Truong Minh Quy

The sight of abandoned urban ruins is ubiquitous in contemporary cinema and art – especially since the onset of the COVID-19 pandemic. Porcupine evokes the fragmented tale of a young man who breaks into an empty hospital to set up his online broadcast of poses and provocations; his audience includes real-life participants with anonymous tags like 'bigballnz' and 'romeoazteca'. Porcupine is a sombre but hypnotic portrait with glimpses of human compassion.

The sight of abandoned urban ruins is ubiquitous in contemporary cinema and art – especially since the onset of the COVID-19 pandemic. Porcupine evokes the fragmented tale of a young man who breaks into an empty hospital to set up his online broadcast of poses and provocations; his audience includes real-life participants with anonymous tags like 'bigballnz' and 'romeoazteca'. Porcupine is a sombre but hypnotic portrait with glimpses of human compassion.

A silent film by Vietnamese director Truong Minh Quy in collaboration with Belgian director Nicolas Graux, was shot on the set of a film by Graux. We Sit in Silence at the Memorial Table is inspired by Educational Objectives, a poem written by Aleksey Garipov and translated to English by Nicolas Graux.

On a slag heap, where coal miners used to tramp, men are now awaiting each other.

On a slag heap, where coal miners used to tramp, men are now awaiting each other.

On a slag heap, where coal miners used to tramp, men are now awaiting each other.

Truong Minh Qúy’s found footage film brings together multiple scenes depicting soldier’s deaths in Vietnamese propaganda films, revealing aesthetic patterns that speak to a nationalist agenda while hinting at a broader value system within Vietnamese society.

Marte, 2045. Um cineasta pensa nos indígenas que filmou na selva do Vietnã enquanto cria um filme que combina suas próprias memórias com as deles. Mas e quanto às suas intenções? Ele tinha o direito de filmar essas pessoas e de se apropriar das histórias delas?

Marte, 2045. Um cineasta pensa nos indígenas que filmou na selva do Vietnã enquanto cria um filme que combina suas próprias memórias com as deles. Mas e quanto às suas intenções? Ele tinha o direito de filmar essas pessoas e de se apropriar das histórias delas?

Marte, 2045. Um cineasta pensa nos indígenas que filmou na selva do Vietnã enquanto cria um filme que combina suas próprias memórias com as deles. Mas e quanto às suas intenções? Ele tinha o direito de filmar essas pessoas e de se apropriar das histórias delas?

Together with director Truong Minh Quy, a Vietnamese veteran recreates the horrors of the Cambodian genocide in naive drawings in a lush calabash garden.

Together with director Truong Minh Quy, a Vietnamese veteran recreates the horrors of the Cambodian genocide in naive drawings in a lush calabash garden.

Together with director Truong Minh Quy, a Vietnamese veteran recreates the horrors of the Cambodian genocide in naive drawings in a lush calabash garden.

In an uncertain future where Vietnam is on the verge of being submerged in water, a son, far away from home, remembers his family. By way of cinematic magical transformations, trivial stories and banal images suddenly become unreal, as if reflections of something beyond reality.

In an uncertain future where Vietnam is on the verge of being submerged in water, a son, far away from home, remembers his family. By way of cinematic magical transformations, trivial stories and banal images suddenly become unreal, as if reflections of something beyond reality.

In an uncertain future where Vietnam is on the verge of being submerged in water, a son, far away from home, remembers his family. By way of cinematic magical transformations, trivial stories and banal images suddenly become unreal, as if reflections of something beyond reality.

In an uncertain future where Vietnam is on the verge of being submerged in water, a son, far away from home, remembers his family. By way of cinematic magical transformations, trivial stories and banal images suddenly become unreal, as if reflections of something beyond reality.

In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.

In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.

In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.

In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.

Nam and Việt love each other. Both are miners, working 1000 meters below ground, where danger awaits and darkness prevails. Nam's mother collects coal waste from the mines to make briquettes at her makeshift workshop. Coal earns them a living, while polluting the land and the sea. Nam, like other young people, has decided to leave the country soon. In his village, many families get out of poverty thanks to the money they receive from relatives working abroad, most of them illegal immigrants — underground money. Through a relative, Nam gets in touch with an agent who can smuggle people abroad in containers. But at that moment, Nam's father, a soldier who died in the war, comes back in his mother's dreams to tell her where he died. Nam, his mother and Việt go south to the old battlefield, following her dreams, to find the remains of his father.