Vietnam - Ein Land im Aufbruch(2003)

Vietnam: Secret Negotiations that Ended the War(fr)

While the war raged on, Henry Kissinger, national security advisor to President Nixon, and Lê Duc Tho, member of Vietnam's Politburo, held secret meetings in France.

The Fog of War(en)

Using archival footage, cabinet conversation recordings, and an interview of the 85-year-old Robert McNamara, The Fog of War depicts his life, from working as a WWII whiz-kid military officer, to being the Ford Motor Company's president, to managing the Vietnam War as defense secretary for presidents Kennedy and Johnson.

Hearts and Minds(en)

Many times during his presidency, Lyndon B. Johnson said that ultimate victory in the Vietnam War depended upon the U.S. military winning the "hearts and minds" of the Vietnamese people. Filmmaker Peter Davis uses Johnson's phrase in an ironic context in this anti-war documentary, filmed and released while the Vietnam War was still under way, juxtaposing interviews with military figures like U.S. Army Chief of Staff William C. Westmoreland with shocking scenes of violence and brutality.

Return with Honor(en)

The story of U.S. fighter pilots shot down over North Vietnam who became POWs for up to 8 and a half years.

Little Dieter Needs to Fly(en)

Three decades after German-American pilot Dieter Dengler was shot down over Laos, he returns to the places where he was held prisoner during the early years of the Vietnam War. Accompanied by director Werner Herzog, Dengler describes in unusually candid detail his captivity, the friendships he made, and his daring escape. Not willing to stop there, Herzog even persuades his subject to re-enact certain tortures, with the help of some willing local villagers.

In the Year of the Pig(en)

Both sober and sobering, producer-director Emile de Antonio’s In the Year of the Pig is a powerful and, no doubt for many, controversial documentary about the Vietnam War.

100(de)

Push-ups to the rhythm of a metronome, a meter counting backward from 100; three words are shouted time and again: “dog – pig – monkey”.

Hair, Paper, Water...(vi)

She was born in a cave, more than 60 years ago. Now she lives in a village, with many children and grandchildren to look after. Sometimes, she dreams of her dead mother calling her home – to the cave.

The Dumpling Vendor(en)

To provide for his young family, a food vendor searches for customers in the ancient city of Hue from sunset until the early morning. An insight into the the life of a banh bao vendor. Hoa, 42; a farmer by day who has been selling banh bao on Hue’s streets for 12 years. Hoa cycles from his country home to Hue every afternoon to sell a barrel load of the Vietnamese dumplings and provide for his young family.

Le Lotus dans tous ses états(fr)

Regret to Inform(en)

In this film made over ten years, filmmaker Barbara Sonneborn goes on a pilgrimage to the Vietnamese countryside where her husband was killed. She and translator (and fellow war widow) Xuan Ngoc Nguyen explore the meaning of war and loss on a human level. The film weaves interviews with Vietnamese and American widows into a vivid testament to the legacy of war.

We Were the Scenery(vi)

In 1975, soon after the end of the Vietnam War, Hoa Thi Le and Hue Nguyen Che fled the country on a small boat. After nine days at sea, they docked in the Philippines, where they were utilized as background extras for “Apocalypse Now.”

The Empathizer(en)

Standup comedian Fred Le hears the stories of a diverse range of young overseas-born Vietnamese who made their way back to the land that their parents left following the end of the Vietnam War. The Empathizer explores identity and the impact of trauma among Việt Kiều who grew up a generation removed from tragic events of the past.

Bà nội(fr)

The prophecy of Khoa Lê’s 93-year-old grandmother (bà nôi) burdens his unknown future and reflects the roots of his past. Born in Vietnam but raised in Canada, Lê’s homeland pilgrimage is measured parts self-portrait, ethnography and an ethereal quest for identity. His bà nôi is funny and forthright in a matriarchal manner, as one with little time to worry about what others think. Stark observations of her home life and family visits contrast visually stunning dreamlike sequences of fog-laced silhouettes and twilight vistas that echo an unpredictable path. As he celebrates New Year’s events with family traditions and rituals steeped in superstition, fortunes and horoscopes, it’s clear Lê is seeking signs of destiny as he poetically captures a soul floating between two worlds.

Vietnam: Fast Forward(en)

After years of war and occupation, a new generation of inspiring entrepreneurs sets out to pursue their personal dreams while pushing Vietnam forward onto the world stage.

Země jihu – Vietnam(cs)

Vietnam in HD(en)

Vietnam in HD is a 6-part series that immerses viewers in the sights, sounds and stories of the Vietnam War as it has never before been seen. Thousands of hours of uncensored footage--much of it shot by soldiers in action--will detail every critical chapter of the conflict. The war will unfold onscreen through the gripping firsthand accounts of 13 brave men and women who were forever changed by their experience in Vietnam.

Paper Lantern(en)

A portrait of a Vietnamese-Canadian family opening up a restaurant and cocktail bar in Calgary's Chinatown, amid the COVID-19 pandemic.

Last Days in Vietnam(en)

During the chaotic final weeks of the Vietnam War, the North Vietnamese Army closes in on Saigon as the panicked South Vietnamese people desperately attempt to escape. On the ground, American soldiers and diplomats confront a moral quandary: whether to obey White House orders to evacuate only U.S. citizens.

Tell Me Lies(en)

Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson and RSC icons such as Peggy Ashcroft and Paul Scofield feature prominently on the front line. Multi-layered scenarios staged by Brook combine with newsreel footage, demonstrations, satirical songs and skits to illustrate the intensity of anti-war opinion within London’s artistic and intellectual community.