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  7. Landscape Melancholia

Landscape Melancholia

OV with English subs
Followed by a talk with Phạm Ngọc Lân and Thùy-Hân Nguyễn-Chí

สุสานใต้ดิน Underground Cemetery 
วิศรุต ศรีพุธสมบูรณ์ Wisarut Sriputbomboon, Thailand 2020, 30 min.

ก่อนกาล The Reminiscence of Forsaken Place
อภิวันทน์ จรินยากุลวัฒน์ Apiwan Charinyakulwat, Thailand 2019, 16 min.

The In/Extinguishable Fire
Thùy-Hân Nguyễn-Chí, Vietnam/Germany 2019, 28 min.

Một khu đất tốt Blessed Land 
Phạm Ngọc Lân, Vietnam 2019, 19 min.

The films curated under this section are an invitation to think about landscape as a constitutive actor in the unleashing of individual and communal life stories, rather than just a passive backdrop to the main scene. Underground Cemetery opens the program with a reflection on the entanglements of Thai homes, spirits and political memory-landscapes relating to the countryside. The Reminiscence of Forsaken Place is a love letter to Bangkok and a middle finger to late capitalism as it morphs into an unbearable dystopian landscape. TheIn/Extinguishable Fire interweaves histories between the GDR and Vietnam through intergenerational tales about aircrafts and revolutionaries. Those topics enter into a dialogue with Blessed Land, a deeply nuanced film that brings questions of landscape use across different classes in contemporary Vietnam to the surface.

Phạm Ngọc Lân studied urban planning at Hanoi Architectural University. His work focuses on the influence of cityscapes on human relationships. His short films have been screened at numerous film festivals and art museums, including Visions du Réel, Tokyo Metropolitan Museum of Photography, and Berlinale Shorts. He is currently developing his feature film debut.

Thùy-Hân Nguyễn-Chí is a Berlin- and London-based artist working with sculpture, installation, moving image and interdisciplinary research. She studied Fine Arts at Städelschule, Film at the School of the Art Institute of Chicago and is currently pursuing a PhD in Film at CREAM, the University of Westminster. Her work explores the intersection of filmmaking and film theory, critical refugee studies and postcolonial studies.