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Feature,Narrative,
Produced in Vietnam | 2017 | 93 min
Language: Vietnamese (with English subtitles)
Sun Oct 14 at 3:40pm-5:50pm
SET 15: THE WAY STATION
In Attendance: Anh Pham Thi Hong (Director), Pham Hong Phuoc (Lead Actor), Ngoc Thanh Tam (Lead Actress)
Buy Ticket Buy All Access Pass See Screening Guide
Synopsis
Synopsis by Eric Nong
Phước (Phạm Hồng Phước) is a young man who finds work at a restaurant specializing in goat meat. The restaurant, with its century-old architecture & ramshackle condition, houses secrets & burning passions behind its walls. The quái thú (Hoàng Phúc Nguyễn) wields a laconic dominance over his restaurant domain, which also includes his pretend wife Xiếm Hoa (Ngọc Hiệp), daughter Chu (Ngọc Thanh Tâm), và Phước’s co-workers Miên (Nhan Phúc Vinh) and Ahmed (Hoàng Nhân). Phước, during & after work, talks privately with Chu – whose access lớn others outside her second-story room is strictly controlled by her father. Intensifying the drama is a love triangle between Chu, Phước, & Miên that ruptures the façade of an obeisant workplace that Chu’s father is trying to establish.
Bạn đang xem: Đảo của dân ngụ cư full movie
An established actress in Vietnam, The Way Station is Hồng Ánh’s directorial debut. It is a deliberate film that explodes into glimpses of physical, psychological, and sexual violence as Chu’s father loses control of his employees and his family. The austere cinematography by Lý Thái Dũng và dominance of grays, blacks, or glares of electric lighting in the restaurant reflects the father’s rigidity & the separation of the living quarters. This is in stark contrast to the agitated feelings found within. Numerous shots linger over scenes, capturing an idea within the dialogue or a physical kích hoạt without cuts. The use of mood lighting, combined with old Vietnamese songs, recalls Wong Kar-wai’s films – particularly Days of Being Wild (1990) & In the Mood for Love (2000).
Not suitable for younger audiences
Tóm Lược Nội Dung
Gã trẻ trai Phước (Phạm Hồng Phước) tìm được việc làm trong một quán nạp năng lượng chuyên về làm thịt dê. Tiệm ăn, với bản vẽ xây dựng cổ và tình trạng xập xệ, tiềm ẩn những kín đáo gia đình, và đa số khao khát cháy rộp phía sau những tường ngăn của nó. Ông công ty (Hoàng Phúc Nguyễn) giữ vị trí ách thống trị trong quán ăn, trong đó còn có Xiếm Hoa (Ngọc Hiệp) vợ ông, Chu (Ngọc Thanh Tâm) đàn bà ông, Miên (Nhan Phúc Vinh) fan làm tầm thường với Phước, cùng Ahmed (Hoàng Nhân). Trong cùng sau giờ làm, Phước hay nói chuyện riêng cùng với Chu – tín đồ mà bài toán tiếp cận với những người khác bên phía ngoài căn chống trên gác của cô ý bị thân phụ cô kiểm soát điều hành nghiêm ngặt. Tình thân tay ba giữa Chu, Phước và Miên làm tạo thêm kịch tính, đồng thời làm cho rạn vỡ bề ngoài của nơi thao tác làm việc có chưa có người yêu tự mà cha Chu cố gắng tạo lập.
Đảo Của Dân ngụ cư là phim nhiều năm đầu tay của Hồng Ánh, diễn viên kỳ cựu Việt Nam. Một bộ phim chậm rãi bùng phát với phần nhiều khoảnh khắc bạo lực thân thể, trung ương lý, và tình dục trong lúc ba Chu mất điều hành và kiểm soát đối với người làm cùng gia đình. Phần hình ảnh mộc mạc vày Lý Thái Dũng đảm nhận với sự thống lĩnh của màu sắc xám, black hay ánh đèn sáng điện vào quán nạp năng lượng phản chiếu sự cứng rắn của người cha và sự phân chia rẽ các không gian sống. Điều này hoàn toàn tương làm phản với những cảm xúc mãnh liệt được kiếm tìm thấy vào đó. Nhiều cú máy kéo dãn trong những cảnh, nắm bắt một ý tưởng phát minh trong lời thoại hay như là 1 hành động cụ thể mà không trở nên cắt. Việc sử dụng ánh sáng tâm trạng, kết hợp với các bài bác hát Việt cũ, gợi nhớ tới các bộ phim của Wong Kar-wai – nhất là Days of Being Wild (1990) cùng In the Mood for Love (2000).
Director"s Biography
Hong Anh is one of the most popular faces of the Vietnamese film industry for the past trăng tròn years. She played the leading role in many films that were well acclaimed by critics: Moon at the Bottom of the Well (2008), Sleepwalking Woman (2003), Deserted Valley (2002), Sandy Lives (1999), nhì Nguyet (1998) …. She won many awards for her acting at national and international film festivals: Best Leading Actress at Dubai International Film Festival (2008), Best Supporting Actress at Asia-Pacific Film International Festival (2000), Golden Lotus Awards for Best Leading Actress at three consecutive Vietnam’s National Film Festival.In 2013, Hong Anh made a surprise lớn the film industry as a producer for xanh Productions’ first film, Duong dua – The Race (2013). The film was very well received by critics. Blue Productions, where Hong Anh is the General Director of Ho đưa ra Minh branch, was also known as the distributor of the documentary Madam Phung’s Last Journey (2014) which got a big wave of cinemagoers. At the same time, Hong Anh always supports and encourages many young Vietnamese filmmakers, especially in short films.The Way Station has been Hong Anh’s dream project for the past 10 years. It is her first feature film as a director. The Way Station won Best Film at Asean International Film Festival & Awards – AIFFA 2017 & Special Jury Award at Eurasia International Film Festival 2017. Hong Anh also got nominated as Best Director at Asean International Film Festival & Awards – AIFFA 2017.
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Director"s Statement
The over 100 years old house in a dated Eastern style, with high cracked walls, the great and gloomy depth of the house created by the lights reflected from the black wooden pillars, all these will remind you of an old prison. In that house, all the souls from different places gathered, struggled, & fought to live while searching for freedom. The house has witnessed và understood many ups and downs in the lives of the people who came past here. Having chosen an antique house as the main location for the film at a thought-provoking & unstable time in Vietnam (1995-2000), when the material value had been put on first, I want to emphasize on the loneliness and anarchy in the spiritual lives of the characters, which make them more selfish and confined in their own little individual islands. I am haunted by their solitude – the people who gathered from everywhere, strangers who encoutered in a crumbling space, stiffling, mixed with the reek of blood, the deliciousness of food, the lust for sexual desire… They revolved within that space to lớn live, lớn love, to loathe, and to despair. They are isolated because of the lack of sharing, the jealousy, và the obssession lớn control someone’s happiness. All the surpression and frustration are completely contradictory khổng lồ the simple dream of being free. My characters are often constrained themselves to the rules they create. That’s the reason why I use a lot of contrasts in many different ways. Long-takes vs. Repeated, fixed wide-shots. The silence và slow rhythm vs. The agitation of their innerself. The busy surrounding vs. Their innerpeace. The sound of real modern life vs. The melody of old love songs. The cold color vs. The warmth of feelings. The endless sea vs. The airless house…With my first directed film, I am highly influenced by the Hong Kong director Wong Kar-Wai. I lượt thích the way he tells story & creates rhythm by using old famous songs, light blue colour of the nights, và the smooth movements from the characters in his works. However, with The Way Station, I want to lớn push those to lớn the extreme. Growing up during the time period 1995-2000, I felt strongly about the change in values & relationships between humans at that time. At the present, the story of đôi mươi years ago is repeating itself, khổng lồ a higher level và more complex. This is the perfect time lớn make The Way Station come true – the project I have been working on for the past ten years.