New indie cinema Filmhouse takes over from The Projector – will Singapore give it a second chance?

When former independent cinema The Projector shut down in August 2025 without warning after a decade in the business, it seemed to leave a gap unlikely to be filled, at least for the foreseeable future.

At the time, the public reacted with expected hand-wringing and self-blame for the actions we should’ve taken to treasure it while it was around.

What we rarely get, if at all, is a second chance to make good on our word.

But now we do.

INDIE CINEMA FILMHOUSE TO OPEN 

A new independent cinema Filmhouse will soon take over the three-screen space at Golden Mile Tower formerly occupied by The Projector.

Run by Sharon Tan, former general manager of The Projector, and several of her previous core team members, the upcoming venture has its soft launch slated for late January to early February. 

Tan, 41, will take on the same role at Filmhouse.

Patrons, too, can expect a similarly acclaimed lineup of independent films for a start, as well as an events venue that will continue holding intimate themed parties and dialogues with filmmakers, among others.

What’s different this time, it seems, is a newfound gumption to make it work. 

After all, failure, in hindsight, is the easy part. It stings to get knocked down on your first attempt at anything, but at least the journey is over, should you decide. 

You can take pride in having given something your best shot and walk away knowing it’s not meant for you. 

It’s harder to decide to try again. 

But for Tan and her team, it was a no-brainer. 

There seems to be “a buzz in the air” around movies, she pointed out, with many “exciting and interesting titles” emerging in the past year or so, no doubt bolstered by awards season like the recent Golden Globes.

Not too fazed by the prospect of going up against the behemoth of streaming services once more, she believes people would have “cultivated their own film appetite and tastes” since the pandemic, which changed consumption habits. 

This ability to watch movies anytime from home would, in turn, mean a more discerning public with a greater appreciation and desire for diverse films, she hopes. 

With Golden Mile Tower up for en bloc sale as well, starting Filmhouse now felt even more necessary for the team.

“At least for a few years, or however many more years it has, we would like as many people to come and experience it and have these memories of this space,” said Tan.

To the average cinemagoer, though, the Projector wasn’t just a place to catch independent films. It seemed to also represent the courage to pursue unconventional dreams in Singapore. 

And for one regular patron, it was even his safe space – so much so he decided to, quite literally, put his money where his mouth is. 

PRIORITISING THE UNIQUE CINEMAGOING EXPERIENCE 

The investor behind Filmhouse is a Chinese national and Singapore Permanent Resident, who felt “really sad” when The Projector closed, shared Tan.

The latter used to be “his respite in Singapore, his happy place”.

He works in a corporate job unrelated to film or adjacent industries, and prefers to keep a low profile for now, believing the focus should be on the Filmhouse team.

“As a cinephile, he’s just so happy to be able to watch all these films again. He wants everyone to enjoy it too, and he recognises what is needed for it to be sustainable,” Tan added.

To him, this means “prioritising the customer experience” that made him feel at home. 

This is Tan and her team’s “very clear” mission too. With the experience of The Projector under their belt, the Filmhouse team were able to hit the ground running. 

The cinema won’t just be a space for film lovers, but also for “people who don’t know they’re film lovers” because they might not have had the chance to watch great films.

Those expected to be screened at the soft launch include Norwegian-language drama Sentimental Value, winner of the Grand Prix at the 2025 Cannes Film Festival, as well as Hamnet, which won Best Motion Picture (Drama) at the 2026 Golden Globes.

Comedy-drama Rental Family starring Hollywood actor Brandan Fraser is also in the lineup.

“It’s about demonstrating that we care a lot about films,” Tan said.

“We care about your experience when you’re watching the films, and therefore, we care about the quality of the projection, the sound and aural experience, as well as what brings you more contentment (which includes) the snacks that we’re offering too. 

“Those two hours in the cinema should bring you so much delight and satisfaction that you just feel like you need to come back again.” 

And this “responsibility” is on Filmhouse to show everyone that they should “go and watch films in the space that it’s made for”, she acknowledged.

To that end, the new cinema will have one hall, the Green Room, upgraded to a 4k projector. The other two halls, Redrum and the Blue Room, will still feature 2k projectors. 

Tan hopes to help people fall in love with cinema again, and to feel like they’re “coming home” when they visit Filmhouse, mirroring the sense of community that had been the differentiating factor at The Projector. 

“There is a communal experience that I think a lot of us forget that we crave.” 

A SECOND CHANCE 

Tan recognises it’s not just her team that’s taking a risk with Filmhouse. 

Audiences would also be giving independent cinema a “second chance” by spending time and money at their venue eventually. 

As such, “what will make us sustainable is really understanding what people want to experience and then trying to accommodate that for them”, she believes.

Take, for instance, a school outreach programme that The Projector used to run to get students accustomed to visiting the cinema, she said, adding that it was well-received. 

It was a “singular experience” for students to be with their friends while engaging in dialogue with the filmmaker. They were encouraged to think more deeply about what they consumed. 

“I think that’s key if we want to be very intentional about demonstrating to younger people why film as a medium is really important, and why going to the cinema is really important. It’s because you can talk to other people to understand their perspective."

For that reason, Tan said this next chapter is centred around “endurance”.

“I want film to endure as a medium, and I really want the cinema to endure as a place to enjoy that film. And finally, I want the building to endure,” she shared.

“So we’re taking action first and hopefully people will support us. I hope they see the point.”

After all, watching a movie in the cinema is never just about showing support for a good film nor about pure entertainment value. 

It is fundamentally a chance to witness life, both on screen and within oneself.

“You’re investing two hours of your time to really focus on something and accept that you’re being told someone else’s story. And being able to listen to that and pay attention and withhold judgement for even just a little while is a rarity in today’s world,” Tan added.  

“And I think cinema should be the place for people to remember how to give other people’s stories a chance.”

In a country where change is constant, a familiar script often resurfaces in response to a dying establishment: greedy landlords, high operating costs, low patronage and tough competition sound the death knell.

Loss feels permanent – except this time it’s not.