Private Project

Where do I bury you?

Filmed entirely through the lens of a car dashcam, a father and son embark on a road trip across Singapore, revisiting places tied to memory, work, and family history. Seeing only the open road and hearing their voices, what begins as an awkward attempt at documenting their lives gradually unfolds into an intimate conversation between two men who realise how little they truly know about each other.
As they drive across the island, their conversations drift organically from their shared love of cinemas to past marriages, family legacy, religion, and mental illness. Attempts at honest dialogue initially falter as the father deflects his son’s questions, threatening the documentary itself.
The two stop at the father’s former workplace, the once-grand Golden Theatre, now home to the independent cinema The Projector, a place the son frequents. In this shared space between past and present, something shifts. An unexpected cigarette becomes a bridge that reveals parts of themselves they have long kept hidden. Smoking together for the first time loosens the guard between them.
What follows is a road trip that transforms from hesitant probing into the easy rhythm of two old friends joking and talking. As the journey continues, father and son confront deeper questions of faith, mortality, and the future of their family. The father shares his wish for a water burial and the legacy he hopes will endure after him. Their final destination is not one they planned to reach, the road leads them to the edge of open waters, where they stop to admire the coastal view.
Through a montage set to the soundtrack of the father’s favourite film, the faces behind the voices reveal, grounding their stories in the present moment. The journey concludes with the two men outside the parked car, sharing one more cigarette together.

  • Maximilian Liang
    Director
    Home Planet
  • Maximilian Liang
    Producer
  • Maximilian Liang
    Key Cast
  • Wai Tuck Leong
    Key Cast
  • Project Title (Original Language):
    梁先生
  • Project Type:
    Documentary, Experimental, Short
  • Runtime:
    19 minutes 44 seconds
  • Completion Date:
    March 16, 2026
  • Country of Origin:
    Singapore
  • Country of Filming:
    Singapore
  • Language:
    Mandarin Chinese
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
  • MOMO DISTRIBUTION GRANT 2026
    Singapore
    Singapore
Director Biography - Maximilian Liang

Maximilian Liang is a Singapore-based filmmaker and theatre multimedia designer working at the intersection of moving image and live performance.

A directing graduate from LASALLE College of the Arts, his multidisciplinary
work explores memory, space, and visual storytelling in Southeast Asia.
He was part of the ASEAN–Korea Film Leaders Incubator (FLY2023) and has also worked as a casting director on films including Anthony Chen’s We
Are All Strangers (2026).

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Director Statement

When I turned eighteen, I rushed to learn how to drive. At the time, my family still owned a car because my father was working, and I was eager to get behind the wheel. Perhaps it was the simple desire to become an adult.

A week after getting my license, I drove my parents for the first time. It was not the drive I had imagined. In the early hours of the morning, I rushed my father to the hospital after he suffered a stroke. I remember thinking, as I held the steering wheel, that adulthood had arrived in a way I had never expected.

Not long after, my father retired. The stroke accelerated what was already inevitable. Our family finances took a hit, and we eventually had to give up the car. The life I had assumed was stable began to feel uncertain.

In my twenties, the distance between my parents and me grew. I moved out, got married and later divorced. I struggled with depression and, at one point, attempted to end my life. Like many people searching for independence, I believed I understood the world better than those who raised me. Yet I found myself making mistakes of my own.

Over time, I slowly found my way back home. Being with my family again made me realise how little I actually knew about their lives, their struggles, and the decisions that shaped them. By then my father had aged considerably. I was in my late twenties, and he was approaching his seventies.

On a whim and in the only way I knew how, I decided to make a film to understand him. The dashcam on a rented car became our quiet witness. With the camera fixed to the windshield, there was nothing to perform for. We simply drove and talked, with the road ahead becoming a space where difficult conversations could unfold naturally.

What began as an attempt to understand my father became something else entirely. Over the course of that journey, I realised that the film was not only about learning who he was, but also about confronting the distance that had grown between us. In trying to understand him, I began to understand something about myself.