#viette

#viagofredomamelizoagli #zoagli #picoftheday #fotooftheday #viette #liguria #aprile2021 (presso Zoagli) https://www.instagram.com/p/COO_aRrhxZ_/?igshid=snyb2kvfcsrq

my new sim  Shilo Viette

http://www.filmfringetour.com/philly-fringe.html

Edinburgh Fringe Festival has begun!  #VIETTE screens this Sun at Gryphon Venues 7:30pm! in the Fringe Film Tour

In sharp contrast to the painterly aestheticism of PEARLS OF THE FAR EAST, Mye Hoang’s VIETTE is a raw, roughly textured portrait of its title character, full of unadorned, naked honesty, often quite literally so. Director, screenwriter and producer Hoang herself plays the lead role, a young woman we follow over the course of about a decade from high school student to young adult. The sexually charged nature of Hoang’s material, as well as its low-budget aesthetic, of course puts it stylistically quite far away from classic woman’s films. But what VIETTE lacks in gloss, it more than makes up for with its viscerally powerful vision of a woman struggling to free herself from oppressive familial and romantic circumstances. Hoang’s story is very much autobiographical, and one comes away with great admiration for how she mines what must be painful personal experience to create memorable art. We first encounter Viette having sex in a car’s backseat with her boyfriend Matt (Sean McBride), who is her romantic and carnal escape from the suffocating, hostile oversight of her Vietnamese immigrant parents. Viette is a so-called “1.5 generation” child, born in the U.S., but still very much controlled by the home-country mores of her parents. Viette has to hide her relationship with her Caucasian boyfriend from her parents, a situation very much in line with the typical woman’s film, in which forbidden love was a very common theme. Soon after Viette’s parents catch her coming home late at night with Matt, which leads to domestic abuse, she is able to escape her home. However, she subsequently must confront Matt’s heretofore hidden demons, which puts Viette in an equally oppressive situation. Viette’s story of women’s oppression (and subsequent liberation), gives the woman’s film a distinctly feminist slant.