Undoubtedly this is a powerful piece of filmmaking about a war (the Vietnam War), though its lessons can be applied to many subsequent conflicts. To see former generals note that the strategy of continuing a war that killed so many people barely had any effect on the resolve of the native people to keep fighting against the foreign incursion is surely something that should have been remembered after 2001 as well, but the nature of modern warfare — the way it is played out in the media, the access they are given — has fundamentally changed. There are sequences here that are scarcely believable, like the soldiers filmed joking with each other while with respective women at a brothel. But there are other sequences — interviews with veterans, generals and politicians alike — that shed light on the attitudes that went into the war: a desperate desire to hold onto resources, and to keep face with allies even as the philosophy that propelled them to intervene (the Domino Theory about the spread of Communism) was largely debunked. The filmmaker here uses all the now familiar techniques of cannily editing footage to prove the institutional lies of the American forces, as well as occasional editorial asides that almost joke with the audience (a father who’s lost a son hymning the leadership of Nixon while a subtitle pops up at just this point to say “filmed in early 1973”). It remains a relevant film and an excellent one, for all the bias one might accuse it of, not least for the interview with the bomber pilot that runs through and concludes the film, which is beautifully poignant and powerful.
FILM REVIEW: Criterion Collection
Director Peter Davis; Cinematographer Richard Pearce; Length 112 minutes.
Seen at a friend’s home (DVD), London, Sunday 14 May 2017.
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.