Full Name Tran Anh Hung Spouse Tran Nu Yen Khe Role Film director | Name Tran Hung Years active 1989 – present Education Louis Lumiere College | |
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Occupation Film Director, Screenwriter Nominations Academy Award for Best Foreign Language Film Movies Norwegian Wood, The Scent of Green Papaya, Cyclo, I Come with the Rain, The Vertical Ray of th Similar People Tran Nu Yen Khe, Rinko Kikuchi, Kenichi Matsuyama, Haruki Murakami, Mark Lee Ping Bin | ||
Tran anh hung primate l youtube sharing mov
Trần Anh Hùng (born December 23, 1962) is a Vietnamese-born French film director.
Contents
- Tran anh hung primate l youtube sharing mov
- Rinko kikuch tran anh hung norwegian wood asia house pan asian film festival scene 2
- Early life
- Film career
- Films on Vietnam
- Influences and style of film making
- References
Rinko kikuch tran anh hung norwegian wood asia house pan asian film festival scene 2
Early life
Trần was born in Đà Nẵng, Central Vietnam, and immigrated to France when he was 12 following the fall of Saigon at the end of the Vietnam War in 1975.
Film career
Trần has been at the forefront of a wave of acclaimed overseas Vietnamese cinema over the past two decades. His films have received international fame and acclaim, and his first three features were varied meditations on life in his home country Vietnam.
Trần's Oscar-nominated debut (for Best foreign film) was The Scent of Green Papaya (1993), which also won two top prizes at the Cannes Film Festival. His follow-up Cyclo (1995, which featured top Hong Kong movie star Tony Leung Chiu Wai), won the Golden Lion at the Venice International Film Festival. The Vertical Ray of the Sun, released in 2000, was the third film in his "Vietnam trilogy."
After a sabbatical Trần returned with the noir psychological thriller I Come with the Rain (2009), which featured a star-studded international cast including Josh Hartnett and Elias Koteas.
It was announced in July 2008 that Trần would direct an adaptation of Haruki Murakami's novel Norwegian Wood. The film was released in Japan in December 2010.
Films on Vietnam
In France, Trần studied at the prestigious film school Louis Lumière College. For his graduation project in 1987 he wrote and directed a short film Người thiếu phụ Nam Xương, inspired by an old Vietnamese folk tale (Truyền kỳ mạn lục).
Following this Trần made another short film, Hòn vọng phu (1989), before launching the feature film The Scent of Green Papaya (1993). The Scent of Green Papaya was acclaimed for its style and its beautiful images of Vietnamese life. To date, the film is the only representative of Vietnamese cinema to be nominated for Academy Award for Best Foreign Language Film.
The success of Papaya helped Trần gain funding for the next film, Cyclo. The film tells stories of poor people living in Saigon (now Ho Chi Minh City), and was filmed on location there. Cyclo won the Golden Lion at 52nd Venice International Film Festival, and at the age of 33, Trần was one of the youngest filmmakers to be thus honored there.
Having depicted life in Ho Chi Minh City, Trần turned his attention to Hanoi in The Vertical Ray of the Sun(2000). The main characters of the film are three sisters who idolize their parents' family life, before the truth is revealed after the mother's death.
All three feature films were financed by Christophe Rossignon (Lazenecs film company).
Influences and style of film-making
Trần's films are made so as to rebuild the image of Vietnam that he has lost when immigrating into France and to provide audience with another point of view on Vietnam while this topic has been long dominated by French and American cinema. The stories are based on Trần's knowledge about Vietnamese language and culture and (in the second and third films) his first-hand experience gained from trips to the country.
Trần is strongly influenced by French cinema and from some European and Japanese filmmakers, namely Bergman, Bresson, Kurosawa, Tarkovsky and Ozu.
Trần's style of filmmaking is expressed through the claim: "Art is the truth wearing mask" (interview originally in Vietnamese). He denies the conventional story-telling style and pursues making films with a new language: "to challenges the audience's feeling, making them enjoy the films not with the critical reasoning but the body language".