives #Film #Festival #SWF #Documentary #CITY #OF #GHOSTS #Matthew #Heineman

I spent the week after jumping off a flight from Cannes at The Arts House to welcome patrons who came out to see our latest release PATERSON, our Jim Jarmusch film starring Adam Driver and Golshifteh Farahani. PATERSON actually World Premiered at Cannes 2016 last year, and so in a sense I felt like I had never left the Croisette, coming full circle from one Cannes to another. As the people who came to see PATERSON would know, I presented each and every session of the movie. In my introduction, elated from my experience in Cannes, I revealed some of the titles that one could look out for over the course of the next year. Now, a month after, with deals formally in place, we are proud to reveal them here. But lets do this one by one, since we love all these films equally, and its always more fun to savor the presents slowly! We'll start with our most forthcoming acquisition - the Competition film GOOD TIME, starring Robert Pattinson. Back in 2015, I saw a small indie gem called HEAVEN KNOWS WHAT, directed by an intrepid NYC-based duo Josh and Benny Safdie, brothers who made every film together. I was electrified by the visual language, the neon-glazed images, the raw energy. It wasn't limited to just the cinematography, but the performances. The desperation in the performance of Arielle Holmes as she plundered her own past to deliver an unforgettable performance as a drug junkie hopelessly addicted to heroin, and her equally self-destructive boyfriend(?) who coerced her to do his bidding. It was like watching a butterfly slowly die—you knew the tragedy that would soon befall them, but we are helpless to look away. I was so blown away that in the following months, I programmed the film as part of the now-defunct Secret Screening series at The Substation, my former workplace. Some 120 lucky souls whom took a chance on the Secret Screening got to see HEAVEN KNOWS WHAT on the big screen. I have been tracking the Safdies' ever since, and when I finally saw 5 minutes of footage of their upcoming film GOOD TIME, I was elated and pumped. The brothers are back!! Josh and Benny Safdie - directors of GOOD TIME © Brigitte LACOMBE GOOD TIME was our very first acquisition from Cannes this year, a deal which we wrapped before the actual festival - after reviewing the script and the promo. I hadn't even seen the entire movie before I made the deal. When I finally sat down in the cinema to see the film for the first time I was so fucking excited I was like an Energizer bunny. As soon as the sick electronic music from Oneohtrix Point Never kicked in from the opening frame, I was sober tripping. It was incredible to see how the Safdies had progressed from the last film. They kept the tight pacing, and lensing style from HEAVEN KNOWS WHAT, and turned it loose. The neons are more explicit, the colour palette more striking, the sheer audacity of the way they used the camera, colors, and action choreography made the film more palpable. It was like Wong Kar-Wai did a Benjamin Button, got younger, got stoned, and took some LSD and decided he wanted to shoot this balls-to-the-wall thriller action heist instead of some fandangled martial arts thing. Or basically a more coherent Gaspar Noé. I haven't even got to the best part of the whole damn movie yet. WHO THE FUCK IS ROBERT PATTINSON?!?! (not an actual question, guys) Look at that shitty bleached hair. Look at the scowls on his face. Look at his pathetic face. I say GODDAMN! If there was one bloody actor in the whole Competition that should have won the Best Actor award at Cannes it should be this motherfucking guy. Who knew Edward could act, seduce, manipulate and fricking charm an older woman, a younger woman, a man, another man, a bus driver, some cops, and kick some fucking ass?! But of course, maybe I'm biased because I'm the distributor of this movie. But you don't get to be on the front cover of Cahiers du Cinema, or Film Comment by being lame. Oh yeah and Iggy Pop sings the end credits song in an original piece written specifically for the film. After the acid trip you just took, the come down is all the better when you get Iggy reminding you The Pure and The Damned act from Love. Shit son, you don't even need to tell me. But sing it to me anyway, Iggy. Anyway k watch the damn trailer here. We'll post these again closer to the theatrical release date - slated for Q4 in Singapore this year, teehee! Stay tuned to this space or our Facebook or Instagram for more news on our next titles to be unveiled shortly! #Robert #Pattinson #Good #Time #Cannes #Film #Festival #Sadie #Brothers #film #acquisition #Josh #Benny #Safdie

Chances are that you would have ran a search on your favourite torrent search engine for our company's latest release PATERSON. Or you have an Android black box from the IT Show earlier this year which offered the same on your big screen TV. This is pretty much status quo for most cinephiles in our country Singapore, where we are constantly frustrated by the narrow variety of films to whet our appetites in most local cinemas. I was once like you, frustrated and equal parts irritated to read about these exciting independent or foreign films on Rotten Tomatoes, Metacritic or Indiewire or any of the other trades, and discovering that none of the cinemas in Singapore played these films. But with time, not only were most of these films available for free online due to piracy, but they were of a decent quality as well.   After I was privileged to work in the heart of the film industry - Los Angeles, I realized just what a costly benefit it was for me to resort to free pirated copies to get my fix. Friends who went to film school were not getting jobs because large studios decided to cut down on providing opportunities to entry-level peers because we were losing so much business to piracy worldwide. Of course we hear about how much WONDER WOMEN and the new PIRATES OF THE CARIBBEAN made or the paycheck for the  newest Hollywood star and figure - 'well its just one download for myself, it shouldn't make that much of a difference right? Plus they make SO much money.' I can personally vouch for the loss in jobs right now with my own circle of friends trying to make it in Tinseltown, and I look at the friends I have right here in Singapore who just graduated or are studying in local Singapore film schools or tertiary institutions and many pirate, sometimes even proudly proclaiming to their friends on how to find the latest movies for free. My reaction is one of disappointment - how low we have sunk to fulfill one need - our desire for better movies than the ones we have right now in commercial theaters. This frustration was what Anticipate Pictures was founded on. We want to start doing right by the artists who we exalt in our conversations with like-minded cinephiles. Can you imagine Wes Anderson or his immensely talented crew of production designers losing money because their films get stolen worldwide by the very audience they aim to entertain? Can you imagine Wong Kar-Wai losing money to all his Asian markets because they refuse to watch his film in the cinema and instead chose to pirate a HDrip of his latest painstakingly chereographed film? Of course we don't hear about these stories, because the people at the top always get paid, but we don't always hear the stories of the struggling art designer, junior editor, or grip or gaffer who was turned down for yet another job because their production company was cutting jobs due to the decreasing production budget. Make no mistake, piracy has a hand in cutting off jobs to freelancers or even union crew simply because larger production studios chose to mitigate their losses by hiring less from the very beginning of the production process. This is an alarming trend exacerbated by the very thing we should be trying to solve - how to tackle this piracy issue from the point of view of the consumers - by ensuring timeliness (how early we get to see the film) and legal accessibility to the works of art we want to support. Although PATERSON has been released for quite a while now in other major markets, we wanted to make sure this serendipitous film gets a proper big screen treatment in our tiny country. Anticipate Pictures paid a lot of money for the rights of this film to bring it to our country. Where did this money go? I'm proud to say the money we pay for the rights go directly to the film producers, hence - the very people whom make the films we want to see. In all likelihood, Anticipate Pictures won't make a profit or even come close to breaking even from playing it at this single screen, but we want to service our cinephiles in this country, to start doing things right, by making this latest work of art legally available in at least one cinema locally. However, if you pirate the film even when we make it legally available, we won't be in business for much longer. And for all of us the cycle will continue - falling back to the same pattern - hoping against hope that some pirate somewhere will rip the film from a master blu-ray somewhere, and enough seeders will send it out to your computer. It might take hours, it might take weeks or even months before this kind of access is available on your preferred torrent site. And at the end of it all, the filmmakers of the film you desire won't even benefit from you watching their films, and their next film even harder to make because of this loss of business. Is piracy really something we want to support? Anticipate Pictures wants to be the change to this destructive cycle. We want to put our money where our hearts are, and start directly supporting the artists, filmmakers and producers we want to see their newest works from. But we obviously can't do it without our audiences supporting the kind of works they want to see, and we hope you will choose to come to The Arts House to see PATERSON the way it was meant to be seen - on the big screen. We also know how the theatrical experience has been lackadaisical in recent times. On our part, we intend to persuade our audiences to leave their phones in their pockets, to be respectful and courteous to fellow patrons. In addition, we want to introduce every single session of our movie, because we love it so, and we are happy to share it with you. In essence, we want to make it the best viewing experience possible at the movies for our movies. But we can't do it without you. Do consider seeing PATERSON on the big screen and to the best of our ability, we will ensure you have a good time at the movies. In turn, you can be assured that the price you paid for your ticket goes towards supporting the very artists whom created the work of art you just witnessed - in a format the director intended. Happy movie-going everyone! Sincerely, Vincent Quek Founder of Anticipate Pictures #piracy #paterson #founder #film #industry #VincentQuek #AnticipatePictures

Following strong positive feedback to their first – and eventual - Oscar-nominated release TONI ERDMANN, Anticipate Pictures is proud to welcome two new films to their slate. SINGAPORE (Mar 13 2017) – Iconic independent American director Jim Jarmusch of works such as Stranger Than Paradise, Mystery Train, Broken Flowers and Only Lovers Left Alive will finally see his latest film Paterson premiere in Singapore, after its auspicious debut as a Competition title at last year’s Cannes Film Festival. The film stars Adam Driver (Star Wars: The Force Awakens; Girls) as a bus driver in the city of Paterson, New Jersey, who finds beauty in his daily routine and pens his observations as poems. Golshifteh Farahani (About Elly, Body of Lies) plays his loving wife who urges him to consider publishing them – to surprising results. “Through the eyes of Paterson, director Jim Jarmusch creates a world where poetry in its written form blends harmoniously with the poetry he creates in cinema. It is a delightful marriage of both art forms, in the guise of a love story which steals your heart in the most beguiling fashion. We are incredibly excited to present Paterson to Singapore.” Vincent Quek, founder of Anticipate Pictures states. On the other end of the spectrum, the company has also acquired Safari, a provocative new documentary from the Austrian director Ulrich Seidl (Paradise Trilogy; In The Basement) about European tourists who travel to Africa to hunt animals for sport. Taking a completely objective stance, and shot in his trademark still portrait fashion, Seidl probes his complicit human subjects to reveal horrifying truths about the natures of Man versus animal. Vincent exclaims: “The cinema of Ulrich Seidl continues to reveal uncomfortable truths, and sometimes lies we may tell ourselves to indulge our darkest desires. It is a superb and troubling form of filmmaking, definitely not your conventional nature doc. We were shell-shocked after the screening at Toronto (International Film Festival), and felt that this was the right film to launch our edgy documentary label.” After world premiering in the prestigious Venice Film Festival in an Out of Competition slot, Safari traveled to the Toronto International Film Festival and then competed in the BFI London Film Festival 2016. It will make its Singapore premiere in a special program by local film and photography centre Objectifs, called Stories That Matter 2017. Tickets are now available at http://safari.peatix.com

SINGAPORE (Sept 5, 2016) – New independent film distributor Anticipate Pictures announced today the acquisition of their first two titles Toni Erdmann and Two Lovers and A Bear. Winner of the International Film Critics “FIPRESCI” Prize for the Best Film in Competition at the Cannes Film Festival 2016 - Toni Erdmann is the story of a serious career woman named Ines who is forced to contend with her practical joker of a father Winfried when he pays her a surprise visit at her workplace. The film is written and directed by Maren Ade, and stars Sandra Hüller and Peter Simonischek. The German-Austrian film had its world premiere at the Cannes Film Festival in May, where it quickly established itself as the highest-rated film in the history of the Screen Jury Grid, and is currently the #1 reviewed film of 2016 on Metacritic. It is Germany’s entry to the Oscars this year. In Two Lovers and a Bear, Dane Dehaan and Tatiana Maslany (of Orphan Black fame) star in a magical-realist romantic drama set in a small town near the North Pole. Amidst the sweeping expanse of this remote icy wilderness, the star-crossed lovers must find strength in each other and in their relationship in order to overcome their inner demons which brought them there in the first place. The Canadian film is written and directed by Academy Award nominated director Kim Nguyen. It received its world premiere at the Director’s Fortnight section at the Cannes Film Festival 2016, where it was met with warm applause and positive reviews. Vincent Quek, founder of Anticipate Pictures, notes: “When we saw Toni Erdmann and Two Lovers and A Bear, we were transported to lands and cultures so distant from us. Yet their stories, so personal and intimate in scope, moved us immeasurably. We laughed, cried and laughed many times. As our company was built on the belief that Singapore audiences deserve thought-provoking and award-winning films of the highest caliber, Anticipate Pictures is proud to have these two wonderful cinematic visions represent the first films from our canon.” Toni Erdmann and Two Lovers and A Bear will be released theatrically in the first quarter of 2017. ------------- [ABOUT ANTICIPATE PICTURES] Anticipate Pictures is an independent film distribution company based in Singapore with a focus on arthouse, indie and documentary feature films. Established in March 2016, Anticipate Pictures (AP) seeks to be Singapore’s go-to brand for quality film entertainment for the discerning audience. By focusing on the strength of our films married with alternative distribution channels, every Anticipate Picture represents not just another choice in film entertainment, but something film lovers can look forward to discovering time and time again.