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In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.
She was born in a cave, more than 60 years ago. Now she lives in a village, with many children and grandchildren to look after. Sometimes, she dreams of her dead mother calling her home – to the cave.
Porcupine evokes the fragmented tale of a young man who breaks into an empty hospital to set up his online broadcast of poses and provocations; his audience includes real-life participants with anonymous tags like ‘bigballnz’ and ‘romeoazteca’.
On a slag heap, where coal miners used to tramp, men are now awaiting each other.
In the depths of the underground coal mines, where danger awaits and darkness prevails, Nam and Việt, both young miners, cherish fleeting moments, knowing that one of them will soon leave for a new life across the sea.
In 2045, a filmmaker lands on Mars and tries to make a film. “Home… Far away from home”, he recalls faces of people, thus a collection of moving images emerge.
Truong Minh Qúy’s found footage film brings together multiple scenes depicting soldier’s deaths in Vietnamese propaganda films, revealing aesthetic patterns that speak to a nationalist agenda while hinting at a broader value system within Vietnamese society.
A silent film by Vietnamese director Truong Minh Quy in collaboration with Belgian director Nicolas Graux, was shot on the set of a film by Graux. We Sit in Silence at the Memorial Table is inspired by Educational Objectives, a poem written by Aleksey Garipov and translated to English by Nicolas Graux.
A visually provoking short film about one of the most extreme homosexual practices.
In this emotionally charged contemplation on the glory and the tragedy of the Mekong River, different levels of real and imaginary worlds are brought together. Khmer folk tales, local lore and stories about reincarnation are told through vibrant watercolour animations and observations of daily life. Imbued with a sense of ecological responsibility toward the agricultural realities of the Mekong delta, they reveal a poetic but nonetheless biting consideration of Vietnam's troubled history.