Vietnamese Director Duong Dieu Linh’s ‘Don’t Cry, Butterfly’ Scores Top Venice Critics’ Week Prize

As a film enthusiast with a soft spot for offbeat comedies and thought-provoking dramas, I must say that this year’s Venice Critics’ Week has been a delightful surprise! The diverse range of films showcased is truly commendable.

Vietnamese director Duong Dieu Linh’s horror-comedy “Don’t Cry, Butterfly” was the main award recipient at the Venice Critics’ Week. It took home both the top honor and the prize for the most original feature.

In the movie set in Hanoi, directed by Duong Dieu Linh, we find a story about a housewife attempting to win back her unfaithful husband using voodoo. However, instead of winning him back, she unwittingly summons an enigmatic entity into her home.

In the movie ‘Don’t Cry, Butterfly,’ directed by Duong Dieu Linh (her first feature film), we find a narrative link to her acclaimed short film series focusing on middle-aged women. This series includes ‘A Trip to Heaven,’ ‘Sweet, Salty,’ and ‘Mother, Daughter, Dreams.’ Similar to the shorts, ‘Butterfly’ delves into themes of womanhood, family ties, and cultural customs, all presented in a whimsical way using humor and magical realism.

The primary panel, consisting of producer Kerem Ayan, director Yasmine Benkiran, and actor-director Ariane Labed, commended “Don’t Cry, Butterfly” for its uniqueness and inventiveness, as it dabbles with novel concepts by blending comedy, social drama, and fantasy. Furthermore, they appreciated the film for how it portrays the intricacies of the mother-daughter bond, as indicated in their statement.

I’m thrilled to share that “Don’t Cry, Butterfly” was honored with the award for Most Innovative Feature, selected by a dynamic jury of individuals under 35 years old. It feels truly special to be part of such an innovative and fresh movement in cinema.

In recognition of exceptional merit, the primary judging panel granted a special commendation to Alexandra Simpson’s joint U.S.-Swiss production titled “No Sleep Till.” This film offers a captivating, visually arresting portrayal of residents in a quaint Florida beach town as they face the impending danger of a hurricane. The jury appreciated “No Sleep Till” for its timely subject matter and stunning cinematography, for its compassionate viewpoint on its charming characters, and for its potent, poignant, and pulsating ambiance, as stated in their official declaration.

Italy-based Iranian director Milad Tangshir’s “Anywhere Anytime” scored the prize for best indie production. The film riffs off Vittorio De Sica’s neorealist classic “Bicycle Thieves,” albeit in a contemporary setting.

In the realm of romantic comedies, British-French filmmaker Jethro Massey’s initial work, titled “Paul & Paulette Take A Bath,” has made a striking impact. This movie revolves around a young American photographer and a French girl with an inclination towards the darker aspects of life who embark on an unusual journey together. Remarkably, this morbid road trip was honored with the audience award in its category, earning an impressive average rating of 4.5 out of 5 stars.

Other winners at Venice Critics’ Week include Michael Premo, an American journalist and filmmaker, whose documentary “Homegrown” explores a group of supporters of Donald Trump, starting from his 2020 campaign trail up to the assault on the U.S. Capitol. “Homegrow” was awarded the prize for Best Technical Contribution.

2024-09-07 15:16

Vietnamese Director Duong Dieu Linh’s ‘Don’t Cry, Butterfly’ Scores Top Venice Critics’ Week Prize

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