Trương Minh Quý

She was born in a cave, more than 60 years ago. Now she lives in a village, with many children and grandchildren to look after. Sometimes, she dreams of her dead mother calling her home – to the cave.

In the depths of the underground coal mines, where danger awaits and darkness prevails, Nam and Việt, both young miners, cherish fleeting moments, knowing that one of them will soon leave for a new life across the sea.

In 2045, a filmmaker lands on Mars and tries to make a film. “Home… Far away from home”, he recalls faces of people, thus a collection of moving images emerge.

Together with director Truong Minh Quy, a Vietnamese veteran recreates the horrors of the Cambodian genocide in naive drawings in a lush calabash garden.

On a slag heap, where coal miners used to tramp, men are now awaiting each other.

Porcupine evokes the fragmented tale of a young man who breaks into an empty hospital to set up his online broadcast of poses and provocations; his audience includes real-life participants with anonymous tags like ‘bigballnz’ and ‘romeoazteca’.

In an uncertain future where Vietnam is on the verge of being submerged in water, a son, far away from home, remembers his family. By way of cinematic magical transformations, trivial stories and banal images suddenly become unreal, as if reflections of something beyond reality.

In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.

A visually provoking short film about one of the most extreme homosexual practices.

The Man with the Red Nails describes the partially dreamt, partially real experience of exile of a man with no memory, played by Trương Minh Quý himself. His journey begins when he wakes up by the Loire riverbank in France and realises he no longer remembers anything. The character is adrift in a strange city, searching for a way to survive and find his identify. The film becomes a hypothetical space in which all borders in the construction of character and narrative, along with concepts of gender, nationality, geographical distances, culture and language, are blurred.

A man and a woman are looking for each other. Sometimes they feel that they are going to see each other, but it is just an illusion of the mind. The gazes out of the frames lead to somewhere invisible. The repetition of images recalls the feelings of a loosened memory.

A silent film by Vietnamese director Truong Minh Quy in collaboration with Belgian director Nicolas Graux, was shot on the set of a film by Graux. We Sit in Silence at the Memorial Table is inspired by Educational Objectives, a poem written by Aleksey Garipov and translated to English by Nicolas Graux.

Truong Minh Qúy’s found footage film brings together multiple scenes depicting soldier’s deaths in Vietnamese propaganda films, revealing aesthetic patterns that speak to a nationalist agenda while hinting at a broader value system within Vietnamese society.