ACF - Asian Cinema Fund

2026 Co-Production Support Fund

LIST TRINITY

Director’s Profile

Boo Junfeng’s directorial debut, SANDCASTLE (2010), premiered at Cannes Critics’ Week and was screened at Toronto, London, Busan and others. He also contributed the short PARTING for the SG50 commemorative film 7 LETTERS (2015), which premiered in Busan. APPRENTICE (2016), his second feature, premiered at Cannes Un Certain Regard and was Singapore’s Best Foreign Language Film Oscar submission. In 2018, 2021 and 2025, he served as the Creative Director of Singapore’s National Day Parade. Currently he is the Chairman of Singapore International Film Festival’s Board.

Synopsis

A tale of sin, forgiveness and grace, TRINITY unfolds in three chapters, inspired by the Father, Son and Holy Spirit. It begins with Johnny, 56, the charismatic pastor of a popular megachurch. Hailing from Taiwan, his sermons are extremely popular among the church’s Singaporean followers. He is also known to put on spectacular daredevil acrobatic shows à la Cirque du Soleil performances. Fans and followers come in droves to see him. During training, Johnny begins to take a special interest in a new recruit, 21-year-old Yang. Soon, Johnny’s favouritism becomes increasingly obvious. This disturbs those around him ― in particular, his wife Ruth (49), and his top disciple and future son-in-law David (29), who help run the organisation. One day, Yang goes missing. Distraught, Johnny decides to investigate the matter by himself. But the trail of evidence soon leads him to those he is closest to. Tragedy ensues. Both Johnny and Ruth eventually move back to Taiwan. They lead a quiet, unassuming life in the countryside and attend a small church. But soon, Johnny catches sight of a mysterious figure ― an unknown presence who may eventually deliver unto both of them God’s grace.

Director’s Note / Intention

While writing the script, I reached out to religious leaders to understand their perspectives. I also spoke with those who struggle to reconcile their faiths and their sexualities. In their journeys of self-discovery and acceptance, many have to put up pretenses and perform what is expected of them by their families and by society. This need to perform is at the heart of our characters’ struggles. Not only do we see the performative aspects of their lives, we see that they literally put up performances to an audience. This was inspired by what I saw at shows put up by Evangelical megachurches in Singapore ― the production values and talents on stage are impressive. At the centre of these shows are the charismatic lead pastors and their perfect traditional family. But what if there were secrets underneath their perfection?

Still Cut

LIST