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1 ) [Film Review] Monsoon (2019) 6.5/10
Sophomore feature from Cambodian-born British filmmaker Hong Khaou, like LILTING (2014), MONSOON continues his interest in genderqueer characters, Henry Golding plays Kit, a 36-year-old British Vietnamese returns to his fatherland for the first time after 30 years, his family fled Vietnam (as the “boat refuge”) for fear of persecution during the civil unrest, and left Kit’s childhood friend, Lee’s family behind. Now bringing his parents’ ashes to rest, Kit tentatively starts to familiarize with the place, the country he barely recognizes, along with developing a romantic relationship with an American designer Lewis (Sawyers, who notably plays a young Barrack Obama in Richard Tanne’s SOUTHSIDE WITH YOU, 2016), whose father was a soldier in the Vietnam War.
Unable to speak his mother tongue, and the reunion with an adult Lee (Tran) never exceeds the formal propriety, and a mutual guardedness is palpable, Kit is stuck in a double consciousness because to Lee, he is a foreigner, a westerner; but to Lewis, his pigmentation denotes that he is still a Vietnamese. And their tentative discussion about the damned war proclaims that the scar is still in both psyches, albeit neither of them are actual participants.
MONSOON, for what it is worth, is a minimalistic cinematic prose about transiting, Kit is constantly seen on the move whether in Saigon or Hanoi (provenance of his parentage), by scooters or on a train, contemplating everything that flows in front of his eyes. In his drab service apartment, or a restaurant with a view, his eyes wander towards the landscape or cityscape, that he knows he must acculturate, yet there are missing pieces there, sustained by Golding’s faintly stressed aloofness and an innocuous air of ordinariness, the overwhelming sense of displacement gels mildly if none too spectacularly,
Also, Khaou’s introspective politesse, a style he masters more effectively in LILTING, manages to find extraordinaries among the pedestrian milieu, like the rigid opening God’s-eye view on the crisscrossing vehicles, or the lotus tea cottage industry, Khaou's nimble touches of beauty and transience are in bloom, but overall, the script is wafer-thin to undergird a feature-length project, as if MONSOON closes up shop right in the calmness before the storm, it flavor is too insipid to leave an indelible mark for aftertaste, and incidentally, casting two handsome heterosexual men to play gay lovers is almost regressive where out actors are thick on the ground whose career need a boost the most.
referential entries: Hong Khaou’s LILTING (2014, 7.0/10); Lucio Casto’s END OF CENTURY (2019, 7.8/10).
偏生活化的、緩慢的、低成本文藝片。
看《摘金奇緣》的時(shí)候?qū)δ兄骱翢o(wú)感覺(jué)，沒(méi)想到在這里留起胡渣，穿上灰撲撲土土的衣服，竟然十分可口，果然審美沒(méi)救了哈哈哈。
2.5星。越戰(zhàn)難民后裔的尋根之旅，再增添一些同性元素的點(diǎn)綴。各色配角被牽強(qiáng)地貼上隱喻的標(biāo)簽，自然無(wú)法企及話題的深度。當(dāng)作是越南風(fēng)光休閑旅游宣傳片來(lái)看，也還是有其可取之處。
像是拍給西方人看的越南尋訪紀(jì)錄片，劇情弱到可以忽略不計(jì)，因?yàn)槟兄饕膊皇呛芮宄约阂鲂┦裁?，有關(guān)越戰(zhàn)、移民的探討都僅止步于表面，整部電影就像白開(kāi)水一樣，但是這陰郁的氛圍還是挺喜歡的，結(jié)尾窗外的雨聲很舒服。
流于表面的尋根之旅，許泰豐做了一個(gè)鄉(xiāng)愁的花架子，輕輕一碰就倒了。我們看越南就像在看90年代的中國(guó)。
放進(jìn)那個(gè)美國(guó)人雖說(shuō)是有點(diǎn)刻意，但是片子手法上已經(jīng)很好的了，沒(méi)有很刻意的要把表達(dá)的內(nèi)容硬塞到你面前的感覺(jué)，雖然這樣就被人說(shuō)劇情“白開(kāi)水”了。本身就是感覺(jué)不知道在尋找的是什么，所以看著感覺(jué)有很多東西交織在一起的感覺(jué)很正常。當(dāng)然故事本身也看的挺有共鳴是另一個(gè)喜歡的原因了。
在《摘金奇緣》《一個(gè)小忙》《去年圣誕》談異性戀的亨利·戈?duì)柖№樀涝凇队昙緛?lái)臨前》談下同性戀。
很適合西方對(duì)越南的幻想！
許導(dǎo)演眼里的家鄉(xiāng)似乎還沒(méi)有我一個(gè)游客眼里浮光掠影的越南更“像”越南？男2號(hào)演員本人倒就是越戰(zhàn)老兵之子。只覺(jué)得許導(dǎo)演并沒(méi)有太多鄉(xiāng)愁，那些回憶連閃回的鏡頭都沒(méi)，那么最后移民回到原生國(guó)定居的理由就是為了愛(ài)情？說(shuō)服力不夠。
走走停停，尋根故里，打打野炮，忽然雨季。
越戰(zhàn)老兵的后裔和越戰(zhàn)流亡難民的后裔，相遇在經(jīng)濟(jì)蓬勃發(fā)展的新時(shí)期胡志明市。放進(jìn)了很多話題元素，但就是不好看。#金馬56#
許泰豐的故事仍然是那么含蓄，又帶著些“醉翁之意不在酒”的隨性。越南的巨變和那些越來(lái)越遠(yuǎn)的分離史；被遺忘的一代和始終在外漂泊卻斷了根的“異鄉(xiāng)人”；還有永遠(yuǎn)為游客亮起的燈光和無(wú)邊夜色。它提供了同志故事之外更多深度的涉及，那就是一個(gè)人與過(guò)去，與這塊區(qū)域，與朋友，與愛(ài)人，千絲萬(wàn)縷而又無(wú)從斬?cái)嗟穆?lián)系。這種豐富增加了“Kit”故事的意義，即便仍然在有限的片長(zhǎng)和預(yù)算里顯得倉(cāng)促和窘迫。【這大概是Henry飛升之后唯一留下的“小片”了，竟然看得人格外珍惜?！?/p>
#LFF2019 驚喜。Henry Golding用實(shí)力證明自己並非花瓶，孤獨(dú)的質(zhì)感，是你不在意卻縈繞身邊，想起 Nobody's Watching 和 Her ，是人回到故鄉(xiāng)後發(fā)現(xiàn)自己和身邊經(jīng)已面目全非毫無(wú)立足之地，聽(tīng)不懂的語(yǔ)言，沒(méi)人再在意的老茶，錯(cuò)配的手信，忘不了的戰(zhàn)爭(zhēng)過(guò)去，一切有如聽(tīng)不見(jiàn)對(duì)方的視象通話。床戲點(diǎn)到即止卻又無(wú)比香艷，若論及以性去推動(dòng)人物內(nèi)心發(fā)展，開(kāi)首的鬧市摩托航拍以及最後如的 Mogwai 配樂(lè)絕了。
不出彩，但不討厭。
英國(guó)越南移民尋根順便約炮記，套個(gè)“鄉(xiāng)愁”的主題，可惜只是個(gè)空皮囊，一戳就破。
#32/LFF， 開(kāi)場(chǎng)場(chǎng)景一下帶進(jìn)亂中有序的越南，有些笑點(diǎn)挺有趣的，只是好像過(guò)于溫柔（文藝）了，沒(méi)有沖勁，表演的痕跡稍重（不是說(shuō)表演不好，主要是臺(tái)詞不太自然）。為各類片和各角色通吃的亨利加一星。
英國(guó)中年gay的無(wú)聊尋根約砲之旅
沒(méi)有內(nèi)心支持的表演，沒(méi)有內(nèi)容支持的長(zhǎng)鏡頭，都讓人昏昏欲睡，什麼鄉(xiāng)愁、什麼回憶、什麼同志愛(ài)情、什麼越戰(zhàn)傷痕，想說(shuō)的話題有那麼多，卻沒(méi)有一個(gè)說(shuō)清楚了，塞進(jìn)越多話題反而越空乏無(wú)力。#TGHFF2019#
2019卡羅維發(fā)利主競(jìng)賽。風(fēng)格倒是一如既往地用大量戲劇性寡淡的日常來(lái)堆疊情緒，不過(guò)比起前作起碼有情感強(qiáng)度，這部簡(jiǎn)直是生搬硬湊，越戰(zhàn)難民后裔回到越南在西貢正好約炮約到一個(gè)美國(guó)老兵后裔這種事……蓮花茶那個(gè)橋段簡(jiǎn)直東方主義到好笑了?？聪螺d聲音還是有些意思（環(huán)境音的處理，片尾酒吧的處理）不過(guò)看評(píng)論好像影院版比較災(zāi)難？
在越南看到了一種久違的寧?kù)o，我們會(huì)對(duì)一切（這種語(yǔ)境，彷如一切的“在異鄉(xiāng)”）變化后社會(huì)的距離感到疏離，但又會(huì)被保有原生態(tài)的親密感到輕松，尋找故土的味道與尋找情感的聯(lián)系共同定義了個(gè)體與環(huán)境之間的“這么近，這么遠(yuǎn)”