Exploring Socrates’ notion of “know thyself”, Yak Aik-Wee takes us on a voyeuristic journey to discover who we are as humans. Through the currently familiar platform of ZOOM and an uncanny interruption that allows multiple avatars of the self to emerge, Aik-Wee engages with an unpredictable discovery that holds up a mirror to one’s deepest fears, self-doubts, vulnerabilities and insecurities. As the characters think through what their highest purpose is, they tacitly reflect (and refract) our values, priorities and even dreams and aspirations. The roles of the ZOOM administrator and the film editor further accentuate the dire social desire to self-censor.

The process of making this film is one that also reflects Aik-Wee’s journey regarding his take on “Identification”. As an actor and educator himself, through this platform he aimed to bring out the actorly self and how that brings out different possibilities for the theme “identification”.

In the initial exploration, he took on the primary role of being the scriptwriter and director for two actors. Framed as a play that would unfold with interventions from a Director, he aimed to explore how a man, who was made of his material possessions could crumble under the social institution of a marriage. However, the gender dynamics that was needed glaringly threw up the questions about a “wedded self” and social expectations – a trajectory that Aik-Wee felt derailed from explorations specific to the actor-self. To create a more targeted approach he then hoped to have an intimate focus group with fellow actors. The intent was to use the real conversations about being an actor to create a reel-world pastiche. While issues of ethics arose and discussions on checks and balances were being ironed out, the nation-state went into the Stabilization Phase that restricted up to 2 persons per group and maximum 1 gathering a day in public places. Moving the exploration onto an online platform, nonetheless meant losing a complete bodily response that was vital for creating the reel-world as well.

As such, in this third exploration, Aik-Wee sharpened his artistic vision for the films. In using both ZOOM and a live version of his avatars, as a theatre practitioner, he began to explore the curation of the self in both public and private domains. The virtual setting offered the quasi intimate setting of the latter exploration, while the live filmed elements referenced the intention of the former where there was a change in how the self was performed. Echoing Socrates’ statement, Aik-Wee’s films allow us to reflect upon how and why knowing thyself is the beginning of wisdom.