A work in constant progress (and occasional regress).
Birthplace:
Singapore
Born:
July 13, 1999
Fascinated by the fleeting, transitory nature of life and the emotional dread that arise from it, Celestine Pang is a young Singaporean filmmaker who strives to explore and portray the complexities of the human condition through his work. Since his formative years, Celestine has harboured a deep-seated passion for the art of film, leading him to pursue a diploma in Film, Sound & Video at Ngee Ann Polytechnic, where he discovered his love for writing, directing, and producing. This was showcased in his thesis film, Lady E’s Wedding Revenge Plan (2019) where he served as the 1st assistant director and assistant producer. The film was part of the HonourSG initiative and received the Best Live Action Film award at the National Youth Film Awards 2020. To further hone his craft, Celestine acquire a Bachelor of Arts (Hons) in Film at LASALLE College of The Arts, where he double majored in producing and scriptwriting. He produced an experimental documentary on a rare mental condition called Depersonalization-derealization disorder for his thesis, titled The World I Live in Doesn't Exist (2023) and penned the script for an existential narrative film, Let the Tides Take Us (2023). Celestine’s oeuvre reflects his belief that films should evoke emotions in viewers before they can fully comprehend them. His unique perspective in his films allows them to serve as a guide for audiences to navigate the intricacies of the human experience.
Assistant Director:
2021 Lady E's Wedding Revenge Plan
Co-Producer:
2021 Lady E's Wedding Revenge Plan
Producer:
2021 Lady E's Wedding Revenge Plan
2024 The World I Live In Doesn't Exist
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.