Trinc T. Minh-haTrinch T. Minh-havà Jean-Paul BourdierThe Six Tones và ĐOI Music.

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ACC Gwangju, Korea và HKWBerlin,Germany


Vietnam giới in ancient times was named đất nứớc vạn xuân – the land of ten thousvà springs. One of the myths surrounding the creation of Vietphái mạnh involves a fight between two dragons whose intertwined bodies fell inlớn the South China Sea & formed Vietnam’s curving ‘S’ shaped coastline. Legend also has it that Vietnam’s ancestors were born from the union of a Dragon King, Lạc Long Quân and a fairy, Âu Cơ. Âu Cơ was a mythical bird that swallowed a handful of earthly soil và consequently lost the power to lớn return khổng lồ the 36th Heaven. Her tears formed Vietnam’s myriad rivers và the country’s recurring floods are the land’s way of remembering her. In her geo-political situation, Vietnam thrives on a fragile equilibrium between l& and water management. A life-sustaining power, water is evoked in every aspect of the culture.


Shot in Hi-8 Clip in 1995 và in HD và SD in 2012, the images unfold spatially as a dialogue between the two elements—land và water—that underlie the formation of the term “country” (khu đất nứớc). Carrying the histories of both visual technology & Vietnam’s political reality, these images are also meant to feature the encounter between the ancient as related to the solid earth, và the new as related khổng lồ the liquid changes in a time of rapid globalization. In conversation with these two parts is a third space, that of historical và cultural re-memory – or what local inhabitants, immigrants and veterans rethành viên of yesterday’s stories to lớn phản hồi on today’s events. Through the insights of these witnesses lớn one of America’s most divisive sầu wars, Vietnam’s specter and her contributions lớn world history remain both present và all too easy lớn forget. Touching on a trauma of international scale, Forgetting Vietnam giới is made in commemoration of the 40th anniversary of the end of the war và of its survivors.

Festivals:Cinéma du Réel, Paris (France 2016); more forthcoming

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Night Passage

Produced and Directed byWritten và Edited byProduction & Lighting DesignDirector of PhotographyLine Producer và Production ManagerArt DirectorMusic by*

Featuring

98mins, Digital, 2004

FILM STILLS

Trinch T. Minh-ha and Jean-Paul BourdierTrinch T. Minh-haJean-Paul BourdierKathleen BeelerErica Marcus và Rony GerzbergBrent KanbayashiThe Construction of Ruins with Greg Goodman, George Cremasbỏ ra & Dave sầu SlusserYuan Li-ChiDenice LeeJoshua MillerVernon BushHoward DillonLuis Saguar

Night Passage is a digital film on friendship and death. Made in homage to lớn Miyazawa Kenji"s classic novel, Milky Way Railroad, the story evolves around the spiritual journey of a young woman, in the company of her best friend and a little boy, inkhổng lồ a world of rich in-between realities. Their venture inkhổng lồ and out of the land of "awakened dreams" occurs during a long ride on a night train. The filmmaker elegantly depicts each encounter in two-dimensional space with a unique artistic gesture & ingeniously frames the passage as a series of rhythmic image sequensces as seen through the window of a train.

"Fabulous dreamscapes combining the whimsy of childhood imagination & the sensuality and eeriness of adult fantasies and nightmares."-- Visual Communications Filmfest 2004

"The strange spaces of Night Passage are urban & metallic, with wet pools, lượt thích an underground labyrinth... in brilliant colors and deep night shadows: we dance deaths" movements as it tumbles, rifts, shivers, whirls."-- Katherine Mezur

"Trinc Minh-ha consistently challenges her audiences with each work, constantly shifting the ways in which she critically engages with the form & spirit of cinema." -- Irimãng cầu Leimbacher, San Francisco Cinematheque

"Spectacularly shot in video clip... The netherworld between life & death is viewed as a place of light, shadow, movement và uncertain ideas in Night Passage... a majestic sense of subconscious." -- Variety

"A tableaux-rich, transcultural film... this experimental narrative work continues knachồng for consistently unsettling audiences."-- Asian American Film Festival

Festivals:Image Forum Film Festival, Tokyo (nhật bản 2005); Tapei Artist Village (Taiwan 2005)
Senef Film Festival, Seoul (Korea 2004);
The Shangnhì Art Biennale (Trung Quốc 2004);
The Busan Art Biennale 2004, Busan (Korea 2004);
The Asian American Int"l Film Festival, Thành Phố New York (USA 2004 và national tour);
The 10th Annual Performance Studies Int" l Conference (Singapore 2004);
Visual Communication Los Angeles Asian Festival (USA 2004);
Women in the Director"s Chair, Chicago (USA 2004)

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The Fourth Dimension

Produced byDirected, Written và Edited byMusic by

87 mins, Digital, 2001

FILM STILLS

Jean-Paul BourdierTrinh T. Minh-haThe Construction of Ruins with Greg Goodman, and Shoko Hikage.

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Today, when one goes on a journey, the travel is ritualized through the visual machine. The image, coming alive in time as it frames time, is there where the actual and virtual meet. In the process of ritualizing Japan"s "hundred flowers," it is the encounter between self & other, human and machine, viewer và image, fact and fancy that determines the field of relations in which new interactions between past and present are made possible. Shown in their widespread functions & manifestations, including more evident loci such as festival, religious rite & theatrical performance, "rituals" involve sầu not only the regularity in the structure of everyday life, but also the dynamic agents in the ongoing process of creating digital images at the tốc độ of light.

"Striking visual compositions & juxtapositions & a stunning soundtraông chồng. As we watch và listen to lớn this provocative and meditative piece, we, too, become "attentive sầu lớn the infraordinary - an intrusion of eternity."" -- I. Leimbacher, The San Francisco Cinematheque

"Her taông chồng finds great visual pleasure in the everday, composing & decomposing the social landscape, while construction a poetic grid of temporalities, symbolic meanings, & rituals. Trinh"s lyrical narration guides us through "Japan"s likeness," the perfected framing of the sacramental familiar." -- S. Seid, Pacific Film Archive

" functions as a recurrent melody, appealing khổng lồ all the senses." -- Locarno Film Festival

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A Tale of Love

Produced and Directed byWritten và Edited byProduction và Lighting DesignLine Producer & Production ManagerDirector of PhotographyMusic by*Featuring

108 mins, 1995

FILM STILLS

Trinh T. Minh-ha & Jean-Paul BourdierTrinc T. Minh-haJean-Paul BourdierErica MarcusKathleen BeelerThe Construction of Ruins (Greg Goodman, J.A. Deane)Mai HuynhJuliette ChenDominic OverstreetMai Le HoKieu Loan

Portraying the Vietnamese immigrant experience through Kieu, A Tale of Love follows the quest of a woman in love sầu with Love. Voyeurism runs through the history of narrative sầu và is here one of the threads that structure the film. Playing with the fiction of love sầu in love stories, the film invites a different experience of cinema with non-naturalistic acting và layered interaction of performed reality, memory and imagination.

A Tale of Love is loosely based on The Tale of Kieu, the Vietnamese national poem of love, written in the early 19th century, which tells of the misfortunes of Kieu, a martyred woman who sacrificed her "purity" và prostituted herself for the good of her family. The poem has become a metaphor for the often-invaded Vietphái mạnh. Director Trinh"s transformation of The Tale of Kieu into lớn contemporary American life unfolds the modern-day Kieu, caught between two cultures và torn between economic necessity và sensuality, also has to find the path of her own desire while selling the image of her toàn thân & encountering the "tales of love" of the people around her. -- from the Asian Art Museum catalog

The film also works with a subtly "denaturalized" space of acting. In the way the shots và the dialogues are carried out, both spectators and actors nội dung the discomfort of voyeurism: the unnaturalness of those who "look without being looked at" ( i.e. the makers, the spectators) versus the self-consciousness of those who "know they are being looked at while they are being watched" (i.e. the actors). -- Filmmaker"s statement

"Unique contribution khổng lồ the cinema. Trinh"s experiment... captures the unadulterated và elemental sensations that characterize a state of being in Love sầu. The film presents lớn its audience partial views, saturated colors, elliptical narratives... A Tale of Love is a film that must be savored." -- Deb Verhoeven, World Art

"Nothing else around is even remotely lượt thích it... beautiful... aggressive music score và oddly contrapuntal mise en scene... At times a frankly erotic film that interrogates its own eroticism, it challenges the audience as well with its acting styles." -- Jonathan Rosenbaum, Chicago Reader

"Trinc T. Minh-ha uses an elegant, delicate khung of ellipse... to unfold the multilayered meanings of "love"... A Tale of Love sầu opens new vistas for formal và cultural experimentation." -- Bernice Reynaud, Cinemaya

"A sometimes lighthearted, always sensual look at the state of being in love.... Both the visual techniques và soundtraông xã become important statements in & of themselves. The camera often seems a step removed from the actors, và often, lượt thích the dynamic primary-colored lighting can take on a narrative life of its own." -- Angie Chuang, The Times

"A Tale of Love transgresses the borders between narrative film và experimental film.... Kieu makes me think of a "character zone"... it"s undescribable, and it makes you want to see the film again và re-experience the cracks & fissures in narrative sầu and character." -- Gwendolyn Foster, Film Criticism

Festivals: Toronto lớn Festival of Festivals (Canada 95); Berlin International Film Festival (Germany 96); San Francisteo Asian American Film Festival (USA 96); Film Fest New Haven (Connecticut, USA 96); Mostra Internacional de Films de Dones de Barcelomãng cầu (Spain 96); Los Angeles Asian Pacific Film Festival (USA 96); Taipei Golden Horse Film Festival (Taiwan 96); Umea International Film Festival (Sweeden 96); Feminale Women"s Film Festival (Koln, Germany 96); Atlanta Image Film Festival (USA 97); Southeast Asian Film Festival (Vancouver, Canadomain authority 97)

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Shoot for the Contents

Directed, Written & Edited by Production & Lighting DesignerCinematographyFeaturing

102 mins, 1991

FILM STILLS

Trinc T. Minh-haJean-Paul BourdierKathleen Beeler & Trinc T. Minh-haYing LeeDewi YeeWu Tian MingClairmonte Moore

The film, whose title plays on the meanings of an ancient Chinese game và on the creative elements of filmmaking, is an excursion inlớn the maze of allegorical naming. It ponders questions of power & change as related to lớn the contemporary shifts of culture & politics in China, và as refracted by the Tiennamen Square event.

Xem thêm: Trấn Thành Cao Mét Bao Nhiêu, Tiết Lộ Bí Mật Chiều Cao Trấn Thành

"One of the most extraordinary documentaries of recent years và a major creative sầu intervention on the conventions of the genre... a complex meditation on questions of power, change, politics & culture, weaving the points of view of both insiders và outsiders engaged in many different areas of social and artistic activity... A beautiful and moving film, as challenging & stimulating formally as it is politically." -- London Film Festival

"Politics, poetry are "contents" of her work. Trinh T. Minh-ha"s heartfelt & carefully cultivated approach khổng lồ life và art is displayed, like tattoos, all over her award-winning body of work."-- Jeff Kaliss, The Oakl& Tribune

"You don"t catch the vital spirit of things in formal likeness, says one of Trinh"s narrators. The ancient Chinese philosopher who first uttered these words could have sầu been describing the director"s own style of filmmaking. Her subtle informality succeeds where others have sầu failed in understanding Đài Loan Trung Quốc. Trinch transcends politics, history & culture, creating a film every bit as complex, mysterious and intriguing as Trung Quốc itself." -- Andrew Leonard, The Daily Californian

Festivals: Yamagata, Japan; Sydney, Australia; Creteil, France; Bomcất cánh, India; Rotterdam, Netherlands; Melbourne, Australia; London; Madrid, Spain; Mannheyên, Germany; Jerusalem; Asian American; AFI, Los Angeles

Awards: Jury"s Best Cinematagraphy Awards, 1992 Sundance Film Festival; Golden Athemãng cầu, Best Experimental Feature Documentary, Athens Film Festival

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Surname Viet Given Name Nam

Directed, Written & Edited byProducer, Production và Lighting DesignerCinematographyFeaturing

108 mins, 1989

FILM STILLS

Trinch T. Minh-haJean-Paul BourdierKathleen BeelerKhien LaiNgo Kim NhuyTran Thi Bich YenTran Thi HienLan Trinh

The film evolves around questions of identity, popular memory and culture. While focusing on aspects of Vietnamese reality as seen through the lives and history of women resistance in Vietphái nam và in the U.S, it raises questions on the politics of interviewing và documenting.

"A challenging & rewarding work that places Trinch T. Minh-ha as one of the leading American independent filmmakers of the 80"s." -- New Directors/New Films

"Independent in thought & delicate in craftmanship, the film is strung with the tensile strength of piano wire." -- Karen Jaehne, Film Comment

"Most movies function on only one màn chơi, and that màn chơi is generally located below the waist và above sầu the knees. Seldom do modern films venture north, toward the heart or, less likely, into lớn the head. This is dangerous, unchartered territory, not found on the maps of most moviemakers. Surname Viet Given Name Nam is a film made with emotional confidence and intellectual nerve, a documentary that questions the nature of documentaries, a history that uses the testimony of poetry, a polemic that appeals lớn the heart." -- Gabriel Gabrenya, Dispatch Film Critic

"raw, sensual và emotional" -- Jeff Kaliss, The San Francisco Chronicle

"Keenly intelligent, sensuously multilayered... Emotionally, Surname Viet Given Name Nam leaves you with an impression of the courage & persistent strength of Vietnamese women, not in terms of propaganda-poster heroics but on the human màn chơi." -- Stuart Klawans, The Nation

"Offering every woman as Antigone, this is the most dignified Vietnam film yet." -- A. White, Film Comment

Festivals: New Directors/New Films; Toronkhổng lồ Festival of Festivals; Los Angeles (Filmex); Creteil, France; Vancouver; Asian Pacific; Taipei Women"s Film; London; Jerusalem; Bombay; Sao Paulo; Sydney; Melbourne; Hawaii

Awards: First-Prize Blue Ribbon, American Film Festival;First-Prize Film As Art, SECA, San Francisco; Merit Award, Bomcất cánh Film Festival

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Naked Spaces - Living is Round

Produced byDirected, Written và Edited by

135 mins, 1985

FILM STILLS

Jean-Paul BourdierTrinc T. Minh-ha

A film on the poetics of dwelling and on the relation between houses and cosmos in West Africa. “Naked Spaces surveys the integration of ritual và work, the home page và the world.... Each dwelling has its own blover of environmental logic và irrational splendor....the film is nonlinear, decentered & deliberately unsettling.” (Jim Hoberman, The Village Voice)

"A graceful, epic meditation on people & their living spaces in six countries of West Africa, this majestic film unfolds poetically around three intricately intertwined voices that provide different, but interactive sầu interpretations. A cinematic journeys that provokes critical political questions about perceiving and representing Third World cultures." -- Susan Ditta, The National Gallery of Canada

"...every moment of unsmoothness presents a gap, almost a kind of wound, a moment in which the inevitably consistent rhythm of 24-frame-per-second film projection is broken, & consequently, a place at which the film"s style can open itself lớn an observation of the outer world... a film that reverberates between its subject matter and its cinematic form, & that challenges each of us to examine the ways in which we think about looking at films, and other cultures, and at ourselves." -- Fred Camper, Chicago Reader

"a lyrical, beautiful, engrossing và provacative film" -- Jenny Perlin, San Francisteo Cinematheque

"A sensuous và philosphical journey... Exquisitely photographed, rich in detail and texture, this film is not essentially a documentary though it contains elements of documentation. It acts, rather, as a counter-documentary, throwing inlớn question our formulas for the relationship between fact và truth." -- Robert Anbian, Film Arts Festival

"beautiful and instructive sầu, a duet between filmmaker & subject, disclosures & enclosures, which remains perpetually fresh & unpredictable over the film"s (length)." -- Jonathan Rosenbaum, Chicago Reader

Festivals: Whitney Musuem of Art, Biennial Exhibition; Toronkhổng lồ Festival of Festivals; San Francisteo Film Festival; Edinburgh Film Festival (UK); Jerusalem Film Festival; Vancouver Film Festival

Awards: Golden Athemãng cầu, Best Feature Documentary, Athens International Film Festival; First Prize Blue Ribbon, American Film Festival

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Reassemblage

Directed, Written, Edited byProduced by

40 mins, 1982

FILM STILLS

Trinch T. Minh-haJean-Paul Bourdier

A reflection on filming in rural Senegal and a critique of the anthropological I/eye. The film “denotes something more than an exceptional spirit of observation; let’s say by all means a kind of amorous enthrallment” -- Alberkhổng lồ Moravia, L’Expresso

"With uncanny eloquence, Reassemblage distills sounds và images of Senegalese villagers và their surroundings khổng lồ reconsider the premises of ethnographic filmmaking. By disjunctive sầu editing và a probing narration, this "documentary" strikingly counterpoints the authoritative stance of the National Geographic approach." -- Laura Thielen

"Superbly crafted and visually exquisite... In its khung & content, it critiques both western science & documentary traditions" -- Pat Aufderheide, The Village Voice

"sweetly weird... in questioning all the presumption of ethnographic filmmaking" -- Jlặng Hoberman, The Village Voice

"captures a glimpse of beauty and death without wallowing in the scenic exoticism so fatal lớn the National Geographic format" -- Kathleen Hulser, The Independent

"a work (that) carries a critique of its own pronouncements và challenges any investment in pompous profundities" -- Barbara Kruger, Art Forum

Festivals: New York Film Festival; Asian American Film Festival Humboldt (Honorable Mention);Festival Dei Popoli, Florence;Tyneside Film Festival (UK);Hong Kong Film Festival

Production & Lighting Design

Jean-Paul Bourdier www.jeanpaulbourdier.com

Music

The Construction of Ruins with Greg Goodman www.thebeakdoctor.com

Distribution

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