The Straits Times reported today (July 2): "The film *Love Letter to Grandma* was released in Singapore on June 18, with only eight screenings in original Teochew dialect audio (note: as of the end of June, a total of 72 screenings—both public and private—were approved in original Teochew audio). All other showings were dubbed in Mandarin. Naturally, the film was also simultaneously released in Malaysia, where all screenings were in original Teochew dialect audio."
The phenomenon of scarce tickets for the Teochew-dialect version in Singapore stems from its decades-long language policy. Since 1979, Singapore has vigorously promoted the “Speak Mandarin Campaign” to unify the Chinese community’s language and strengthen national cohesion. Under this policy, dialects have been strictly restricted in public media. For a dialect film to be publicly screened, it must undergo special approval—and is typically only allowed limited showings under the guise of “cultural exhibitions.” Therefore, the initial approval of just eight Teochew-dialect screenings was not a commercial decision by cinemas, but an inevitable outcome within the policy framework. In contrast to Malaysia—where the large Chinese population and widespread use of dialects lead to over 550 daily screenings driven entirely by market demand—Singapore’s constrained screening schedule has instead triggered an intense audience demand. The first eight screenings sold out within 1.5 hours; the subsequent additional 14,000 tickets were snapped up in just three hours. This “spoon-feeding” approach to adding screenings, coupled with audiences queuing desperately, essentially represents a form of “compensatory consumption.” What people are racing to secure isn’t merely a movie ticket—it’s a ritualistic opportunity to openly use their ancestral dialect, symbolizing an emotional release of long-suppressed native accents and cultural memories passed down through generations.
National data from Singapore shows that among Chinese residents aged 60 and above, 31.6% still use dialects at home, whereas among those aged 5 to 34, the proportion has plummeted to just 1.4%. The decline of dialects is creating a serious cultural rift. Scholars note that audiences rush to buy tickets because they feel “fear of losing something irreplaceable.” The film *Love Letter to Grandma*, with its themes of “qiaopi” letters and memories of ancestors who migrated southward, strikes directly at a vulnerable point in Singapore’s Chinese cultural identity. This movie has become a cultural symbol, enabling younger generations to reconnect—within the cinema—with their increasingly fragmented cultural roots and sense of identity.
In summary, the stark disparity in screening schedules for *Love Letter to Grandma* in Singapore reflects a cinematic “reboot” of a fundamental national policy issue. It reveals how, in today’s multicultural society, Singaporean society is re-examining the value of dialects—and the deep-seated desire among citizens to preserve family bonds and cultural traditions.
Original article: toutiao.com/article/1869568949319692/
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