Synopsis
Ngày Mới’ (A new day has come), is a poetic visual response to the new track “Ngày Mới” of Vietnam-based electronic band Tiny Giant. The film depicts a world in constant motion that opens up when we slumber. Cavernous darkness is a habitat of transit, between worlds and the axis of time. In the heart of this motion, memories, knowledge, sadness and joy will leave their residues without completely disappearing: perhaps they have fallen into another place, another turning of time. The moment of transit in the cave doubles as both childhood and adulthood come to the surface in sync, where we bend closer in proximity to the inner child, the taste of a spoonful of innocence lingering on the tongue. Deity-like characters also appear in the video. They are gods of the filmmaker’s own world turned into images, as any person can have their own interpretation of a god. In this film, God is understood as a provider of support and company, and trust is a form of custody. We trust in the things that can protect and guide us. The eyeless horses, then, appear as mascots and attachment figures that walk with the children towards the world.
Part of the choreography was initially inspired by the ‘Kitsune Wedding’ scene in ‘Dreams’ – a film by Akira Kurosawa, in combination with experimental hip hop moves and the krumping stomps, choreographed and performed by Saigon-based dancer Kim from La Différence Saigon and Hanoi-based dancer Quay Trần from Abnormal Conceptz.
Ngày Mới’ (A new day has come), is a poetic visual response to the new track “Ngày Mới” of Vietnam-based electronic band Tiny Giant. The film depicts a world in constant motion that opens up when we slumber. Cavernous darkness is a habitat of transit, between worlds and the axis of time. In the heart of this motion, memories, knowledge, sadness and joy will leave their residues without completely disappearing: perhaps they have fallen into another place, another turning of time. The moment of transit in the cave doubles as both childhood and adulthood come to the surface in sync, where we bend closer in proximity to the inner child, the taste of a spoonful of innocence lingering on the tongue. Deity-like characters also appear in the video. They are gods of the filmmaker’s own world turned into images, as any person can have their own interpretation of a god. In this film, God is understood as a provider of support and company, and trust is a form of custody. We trust in the things that can protect and guide us. The eyeless horses, then, appear as mascots and attachment figures that walk with the children towards the world.
Part of the choreography was initially inspired by the ‘Kitsune Wedding’ scene in ‘Dreams’ – a film by Akira Kurosawa, in combination with experimental hip hop moves and the krumping stomps, choreographed and performed by Saigon-based dancer Kim from La Différence Saigon and Hanoi-based dancer Quay Trần from Abnormal Conceptz.
Full credits
- Section
- online potential
- Director
- Red Nguyen Hai Yen
- Production countries
- Vietnam
- Production year
- 2022
- Duration
- 8 minutes
- Producer
- Red Nguyen Hai Yen
- Distribution
- NGUYEN HAI YEN
You might also like:
Wrestling Out of Competition
Grímur Hákonarson, 2007, IS, 20 min
Denni is a tunneller and Einar a farmer in the countryside of Iceland. They both practice wrestling but must keep their relationship a secret from the inner world of Iceland's national and very macho sport.
Dipped in Black Out of Competition
Matthew Thorne, Derik Lynch, 2022, AU, 25 min
When memories from his childhood come to the surface, Derik Lynch, a Yankunytjatjara man, escapes white city life in Adelaide to return back home to his remote Anangu Community (Aputula) to perform on sacred Inma ground. Inma is a traditional form of visual, verbal, and physical storytelling. It is how the Anangu have been passing down stories connected to the land, dreams and myths for over 60,000+ years from generation to generation.
A Revolution of Love Out of Competition
Weyni Mengesha + Lucius Dechausay, 2020, CA, 5 min
A young black woman grapples with the histories of her ancestors and the present-day violence ravaging her community. She begins to imagine what her future looks like through dance.