Along with the award, the film story of ashes shines once again. Again, this is a work that is not easy to watch for the general audience, the restrained cinematic language and hidden messages like an iceberg make even the most discerning viewers need time to ponder.
Perhaps, it is these reasons that Glorious Ashes received high praise from international awards: competing in the Main Section at the 35th Tokyo International Film Festival, winning the Golden Balloon Award for best film at the 3 Continents International Film Festival...
Glorious Ashes won the two most important awards, the Golden Kite and Best Director of the 2023 Golden Kite Awards.
Three questions about Glorious Ashes answered by director Bui Thac Chuyen himself will help the audience have easier access to the film that is considered the best of the 2023 Kite Awards season.
- "Glorious Ashes" is clearly not just a Western picture or a love triangle story. What do you want to tell in the film that you had to prepare for 10 years?
This is a tragic story, but a great tragedy, a tragedy that is a bit too much, a bit absurd, but if we talk about it without restraint, it will be very melodramatic.
So I had to choose a relatively calm narrative style and film color. This is related to the calm nature of the Western people: they suffer but they are calm, they are poor but they are calm or whatever they do they are calm. They do not suffer or torment much. That is why Miss Hau can live like that.
As for city people, they can never stand that. So that kind of calmness is necessary. It's a different way of using energy. A way of living, different from the city.
The Glorious Ashes competed in the Main Section at the 35th Tokyo International Film Festival.
Some people say my films are too biased towards women, while the image of men is much weaker. I want to find a balance, find a way to explain that.
The disappointment and downfall of men comes from the traditional social structure. In the family, the position of men is higher, because we follow the patriarchal system, men are often pampered, mentally they are weaker. Men also have to bear great responsibilities, forced to succeed, under the imposition of society, they are forced to be strong, to become the pride of the family, the clan... making men lack naturalness.
On the opposing side, the more unnatural the man is, the more natural the woman is. This is the law of balance, the more fragile the man is, the more certain the woman is, the man collapses, the woman is strong. This type of relationship is very common in the East.
The film won the Golden Balloon Award for best film at the 3-continent international film festival.
- Many audiences after watching the film reflected that the West in your film feels like a very distant West. Is that right?
It's still the same, nothing different. Because I just filmed this. And this story is also a contemporary story. People keep asking why Miss Hau is still holding a brick phone because everyone uses smartphones nowadays. Just go to the fishing ports and see all the women use phones like that. Especially at the beach, people don't use smartphones for anything, smartphones break when they go to the beach, people just use bricks.
What matters is vitality, I like lands with a lot of vitality. Going to the West, I was attracted by the energy of water, of the sky and earth, the simple innocence of people. Here, from the fish to the shrimp wriggling in the water, everything is very natural. Fishermen who want to catch fish have to go 18 km to cast their nets on poles, they live there, peacefully, with only minimal food and water.
I feel like the civilized world is suffocating human vitality, making people like machines, having to work, take a lot of functional foods, weight loss pills to maintain balance, it's all the opposite, it's unnatural.
Someone asked me if people in the West are happy? I think they are happier than people living in the city. Their happiness is very simple, on holidays and birthdays they are ready to bring a big speaker system home to sing all day long.
Nowadays, who in the city sits and sings all day? Of course, happiness or joy depends on the standard. But at least the simpler life is, the less burden, the happier. People with less burden think about feelings, relationships, and a perspective, which are very delicate parts of life.
The Ashes crew brilliantly received the Golden Kite award.
- Your films have almost no instructions for the audience, they have to struggle to understand it, and it seems that limits the number of people who want to access the work?
I think it's a respect for the audience to let them have their own view of the film, their view of the story, their view of the characters, and then through that they have different answers. That's just a respect for the audience.
This is not new. If we keep leading the audience like a flock of sheep, clearly stating this is this, this is that and then forcing the audience to understand according to our ideas, it is very boring. Of course, I know that a part of the audience still likes it like that and when they are put in a theater and left to choose for themselves, they do not know what to choose.
They get confused and they get sleepy and they see funny things and they find details that they wouldn't have thought of.
For example, they noticed that the little girl drowned but she was still breathing. It was a very funny observation, but also interesting, but I still affirm that it is not important. Because the world has filmmakers who show people that they are making films and not just copying real life. And here I want to do the same.
The glowing ashes are a great tragedy.
I also want the audience to understand that a film is a film, it is my voice, my personal voice, but if I stood at the head of the village and asked each person if this was okay or that was okay, I would never be able to make a film.
(Source: tienphong.vn)
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