As a passionate follower of Southeast Asian cinema and having had the privilege of witnessing its evolution over the years, I can confidently say that the current state of Vietnamese indie cinema is nothing short of inspiring. The resilience and determination of filmmakers like Truong Minh Quy, Bianca Balbuena, Doung Dieu Linh, and Bradley Liew are truly commendable.
This year, two movies with a distinctly Vietnamese flavor are showcased in notable festival positions, shedding light on Vietnam’s burgeoning independent film industry.
On Saturday, a talk in Busan brought attention to the hidden challenges faced by the industry, primarily revolving around the constant shift in financing methods, restricted access to markets, and issues of censorship.
Currently, Southeast Asia filmmakers have a great opportunity. They can now create films independently from Europe, which was not feasible a decade ago, as stated by Bianca Balbuena, the lead producer of ‘Viet and Nam,’ directed by Truong Minh Quy,” (the gay drama that premiered at Cannes this year).
Truong stated in a video, ‘There’s an increasing number of chances to create films, even in Vietnam, where new festivals are emerging. However, there remains a significant gap between the expectations of film festivals and the experiences of independent filmmakers. The censorship is excessively strict, and domestic support for independent film is virtually non-existent.’
The film titled “Viet and Nam” took twelve years to develop and was designed as a joint production among multiple nations. However, due to restrictions in Vietnam, the production was unable to maintain its Vietnamese identity and transformed into a Filipino-led cooperative effort instead.
However, the makers of the movie found an emerging opportunity for cross-border collaboration in Asia – unofficial co-production. As they showcased ‘Viet and Nam’ at Talent Tokyo project market, they discovered a possibility to secure funding for movies outside the Philippines. It appears that regional grants and financial aid are now accessible and can be matched with European funds. There seems to be a shift in the landscape, according to co-producer Bradley Liew. The film managed to secure 85% of its budget from soft money resources.
Doung Dieu Linh, the director of the film “Don’t Cry, Butterfly” which was recently featured at the Venice Festival and is based in Singapore, moderated a discussion on recent shifts in the Vietnamese film industry with other panelists.
She expressed her strong admiration for Vietnamese cinema, stating that local films have been doing exceptionally well and drawing in viewers, to the point where they are gradually overshadowing Hollywood productions.
Tan Si En, the main producer at Momo Films, stated, “Investments in talent from companies like CJ ENM in Southeast Asia are starting to reshape the landscape.
Liew stated, “These days, a significant number of TV commercials are being produced in Vietnam. The workers are earning good money. Yet, there are plenty who opt for the minimum wage for 60 days to gain independence. Crews are keen to work, even under challenging conditions like coal mines.
Due to budget constraints in the Vietnamese government and demands from domestic conglomerates for mainstream or commercial films, the independent Vietnamese film sector is still seeking financial support from Asia and Europe. However, some individuals are considering eliminating Europe from their plans – primarily because of the increased costs associated with European involvement and due to language barriers in communication.
Doung stated, “My movie focuses on spirits, not on creating a horror narrative. It seems challenging for Europeans to embrace this concept.
Initially, I brought my project to European development labs, but there was a lingering disconnect in comprehension. However, fortunately for me, Purin Pictures, an Asian investor, stepped in without demanding co-producing rights. This move seemed to open the floodgates, as other investors followed suit.
Liew pointed out that it can be challenging to bridge cultural differences when collaborating with Europeans, as they tend to favor structured plans and financial returns. On the other hand, Asians often adapt their plans daily. However, it’s crucial to keep in mind that we all share a common objective.
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2024-10-05 13:19