Below, this writer chats with Phạm Gia Quý, who also goes by the name of Erik Pham, on the state of Vietnamese cinema. Besides being a filmmaker and a producer, Quý is also the co-founder of the local production company Spring Auteurs. — How do you see Vietnamese cinema at the moment? Vietnamese cinema is going through such a fascinating course of events. It is transforming day by day with new phenomena and shifts. With genre pieces setting new local box office records and a growing number of films winning awards at international film festivals, Vietnam is in a really good place, Vietnam is very “in” I feel. We used to face big problems a few years back because local audiences disdained Vietnamese cinema. The phrase “Oh, it’s a Viet film, I’ll pass,” was the common response to new releases. Faith is built through time, effort and stepping stones made by the films and filmmakers who came before. I also think that, culturally, we are changing because different fields and world-views are now more connected than ever, and this goes for both audiences and filmmakers. There is more accessible information available, and more ideas and films around to inspire people to grow their filmic aspirations. That has transformed the scene here.
— Is the local scene on the cusp of a “wave”? I feel like Vietnam is, somehow, experiencing the Golden Age of Hollywood and the French New Wave all at once, with its own distinct qualities, of course. On one hand, we have commercial blockbusters such as Trấn Thành’s Neighbourly Trilogy, or Bố Già, Nhà Bà Nữ and MAI. On the other hand, we have a handful of arthouse winners that won big at Cannes, the Berlinale and Busan like Inside the Yellow Cocoon Shell, Cu Li Never Cries and Ròm. There is a contrast there, but I say the two worlds can coexist.
But I have to say this might create no middle ground. When films can only be either “commercial” or “arthouse,” it makes acquiring funding for genre pieces and slightly experimental IPs difficult – people might think they are too far-fetched – and it forces the creative process of bigger films to be safe. But it’s understandable, since the local market is not that big. The risk of failing is high because there’s not much backing, and no large investment. The global market still hasn’t seen a Vietnamese-language project that could rake in large sums, our own Korean Parasite for example. Big Vietnamese films have the obligation to firstly answer to the local market, and the IP packaging for that market and the international one is still too segregated.
— Where can Vietnamese cinema go, and are you doing anything to get it there? I can see that with a new generation of filmgoers in Vietnam, new filmmakers with their distinct sensibilities will lead Vietnamese cinema into a more global-centric scene, hopefully. They will have titles that are commercially successful and critically acclaimed worldwide.
I was educated in film in the US and have been working with Vietnamese locals long enough that I, for once, am confident that projects from newer directors should be a force to be reckoned with. They would be worth the risk [to invest in]. There is a seriousness that goes into preparation and packaging something that could stretch across territories, into the global market. That’s why me and a few of my buddies with similar backgrounds and visions have created Spring Auteurs. We started out as a community on Facebook, and now we are a fully-fledged film company. We are focused on fostering a hub for young filmmakers who are starting out with their careers, giving all that we know to them about the global scene and the local one. We also want to make it more accessible for them to dream big and work hard for the future of Vietnamese cinema.
With Spring Auteurs, we want to create a new wave of filmmakers that hopefully will hit big not only at film festivals but also at film markets. We often create initiatives that promote the different “industry-standard” tools and knowledge, as well as different approaches to the arts from around the world. We also host acting, writing, directing labs, as well as screenings and events that bring the community together. All these efforts will bear fruits in the future, when films that take risks are more of a common occurrence rather than pipe dreams. One day, the world will look to Vietnam and see what it has to offer that could bridge the two notions “arthouse” and “commercial.” — Could you tell us more about your projects? At the company, we are producing multiple projects we feel could promote Vietnam in the most prestigious way. We have features, shorts and episodic programs on our slate, and are working hard on them with many of our own people and talent. At the same time, we are also communicating with our predecessors. We hope they will contribute to our building up of a brand for new films from Vietnam and this current generation.
We are working on developing international projects, as far as we like to call it, where many of us see the potential of it goes far. One I can tell you now is Legend of the Fairy Bugs, a feature-length animated film that transports audiences into the mesmerizing world of Fairy Bugs. We are led by a talented team of producers, voice actors, and music composers, and we hope the film will captivate audiences of all ages with a thrilling adventure and heartfelt story. We also have a feature-length historical piece that explores the art scene in the turbulent end-of-Indochina period from Jay Do. Then there’s a short film that explores diasporic experiences and the notion of home in the modern age by Annie Pham. And those are just a few! We don’t shy away from the power of short films, as we know that shorts are where we can find future voices and visions.
Recently, we also got to work on projects with a Thai director, Tanaseth Tulyathan, by providing him with one of our own screenwriting talents, Oliver Tran. One of them is Morlam, a short about a blind child singer who must sing to free himself from the gang that controls him. Another I can share with you is an episodic series highlighting authentic Asian narratives, which will also have Tulyathan’s participation.