Bo Hai (16+)
Czech republic, 2017, colour, 26 min.
Director: Dužan Duong
Director: Dužan Duong
In his new work of docufiction, Vietnamese-born Czech director Dužan Duong continues to explore the life of the Czech Republic’s Vietnamese community. Bo Hai takes an intimate look at a young man who helps out at his father’s mini-market. By showing everyday situations, the films introduces us to the life of young Vietnamese who have lived most of their life in the Czech Republic and are losing touch with the culture of their parents but at the same time are prevented from becoming fully-fledged members of Czech society. Filmed primarily using longer static shots in real-life settings, Bo Hai recalls the approach of contemporary cinematic realists. At the same time, it is also a personal statement about the director’s generation.
Russian premier
Dužan Duong
Dužan Duong
was born in Hanoi but has lived in the Czech Republic since age four. He got into filmmaking when recording his own dance performances. He previously shot the short docufiction Mat Goc (2014, Ji.hlava IDFF 2014) about his relationship to his native Vietnam, and also worked on Lukáš Kokeš’s V.I.P. / Vietnamese Important People (2013, Ji.hlava IDFF 2013). Bo Hai was made through crowdfunding.
FILMOGRAPHY
Mat Goc, 2014; Lukáš Kokeš’s V.I.P. / Vietnamese Important People, 2013; Bo Hai, 2017.
Czech republic, 2017, colour, 26 min.
Director: Dužan Duong
Director: Dužan Duong
In his new work of docufiction, Vietnamese-born Czech director Dužan Duong continues to explore the life of the Czech Republic’s Vietnamese community. Bo Hai takes an intimate look at a young man who helps out at his father’s mini-market. By showing everyday situations, the films introduces us to the life of young Vietnamese who have lived most of their life in the Czech Republic and are losing touch with the culture of their parents but at the same time are prevented from becoming fully-fledged members of Czech society. Filmed primarily using longer static shots in real-life settings, Bo Hai recalls the approach of contemporary cinematic realists. At the same time, it is also a personal statement about the director’s generation.
Russian premier