Once in a while, you will come across such a movie that will astonish you and exceed your expectations. “Mai” is one of those films directed by Tran Thanh from Vietnam. In ways I never had before, Mai has opened my eyes to the depth and artistry of Vietnamese cinema. What I thought would be another ordinary evening watching movies with friends turned out to be different.
Phuong Anh Dao plays the role of Mai who is a 37-year-old single mother. Life is tough for her in Ho Chi Minh City where she works as a masseuse while raising her children, paying off her father’s gambling debts and trying to run away from an undisclosed past. Lonely and loveless, Mai wants to escape this life and make up for her wasted youth but things change when she finds Duong a rich playboy played by Tuan Tran who shows her what real love means.
Upon its release “Mai” was considered both as cultural event and box office record breaker becoming the highest-grossing film in Vietnam on an international scale ever before. The phenomenon did not stop there; within just two weeks it raked in unprecedent[ed] $2m at North American and European box offices. By the third weekend after being released worldwide it had gathered $23m globally; thus making history for Vietnamese cinema abroad and demonstrating that Southeast Asian genre is increasingly popular anywhere else.
My first impression about “Mai” was mixed. The cinematography in this movie struck me as completely revolutionary within Vietnamese cinema especially because of their approach towards shooting scenes which differed from anything I have seen previously. These unconventional camera angles [and] unique lighting techniques based on low-key darkness deserve special mention here. This style reminds one of high-budget international films like “La La Land,” which uses darkness as contrast between subject matter or person being filmed with background environment.
Still, at times this ambitious cinematography seems excessive which makes following the movie a challenge. It’s a mix of soaps, sensual romance, sitcoms and horror in “Mai”. This conglomerate serves to confuse rather than make it one unified whole. The film is energetic and shot with constant movement; however, the lack of consistent stylistic approach leads to what can only be described as whiplash.
Onwards, though, the film improves. The story has more layers and it becomes apparent why she tries so hard not to let her behind the scene be seen by others. In this initial chaos there is rawness that creates better understanding about Mai’s struggle and triumphs are felt. The most important advantage of the movie is its realistic way of depicting life complexities. As these journeys become more relatable and have greater impact on audience, they feel part of the characters’ world. Still, some parts may seem highly complex while others too much demanding yet emotional depth in “Mai” cannot just be taken for granted because you will find instances that are highly painful but uplifting at times.
Moreover, I liked how openly sensitive subjects such as rape or single motherhood were discussed without any fear unlike in Vietnam where they usually remain hidden topics under societal norms. By doing so they break taboos and make deviations from what Vietnam was trying to hold tightly onto for years now. While talking about these issues sincerely shown onscreen this gives a fresh spin on what cinema is today.
The random use of English words, however, seemed contrived and artificial, which took away from the overall watching experience. In addition to that, English subtitles failed to capture some of the dialogue nuances thus making it hard for those who are not Vietnamese speakers to understand what was meant by the script.
Now, on Netflix “Mai” makes a Vietnamese culture available for everyone around the world. Some elements may be exaggerated but on the whole Mai is amazing because of its technicalities as well as its frankness in dealing with delicate matters. Who doesn’t love a good romance anyway?
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