Another strong area of interesting regional cinema in Southeast Asia has been Vietnam which, aside from a few films by Trần Anh Hùng I’d seen decades ago, I have regrettably not been very good at keeping up with in recent years. One recent example that got a UK release was this period drama directed by Ash Mayfair, a young Vietnamese woman director making her feature debut.
I really liked the languid pacing and style of this Vietnamese period film, about May (Nguyen Phuong Tra My), a young girl who is married to a wealthy landowner as his third wife (the clue is in the title). Still, it’s a moving depiction of what in the period was not considered an unusual situation, and the film is about her contending with the familial situation into which she finds herself placed, negotiating her feelings with the other wives, and with the other family members. I can’t say that a great deal happens — there’s a secret affair that May witnesses, and meanwhile she strikes up her own feelings towards one of the other wives, but this all comes out in fairly oblique ways. Indeed, the woman directing the film is (understandably) good at avoiding sexualising or sensationalising the story, given the young age of her lead actress, and so it registers far more on an emotional level, though the visuals do have a real beauty to them.
Director/Writer Ash Mayfair; Cinematographer Chananun Chotrungroj ชนานันต์ โชติรุ่งโรจน์; Starring Nguyễn Phương Trà My, Mai Thu Hường, Trần Nữ Yên Khê; Length 92 minutes.
Seen at home (Blu-ray), London, Saturday 16 November 2019.
This film was presented at the London Film Festival. There was no introduction or Q&A.
It may be a co-production between many different countries, while the title may be a little unwieldy, but this Vietnamese film is a serious and stylish take on one, relatively poor, young woman’s life. The lead character is Huyen (Thuy Anh Nguyen), who lives in a little apartment by a railway line, just about making ends meet when she gets pregnant to her somewhat deadbeat boyfriend. Her resulting indecision about whether or how to get an abortion is partly what the title is alluding to, not to mention her boyfriend’s addiction to cockfighting that becomes one of the film’s key metaphors. Huyen’s repeated attempts to go through with the procedure never quite seem to work out for various reasons, and when she gets involved with sex work in order to pay her bills, her feelings alter subtly again when she meets up with a concerned client. One gets the sense at times that perhaps not all of this plotting is entirely believable if taken as naturalistic, but the film’s style pushes beyond that into a more dream-like world. The cinematography is beautiful and lush, though the film’s female first-time director never quite fetishises the poverty of the lead characters (as some other films are wont to do in this kind of setting). There’s a sense of eroticism throughout, as well, although this is sometimes resisted by Huyen as a character. The film ends on an unresolved note — an increasingly common practice these days I fell — but this works well within the narrative which the film has constructed. Definitely a filmmaker to keep an eye on, and a film well worth checking out.
Director/Writer Hoàng Điệp Nguyễn; Cinematographer Quang Minh Pham; Starring Thùy Anh Nguyễn; Length 99 minutes.
Seen at Ritzy, London, Saturday 17 October 2015.