“Creative documentary” is a positioning of how new films appear in Vietnamese film discourse about 7-8 years ago, mainly distributed in the DocLab community, a documentary center. Experiment and motion picture was born in 2009 in Hanoi. The land of Vietnam in the post-innovation and globalization period with abundant landscapes, the digital revolution of film production, the development of independent cinema or the participation of organizations Western culture (especially Europe, particularly Germany and France) are the basic historical conditions that make it possible to create “creative material”. “Creative documentary” exists through asking questions about the relationship between documentary and reality, truth, aesthetics and politics. It exposes the way of words, which can be heard and seen by individuals without necessarily possessing a film career biography.
In fact, the majority of students in film-making courses, socially, are female, and their choice of filmmaking is often associated with the perception of place, body, identity and language. The image is fresh, independent and reflective. We can observe this clearly, most condensedly in the genre of Self-portrait / Self-portrait, the genre that puts the person holding the camera in a situation that expresses itself with / with images. How the encapsulation and self-introduction inspires inquiry, philosophical, political questions as the films frame human beings that do not coincide with thought in a satisfying form. Sort order available. We still come across a common social story such as getting married, sexual freedom but in an effort to be present with inspiration, personal conversation. This results in both typical and expanded narrative, even cracks and leaks. Or the pursuit of shaping images, sounds, no – time … v..v..v … still nostalgic, suggesting another possibility, new. Thus, the existence of “women” has contributed significantly to the practice of making Vietnamese documentary films in the early 21 st century, catching up with the increasingly vibrant contemporary documentary scene with shaping. and diversifying the art of filmmaking and its participation in life.
Stirring within the framework
Diem’s portrait film is a 1-minute film spread out in a single machine, which places the viewer opposite the void that is gradually filled with items from the bag. At first glance, the film evokes a sense of overlap of an object, the career means of an official. But the enumerated gestures with a steady, calm rhythm and the appearance of the furniture had “mise-en-sence” other semantic possibilities. The filmmaker transforms his presence into an arrangement of wallets, notebooks, cameras, hard drives, mobile phones, recorders, pens, battery chargers, headsets, etc. and ends with a lipstick. This move allows the operation to redefine the environment, where, in the midst of a mechanical structure, work, process, feature, comes up with a mischievous pink lipstick. screw up, go out of the frame, then turn around and stay in the dominant position. Thus, on the background that implies femininity, the filmmaker performed, emphasizing movement, deviating.
There also appeared the image to play a role in responding to the existing order but Nguyen Huong Tra’s “grace” followed another trajectory. The 9-minute film focuses on the situation where a girl under family pressure must “pray for love” – a way of repaying her previous life, “cutting off the predestined relationship to …” as the unfinished words of the mother in the movie. This is a situation that exposes the violent class when the woman’s life is made public by her brother-in-law’s cynical advice, the sincere plea of the host and the urging guidance. both rough and deadlock. Women everywhere but absent. However, the absence has two states that exist in the film. First of all, passive absenteeism when a woman enters the network of value recognition is unfolding by her brother-in-law, mother or father. 27 years old, unmarried, not so charming with a boyfriend becomes difficult to explain or make sense in the traditional marriage order, so that you have to rely on the invisible world, taking on the obvious. forcing the mystic in return of relief, reassuring as if one had a solution to the practical problem. However, the film still exists, other absences and active absences. By heterogeneous images of space-time created in a reciprocal way, it creates gestures such as reactions and challenges. It interrupts the sense machine, which is supposed to be transparent and full, and “distributes” a hidden, private world that is difficult to fully acquire.
The women in Mai Phuong’s “Friend” do not necessarily form based on the relationship of dissonance or identity with the existing order. They weave their own subjectivity in the world of images that agglomerate the cultural stratum that sways over time — not stirring up imagination, shaking. The film takes place to blur the boundaries for meetings, intersections, promising a picture-to-speech journey that operates its own path.
“My friend” is a granddaughter visit. But the choice of “role-playing” suggests many beautiful, respectable things that an equal relationship can create: your grandmother is a friend. First of all, it is easy to see the flow of clothes, sandals, betel pieces, faces, words and words … v … v … – things that permeate so much love, listening and feeling of her niece. In fact, her friend packed a pair of tumultuous memories, a life recognized with dignity rather than displaying cultural frameworks (traditional – modern), age (pseudo-young people). Thanks to that, the grandmother has gone through more than half a century with many historical periods, living in the room still preserving a few pictures of black and white family does not become a “heritage” to illustrate the homogeneous, raw the monolith of an era or lonely, dusty time dust. She was lively, heaving and beating in the heart of the semantic body from her nephew carrying anxiety about love, love of life. When Mai Phuong put on the shirt, chewed betel nut, studied the language to describe them, she treated the past as little as the fossil state to help discover / read a period before the present. The past made by the present, is the fantasy world for / the present. For the character alone, it is a refuge, a comfort, a whole place for awareness, musing. The way words are drawn on the film is discreet, intentional, making the routes behave both in the land and in the interweaving. The two women in the corner of the small room embraced their own love, probably suppressing the longing, confiding and abounding in nurturing life. It is not the function of women or the calculation of fighting to make that appearance. Rather, it is enriched by the body, the situation, the gestures, sobbing, letting go, the will and the predestined relationship. And emerging in “She” is turning, lifting hidden in the silence of the film.
Personal aesthetic configuration
As mentioned above, creative documentary emerged with questions about the relationship between image, film and reality in front of the camera lens. The word “reflect” goes to “reflect”, from “reproduce” goes to “aesthetics”. This means, the reality in documentary film contains a more complex relationship with “the truth”, or interrupting, replacing this relationship, or opening other relationships, networks through “sensory distribution” activities. In the “Self-portrait” style, the questioning trend becomes stronger when the situation the filmmakers set to be “themselves.” How to pack “yourself”? How can an imagery world with a space-time layer of space fill “me” completely and completely? Or should “complete, complete” be the beginning of the query? By observing Ngo Thanh’s “Fiction” behaviors and Nguyen Ly’s “Self-portraits”, I realized a different logic about “myself”.
Individuals on film are shown in a fragmented state. We hardly see a complete appearance in any frame. Film is now just objects, textures, textures … where the body parts exist evenly and take part in the show. For the filmmakers, “self” is something that is visible and intelligible. It is synonymous with both sentences and freedom, both shaped and dissipated. “I” and “myself” become fragile, taking refuge in the world of objects is also unstable, flickering and falling apart. The mirror placed on the desk reflects a part of the face. Several stacked books, dotted text, teddy bears and cats (“Fiction”). Or my positioning space includes online application interfaces, items from popular culture, childhood photos, etc. with designs and styles that have been restructured through cinematographic art: framing, blur, sound, music, collage … (“Self-portrait”). The body is not a priori, monolithic that is forming, can be dismantled. With “Fiction”, the dismantling activity takes place in a mirror-infinity setting. Sang “Self-portrait”, done in 2018, the removal activity is directly physical impact: removing nails. The film stops hanging reference to population, population with existence as an aesthetic configuration. That leads to the proposition of the imaginative, complex, creative, even random nature of “understanding”, like the closing words “Fiction”: “There are things you see but do not see … And we catch first … fiction. ” Therefore, “I” is separated from “female”, “sexual body” or any symptom probe for any classification.