Made in 1982 but banned until 1987, "Hà Nội trong mắt ai" is a Vietnamese documentary film using historical figures and stories intertwined with the history of the city to reflect its citizens' views on society at the time.
Made in 1982 but banned until 1987, "Hà Nội trong mắt ai" is a Vietnamese documentary film using historical figures and stories intertwined with the history of the city to reflect its citizens' views on society at the time.
1983-01-01
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An uplifting documentary that explores the human element behind Vietnam’s resurgence as one of the fastest growing economies in the world.
Blood Road follows the journey of ultra-endurance mountain bike athlete Rebecca Rusch and her Vietnamese riding partner, Huyen Nguyen, as they pedal 1,200 miles along the infamous Ho Chi Minh Trail through the dense jungles of Vietnam, Laos, and Cambodia. Their goal: to reach the site where Rebecca’s father, a U.S. Air Force pilot, was shot down in Laos more than 40 years earlier.
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.
This anthology film, whose Chinese title begins with a romantic name for human excrement, premiered internationally at Rotterdam and won Best Screenplay from the Hong Kong Film Critics Society. A variety of Hong Kong people wrestle with nostalgia when facing an uncertain future. Their stories give way to a documentary featuring a young barista turned political candidate.
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.
Composed of intimate and unencumbered moments of people in a community, this film is constructed in a form that allows the viewer an emotive impression of the Historic South - trumpeting the beauty of life and consequences of the social construction of race, while simultaneously a testament to dreaming.
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.
Part film, part baptism, in BLACK MOTHER director Khalik Allah brings us on a spiritual journey through Jamaica. Soaking up its bustling metropolises and tranquil countryside, Allah introduces us to a succession of vividly rendered souls who call this island home. Their candid testimonies create a polyphonic symphony, set against a visual prayer of indelible portraiture. Thoroughly immersed between the sacred and profane, BLACK MOTHER channels rebellion and reverence into a deeply personal ode informed by Jamaica’s turbulent history but existing in the urgent present.
The story of U.S. fighter pilots shot down over North Vietnam who became POWs for up to 8 and a half years.
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 1979, Louis Malle films the thriving lives of a Minnesota farming community, but returns six years later to document its drastic economic decline, offering a poignant look at the impact of political changes.
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.
A US Air Force produced film that follows a group of F-105 pilots as they pass their hundredth mission during the Vietnam War.
"LIDA" takes place on the day of Lida's 70th birthday. This already special day is made more unusual by the recent arrival of her grandson, Lev, who had immigrated to the United States with his family in 2001. Returning to Ukraine for the first time as an adult, Lev documents his grandmother as she tends to the small homestead and prepares for the birthday celebration in the rural village in Ukraine. By capturing moments of arduous labor, as well as through personal conversation, Lev inquires into his grandmothers relationship to her home, land - and their family.
As queer trans and gender non-conforming children of the Vietnamese diaspora, we are fragmented at the crossroads of being displaced from not only a sense of belonging to our ancestral land, but also our own bodies which are conditioned by society to stray away from our most authentic existence. Yet these bodies of ours are the vessels we sail to embark on a lifetime voyage of return to our original selves. It is our bodies that navigate the treacherous tides of normative systems that impose themselves on our very being. And it is our bodies that act as community lighthouses for collective liberation. Ultimately, the landscape of our bodies is our blueprint to remembering, to healing, to blooming.
An intimate portrait of the lives of Delvys and Carlos, siblings who live alone with their elderly mother in a rural part of a small Cuban town. The film portrays a family engulfed in their inner worlds. Between the sacrifices they make out of love for those who are present, and their longing for things that are absent, they struggle to find meaning as they reflect, contemplate, and carry the weight of existence, trying together, to move forward.
In Saigon, family culture carries on as it has for centuries, even when blood ties are broken. Through a mosaic of intimate portraits, Má Sài Gòn explores humanity’s universal desire for love, acceptance, connection and belonging through an LGBTQ+ lens. The film is a love letter – a bittersweet ode to a comforting yet disturbing mother, to a city that is as liberating as it is oppressive.
A young man decides to wear a camera on his head and record every second of his life for a year.
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.
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.