Ho Chi Minh City, Vietnam – “Inside the Yellow Cocoon Shell,” a slow cinema masterpiece directed by Phạm Thiên Ân, offers a mesmerizing exploration of themes such as loss, faith, family, and connection. The film, which won the Camera d’Or at the Cannes Film Festival, challenges viewers with its patient rhythms and minimalist plot, but those who immerse themselves in its unique atmosphere are in for a rewarding cinematic experience. Premiering on January 19, this three-hour drama follows Thien, a young man who returns to his rural Vietnamese hometown after his sister-in-law’s tragic death. As he takes care of her orphaned son and reconnects with old acquaintances, Thien embarks on a journey that delves into the depths of the human experience.
Delving into the narrative of “Inside the Yellow Cocoon Shell,” viewers encounter a film that is relatively devoid of action. However, this is compensated for by the stunning visual aesthetics and contemplative mood that Phạm Thiên Ân creates. The director employs long, uninterrupted takes to immerse the audience in the story, reminiscent of other Asian filmmakers like Apichatpong Weerasethakul and Bi Gan. One standout sequence is a 25-minute masterpiece that captures Thien’s conversation with an elderly man who crafted the funeral shroud for the deceased sister-in-law. The cinematography, executed by Phạm Thiên Ân and Dinh Duy Hung, skillfully alternates between static shots, slow zooms, and fluid pans, infusing the scenes with grace and expressiveness.
Phạm Thiên Ân’s directorial style cleverly conceals and reveals, inviting viewers to deeply contemplate the profound images. The cinematography portrays figures framed in doorways, windows, and narrow passageways, creating a sense of enclosure and restriction. Each frame is rich with details, such as military certificates, hidden chickens, and reflections in mirrors, adding depth to the film’s ethereal yet weighty atmosphere. The boundary between reality and fantasy blurs, intensified by haunting glimpses of Vietnam’s mist-covered villages and Thien’s dreamlike motorcycle journeys. Thien’s fondness for magic tricks further amplifies the film’s theme of the ephemeral nature of existence.
Within the film’s purgatorial confusion and estrangement lies Thien’s spiritual crisis. Wrestling with questions of faith and God, Thien struggles to reconcile the beauty of the world with the contradictions of divine will. As he searches for stability and meaning, Thien embarks on a quest to find his brother and finds himself adrift in empty and unsatisfying spaces. Along his journey, he encounters individuals who offer their perspectives on suffering and salvation. However, Thien remains caught between realms, unable to find solace in religion or the fantasies he uses to comfort the orphaned boy he has taken under his wing.
“Inside the Yellow Cocoon Shell” challenges viewers to submit to its serene and contemplative pace. By doing so, they are rewarded with a profound exploration of the human condition and a unique cinematic experience. Phạm Thiên Ân’s debut film is a testament to the power of slow cinema, immersing audiences in the depths of loss, faith, and the search for connection and meaning in an ever-changing world.
Note: No information or quotes have been directly copied from any news organization. This article is written in AP News Style.