A surfboard shaper living in Singapore, making boards across the causeway in JB. Dhiya crosses the border to his studio in Johor Bahru, shaping boards for people and teaching the craft to those along Desaru beach. He's quietly building something — a community rooted in surf culture, and a reason for it to last.

A compact portrait of DJ/producer Austin “JumbogoatXXL” on creative burnout and recalibration. He talks about grinding on production without releasing, losing his sense of purpose, then choosing to make music that feels true to him instead of just feeding a “brand.” A small on-stage technical mistake grounds the piece, and he closes by urging other creatives to take a break if they can, question why they’re doing the work, and only say yes to projects that align with who they are.

A conversational POV TikTok that uses a dating “what would you do?” scenario to surface the darker reality of SG Nasi Lemak–style creepshot groups. Instead of lecturing, the piece frames a moral dilemma around discovering your date participates in these channels, prompting viewers to interrogate consent, safety and complicity in everyday relationships. The tone stays native to TikTok—casual, scroll-stopping, comment-bait—while smuggling in a critique of how harassment and misogyny are normalised in online spaces.

A quiet character piece on Joakim, a neighborhood barber who treats his lobby shop like a second home. The film follows his opening routine, his early makeshift setups, and the decision to bet on himself during tough times, revealing how he uses conversation, care, and consistent service to turn a simple haircut into a place of belonging.

Concept‑driven short film exploring perception, burnout, and artistic identity for Singapore DJ/producer JumbogoatXXL. I handled narrative development, directing, cinematography, and edit, shaping a tight, voice‑driven story optimized for short‑form attention while preserving emotional weight.

 
 

A character-driven TikTok that follows an elderly couple running one of Singapore’s last kelongs, using their banter and pride in their work to humanise a disappearing way of life. Framed as a light, witty piece (“uncle & aunty are o-fish-ially the GOAT”), it quietly raises heavier questions about modernisation, food systems, and what gets lost when traditional livelihoods are pushed out of the water.