Jeremy Chua is a name that resonates with many in the independent film circuits of Asia. As the founder of the production company Potocol, he has been a driving force behind some of the most distinctive and critically acclaimed films from the region. His connection to Bangladesh was solidified when he produced Abdullah Mohammad Saad’s groundbreaking film, Rehana Maryam Noor, the first-ever Bangladeshi feature to be officially selected at the Cannes Film Festival.
Beyond his production work, Chua has a rich and varied career that spans film programming, international sales in Paris, and now, a leadership role as the General Manager of the Singapore International Film Festival (SGIFF). I sat down with him to discuss his journey, his invaluable collaboration with Bangladeshi cinema, his philosophy on film production, and his vision for the future of the industry in Asia.
Abu Shahed Emon: Let’s start with your connection to Bangladesh. What was it about director Abdullah Mohammad Saad’s vision for Rehana Maryam Noor that convinced you this was a project your company, Potocol, had to support?
Jeremy Chua: I first met Saad in 2016 when his debut film, Live from Dhaka, premiered at the Singapore Film Festival. I was struck by how his writing and image-making were so in line with my own sensibilities. It felt organic to ask what he was working on next. We stayed in touch, and while his initial idea was different, he eventually developed a script inspired by socially relevant issues in Bangladesh, particularly the gender politics surrounding sexual misconduct cases in universities.
What I understood about Saad is that he’s a very instinctive writer who pushes his characters to their dramatic edges in a way that is both brutal and humanistic. I was excited by that. My role was to provide a framework and context for him to navigate international funding, but the core vision was entirely his. I learned early on to trust his instincts, even when they challenged conventional narrative expectations.
Emon: That project was a successful co-production between Bangladesh, Qatar, and Singapore. From your experience, what are the unique challenges and advantages of such cross-cultural collaborations, especially when dealing with the cultural nuances of a Bangladeshi story?
Chua: I believe one of Bangladesh’s strengths right now is that the world sees it as a small, quiet market, which creates an opportunity to present something truly fresh and urgent. Our strategy wasn’t to oversell the co-production aspect but to highlight the local, specific themes of Dhaka and connect them to universal issues of social pressure and morality. We also built upon the cult success of Live from Dhaka; those who had seen it knew Saad had a distinctive cinematic eye. We positioned him as an undiscovered talent whose voice needed to be heard on a larger stage.
Emon: Since your work on Rehana Maryam Noor, you’ve observed the Bangladeshi film scene more closely. What is your assessment of its potential and the hurdles it faces?
Chua: There is undeniable passion and energy among young filmmakers in Bangladesh. However, the primary challenge is the lack of infrastructure. This includes a robust festival circuit for cinephiles, dedicated spaces for independent films to thrive beyond commercial theaters, and importantly, the kind of governmental and institutional support that helps kickstart new projects. This reliance on private executive producers can sometimes limit a filmmaker’s ambition. I’ve purposely held back from producing another Bangladeshi film, partly out of a deep artistic connection to Saad’s work and wanting to be available if he has a new project.
Emon: Your career is a fascinating 360-degree journey through the film ecosystem. How did your time in Paris, working for a gallery, shape your unique approach to producing films?
Chua: My six years in Paris were my real film education. I was exposed to everything from experimental films to large-scale cinematic installations. It broadened my perspective on what cinema could be. It taught me to approach film not just as a story but as an artist’s vision. When I work with filmmakers, I focus on their approach, their philosophy, and their unique voice. I see them as artists with a point of view I must personally connect with. My decision to produce was ironically inspired not by the production process itself, but by the presentation—the final moment an audience experiences the work. I became fascinated with the entire journey, from a nascent idea to its final exhibition.
Emon: You’ve expressed admiration for the A24 model but also voiced concern about art-house cinema becoming formulaic. How do you, with Potocol, navigate this tension between building a brand and protecting artistic originality?
Chua: It’s a constant challenge. Funding committees often have rigid expectations. However, I’ve learned that if you trust the director’s vision and break the rules, the institutions sometimes follow. With Rehana, our French co-producers were initially concerned that the protagonist was unlikable. But Saad was adamant about his character’s complexity, and we protected that vision. It taught me that when a director has a clear, authentic perspective on their reality, you can’t go wrong, even if it doesn’t fit a conventional mold. My philosophy is to work with artists I can have blind faith in.
Emon: Many filmmakers in our region rely on European co-production funds. How do you view this dynamic? Is there a risk that it shapes the stories Asian filmmakers feel they can tell?
Chua: It’s a double-edged sword. While European funds are crucial, it’s a mistake to see them as free money. These institutions have their own agendas, primarily focused on building their local industries. A successful co-production isn’t just about taking money to improve your film’s budget; it’s about creating a reciprocal, two-way value-add. The project must also contribute to the funding country’s economy and creative ecosystem. When you understand this, you can build much stronger, more organic partnerships. It’s about finding the right partner for the right project, creating a synergy where a French composer or a German post-production house becomes an integral artistic choice, not just a funding requirement.
Emon: You’ve recently taken on the role of General Manager at the Singapore International Film Festival. What is your vision, particularly with the new “Industry Days” program? What can filmmakers from Bangladesh and South Asia expect?
Chua: My goal is to help the festival become a true thought leader. For too long, the art-house and commercial film worlds have been in conflict. The “Industry Days” program is designed to bridge that gap. We want to show how commercial films can benefit from art-house aesthetics and how independent films can be strengthened by a solid business plan. We are bringing in global decision-makers from major markets to connect with Southeast and South Asian talent, creating a space for genuine collaboration.
For filmmakers from the region, we are upgrading our labs and networks to be more relevant and advanced, with a specific focus on supporting South Asian directors. My philosophy is not to do things just because they have a legacy. If a program isn’t working, we must adapt it to meet the challenges of today. The goal is to create an ecosystem that is dynamic, forward-thinking, and truly international.
Interview by: Abu Shahed Emon, Filmmaker