jedan od filmova koje mogu da gledam neograničen broj puta je “the vertical ray of the sun“. režirao ga je čovek koji najbolje na svetu slika svetlost i njene senke, tran anh hungh, rođen 1962. u vijetnamu, živi u francuskoj. njegova supruga je glumica tran nu yen-khe (1968). videćeš je u skoro svim njegovim filmovima, a za “norvešku šumu” u kojoj ne igra bila je scenograf i kostimograf. ona ima tu posebnost lepote žene zanesene svojim unutrašnjim životom i onim što radi. kako je ovo blog o modi, postavila sam editorijal koji su njih dvoje uradili za italijanski magazin dmoda. fotografije crno-bele…ne znam ko je autor. samo to nisu njih dvoje. ja bih volela da ih vidim u odeći bi sledila njihov duh. u odeći yamamota, ann demeulemeester, comme des garçons, ume wang… nikako te štikle i ta klasična cipela… zavila bih u mekoću i jednostavnost. u odeću koja štiti kao anđeo čuvar. i dala da ih fotografiše oko sa više naklonosti i oko koje razume, oseća, njih i njihovu umetnost… tako bih ja.
njih dvoje u gorepomenutom italijanskom editorijalu
pročitati obavezno ovo:
LC In The Scent of Green Papaya, and your first film, La Femme Marie de Nam Xuong, we hear the sound of airplanes, but we never see the bombs. Were you concerned that the elegance of your films would ultimately contribute to some kind of cultural amnesia that exists in the U.S. and France about Southeast Asia?
TAH What is perhaps necessary to understand is that I cannot adequately convey what I haven’t experienced, what I haven’t lived through. Right now, at least, I am not capable of rendering properly the war and colonialism. In a certain way, I’m really not there to remind people, to remind the French, for instance, that they have raped Vietnamese women; or to remind the Americans that they have burned certain Vietnamese villages. Others can do that, or perhaps I can do that later on in my career. Right now, it’s important to create this base that I mentioned. To give a daily life to a people. And I think that against the backdrop of these people who have now been humanized and have a daily life, one can understand the atrocities all the better. I grew up in France, and yet I wanted people to have at their disposal a body of film about Vietnam. And yet I found that there was no cultural foundation for that heritage. If a Japanese filmmaker wishes to make a film about Japan, he or she has recourse to a ton of people: Ozu, Mizoguchi. I have this problem of a lack of cinematic heritage behind me. I had to make a film that was a departure to something. Fundamentally, I guess you could say that I made a film for nothing: just to create artificially and pretentiously a cinematographic past for myself. Perhaps it only elucidates things for me, but I’m very attached to this idea. Since it’s not really clear to me right now, I hope that by making other films, if I have the opportunity to do so, this idea will clarify itself as I go on. It’s quite possible, I’m not sure, that my next film will be a very violent film. But if you only knew me through that violent film you wouldn’t have a good idea of Vietnam or of me. It would be just as though you only knew Japan through Mishima. (intervju za bomb magazine)