Boo Junfeng’s new feature “Trinity,” a drama centered on faith, sexuality and a celebrity preacher’s concealed fixation on a young follower, is heading to this year’s Tokyo Gap-Financing Market as its producers seek the remaining funds needed to complete the film.

Now in post-production, “Trinity” is produced by Peanut Pictures, Filmagic Pictures and Gaïjin. The project is an 11-country co-production spanning Taiwan, France, Singapore, Poland, Greece, Japan, Germany, Brazil, South Korea, Indonesia and the Philippines.

The Tokyo Gap-Financing Market operates as part of TIFFCOM, the content market connected to the Tokyo International Film Festival. Boo and producer Raymond Phathanavirangoon said only a small financing gap remains.

Inside “Trinity”

The film is divided into three chapters modeled on the Father, Son and Holy Spirit. Its central character, Johnny, is a pastor from Taiwan who has attracted a substantial Singaporean following through his sermons at a popular megachurch.

Johnny’s public appeal also extends beyond the pulpit. He stages elaborate acrobatic spectacles in the style of Cirque du Soleil, drawing large crowds from his congregation.

Behind his conservative public persona, however, Johnny becomes infatuated with Yang, a newcomer to his training program. His increasingly visible preferential treatment of the young man alarms two people close to him: his wife, Ruth, and David, Johnny’s leading disciple and the future husband of his daughter. Ruth and David both help run the church.

The story shifts when Yang disappears and Johnny launches a desperate investigation of his own. Evidence leads him toward members of his inner circle, with tragic consequences.

Johnny and Ruth later move to rural Taiwan, where they live quietly and attend a modest local church. Their attempt to remain out of sight changes when Johnny sees a mysterious stranger who may offer the couple a path toward divine grace.

“I’ve always been very interested in the subject of sexuality and faith, and I wanted to make a film that dives deep into the psyche of these characters within a church,” Boo said.

He added: “I hope people will empathize with the characters, despite them being flawed human beings.”

A Long-Running Creative Partnership

Phathanavirangoon co-wrote “Trinity” with Boo and has been involved with the project since its earliest stage. He also produced Boo’s “Apprentice,” a capital punishment drama that screened in Cannes’ Un Certain Regard section in 2016.

His other producing credits include Pen-ek Ratanaruang’s “Headshot,” Ron Howard’s “Thirteen Lives,” and Pang Ho-Cheung’s “Dream Home” and “Aberdeen.” Earlier in his career, Phathanavirangoon worked as an international programmer for the Toronto International Film Festival and as a program delegate for Cannes Critics’ Week. He also co-founded the Southeast Asia Fiction Film Lab, known as SEAFIC.

For Phathanavirangoon, “Trinity” explores an aspect of religious experience that he believes has rarely been depicted in Asian cinema.

“Personally, I have had people close to me convert to Christianity due to Evangelism, but this is seldom seen in Asian films,” he said.

He also pointed to the spectacular elements incorporated into some Asian church services as a distinguishing part of the film’s premise.

“Some are surprised that churches can host Cirque du Soleil-style performances like in our film, but just earlier this year in Korea, a stunt sent a man dressed as Jesus into the sky, and that went super viral,” Phathanavirangoon said.

“Trinity” continues Boo’s feature filmmaking career after “Sandcastle,” his 2010 debut and the first Singaporean film selected for Cannes Critics’ Week, and “Apprentice.” Beyond his film work, Boo has served as creative director of Singapore’s National Day Parade, including the 2025 edition celebrating the country’s 60th anniversary. He is also the current chair of the Singapore International Film Festival.

ShowBiz Take

“Trinity” arrives at the Tokyo market with a sharply defined dramatic conflict: a prominent religious figure’s public conservatism colliding with his private desires. Its three-part spiritual structure, megachurch setting and acrobatic performances give Boo a framework for examining the characters’ faith while the disappearance at the center of the story pushes the film into darker territory.

The project’s market appearance is also consequential because “Trinity” is already in post-production. Rather than introducing an early-stage concept, Boo and Phathanavirangoon are seeking to close a relatively small financial shortfall on a production involving partners across 11 countries.

What Happens Next?

The filmmaking team will use its Tokyo Gap-Financing Market participation to pursue the outstanding financing required to finish “Trinity.” For now, the confirmed next step is completing post-production once that remaining gap has been closed.