Giang Nguyễn

Giang Nguyễn

Fanboy of Mrinal Sen, Ryōsuke Hashiguchi, Alain Guiraudie and Paul Vecchiali

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  • Confessions of a Police Captain

    Confessions of a Police Captain

    ★★★★

    A city built on corpses. The body of a trade union activist buried under 30 metres of mountain rocks blown up by dynamite. The body of a witness to a link of corruptions covered in cement and casted in the concrete stanchion of a newly constructed building. And finally, the body of a policeman liberated from career shame collapsed in a film screening in the prison.

    Really really good political thriller.

  • The Catch

    The Catch

    A magnificent thesis on masculinity and how it along with the nature of fishery (a bunch of people forms an association where each of them works alone with rigid regional rules catching a kind of sea monster, which always puts their lives in danger, is exactly the reason why “fishermen are always mean and desperate”) generates vicious cycles of doom for everyone involved. Feel very blunt at times and grounded in its own ideas yet full of expansive and hypnotic…

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  • In Search of Famine

    In Search of Famine

    ★★★★½

    An actress plays a game where she asks the film crew about some photos of starving people and from which famines they are taken. A villager mocks how this filmmaking group accidentally causes a famine in the village where they shot a movie about famine. With just a few minor details but these have already established what maybe the most sardonic yet politically sensitive work I have seen from Mrinal Sen so far. In the treatment of 1943 Bengal famine,…

  • Hunters' Sense of Touch

    Hunters' Sense of Touch

    ★★★★

    Honestly, the most compelling quality about Hunters’ Sense of Touch is how a pink film so deliberately abstract and ambiguous can somehow capture incredibly well repressive obsessive feelings and yearning like this. I can say very few films are able to strike at the very core of homosexual desire as Hunters, and this is a no small accomplishment for a straight filmmaker. Normally, in this type of abstract works in queer cinema (and even in previous queer works of Sato),…