As a seasoned gamer with a soft spot for cinematic journeys that delve deep into the human psyche, I find myself captivated by Truong Minh Quy’s masterpiece, Viet and Nam. The film’s dream-like opening scene, reminiscent of a haunting video game boss battle, immediately drew me in.
At the outset of Viet and Nam, directed by Truong Minh Quy, a slender figure moves from one part of the screen to another, giving off an ethereal feel as if it’s a ghost or an unreal presence navigating through the encompassing darkness. Scattered white specks resemble stars in the night sky, floating about him in the dark void. But when the piercing ring of a bell disrupts this dreamlike atmosphere, we transition to a more tangible setting: Two individuals hastily fasten their shirts and resume their tasks.
The film titled Viet and Nam, debuted at Cannes in May under the Un Certain Regard sidebar and recently premiered at the New York Film Festival, offers a dreamy exploration of devoted love and haunting pasts. Its main characters, Viet (portrayed by Dao Duy Bao Dinh) and Nam (Pham Thanh Hai), are lovers whose romance flourishes in an underground mine in northern Vietnam. The narrative primarily revolves around the concerns that arise when Nam decides to leave the country. It’s the early 2000s, just after 9/11, and Nam intends to use a trafficker to smuggle him out via a shipping container. This revelation unsettles Viet, compelling him to confront the prospect of life without his lover.
Simultaneously unfolding alongside a poignant storyline is an introspective account of a country struggling with the remnants of conflict, where bomb-scarred terrain continues to pose danger. The movie “Quy” (known as “The Tree House“) has been prohibited in Vietnam (reportedly due to the director’s perceived “grim and negative” portrayal of his homeland), highlighting the raw sensitivity surrounding these unhealed wounds. Quy, through the relationship between Nam, his mother Hoa (Nguyen Thi Nga), his deceased father, and his father’s friend Ba (Le Viet Tung), delves into intellectual queries about historical trauma. By examining how the fractures of the past echo in present-day relationships, he subtly tackles a recurring theme: the lingering impact of war across generations, affecting both those who experienced it and their descendants.
The ghostly influence of a father who was slain before Nam’s birth during the war in the southern part of the country continues to torment Nam’s mind and body. This unburied soldier appears to him and his mother in their dreams, and at times Hoa points out the striking similarity between her son and him. Although Nam has never seen him, he feels compelled to discover where and how his father perished. Before leaving Vietnam, he embarks on a journey with Hoa, Ba, and Viet to find the location of his death. In this way, war or any inherited trauma seems to drive us to seek out and uncover the truth, doesn’t it?
As a gamer, delving into “Viet and Nam,” I’ve come across some powerful sequences that offer fresh insights into this dark legacy we both share. These sequences intertwine Nam’s bond with Viet and his quest for his father, making it clear that he yearns to leave Vietnam, no matter the cost of losing his true love. Intricate dialogues between Nam and his mother hint at the lingering grip the conflict has on their minds. A scene in a forest near Cambodia, where I journey with my family, triggers a profound sense of my father’s presence. Overwhelmed, I find myself embodying the fallen soldier, piecing together fragments of tales I’ve heard throughout the years to imagine my father’s final moments, recounted in a hauntingly surreal voiceover.
Viet and Nam’s unique bond unfolds primarily within the mines, where they share their love and discuss their aspirations. Collaborating with his cinematographer Son Doan, Quy films these instances with an authentic gentleness that mirrors the tender passion of these moments. The sensuality in these scenes echoes the romantic scene in Payal Kapadia’s “All We Imagine as Light“, which skillfully portrayed the rapture of youthful love with a gentle, subtle approach.
Characters Hai and Dinh deliver heartfelt performances with hints of comedy, and their undeniable chemistry, along with an emotionally charged final scene, leaves the audience yearning for more interactions between them. The director, in collaboration with editor Félix Rehm, breaks away from traditional storytelling structure, experimenting with the sequence of events to create a contemplative atmosphere. However, this unconventional approach may prove challenging for those less open to following associative thought patterns. This unique narrative style tends to overshadow the intricate relationship between Viet and Nam, which is rich in impactful moments. In comparison to Nam, much about Viet remains a puzzle.
Despite the movie implying a certain interchangeability between Viet and Nam, as they are both listed in the credits and played by different actors, each character remains distinct enough to warrant further exploration. To delve deeper into Viet’s character could help alleviate some tension, which might have been achieved by extending the film’s runtime beyond its current 2 hours. Quy has indeed crafted something remarkable with “Viet and Nam“. This alone makes it worthwhile to spend more time in this intriguing world.
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2024-10-04 03:54