‘Inside the Yellow Cocoon Shell’ Review: Phạm Thiên Ân's Debut Feature Is a Spiritual Quest Through the Vietnamese Countryside
Courtesy of Kino Lorber.
At a time when movie lovers are being relentlessly bombarded with formulaic Oscar bait, Phạm Thiên Ân's feature debut, Inside the Yellow Cocoon Shell, which begins its U.S. theatrical release this Friday, January 19, breathes invigorating air into a stretch of the year that can feel very stale for theatergoers. Winner of the Camera d'Or for best first film at Cannes in 2023, Inside the Cocoon Shell challenges viewers through its subtle yet resounding meditations on modern life, spirituality, and the natural world. Clocking in at nearly 3 hours in length and deliberately unhurried in its pacing, the film defies conventional expectations to create an onscreen experience that will be very rewarding for viewers who allow themselves to surrender to its singular approach.
Inside the Yellow Cocoon Shell starts with its core character, Thiên (Le Phong Vu in his debut performance), discussing faith with his friends in a busy gathering place on the streets of Saigon. Turning to his companions, Thiên states, "I want to believe, but I can't." Moments later, in a moment of near-divine intervention, Thiên's sister-in-law Hanh and young nephew Dao are involved in a scooter crash yards away from where Thiên is seated with his friends, but he does not realize this until summoned to the hospital hours later, where he learns that Hanh is dead and Dao has been left in his care. With his nephew in tow, Thiên travels to the pastoral countryside of Vietnam, where he was raised, to plan Hanh's funeral and search for his brother, who had abandoned Hanh and Dao years earlier. Away from the circus of urban life, Thiên discovers a different lens through which he attempts to uncover the trajectory of his life purpose, both through the figures he encounters and the increasingly clouded lines between his reality and his dreams.
Courtesy of Kino Lorber.
Created with a small group of collaborators, many of whom are friends of the director, Inside the Yellow Cocoon Shell leans into the sensibilities of documentary filmmaking through its use of non-actors, natural light, and real locations for shooting. In conjunction with the drawn-out duration of the movie's scenes, this approach allows audiences to become mesmerized by Thiên's essence and his futile journey of discovery. From the viewer's perspective, this exercise in patience is worth the payoff: Thiên continues to reveal his inner workings and becomes a more fascinating character as the movie moves forward.
In support of the film's entrancing naturalistic qualities, Pham and his team's understanding of formal technique significantly contribute to the singularity of Inside the Yellow Cocoon Shell. The use of diegetic sound in both the cityscape of Saigon and tranquil villages supports their efforts to create an immersive experience, whether through the sounds of noisy traffic or the faint humming of insects as the sun rises. The transportive quality of sound in the film is almost as crucial as its deliberate imagery. Even in real shooting locations, Pham's eye for composition within the frame assembles engaging scenes, critical within the context of the movie's use of long takes, never allowing for the uninterrupted shots to become too stagnant. In contrast to this mirrored reality, director of photography Đinh Duy Hưng's camera maintains control throughout, almost like a graceful phantom following its subject. Elegant zooms gradually find the faces of characters within the frame, and tracking shots glide effortlessly parallel to Thiên as he seeks the answers he desires.
Courtesy of Kino Lorber.
Inside the Yellow Cocoon Shell is informed not only by the scenic landscapes of Vietnam's rural lands but also by its cultural and historical fabric. Hanh's funeral includes both traditional Vietnamese rituals and Catholic ceremonies, referencing the country's complicated Colonial past, which Christianity had influenced since the 17th century when the region was infiltrated by Western European occupation. This push and pull between factions of spirituality work in tandem with Thiên's crisis of faith and purpose. In a conversation with an elder from the village where he was raised, Thiên listens to the man's duty and honor in defending his homeland against the Viet Cong during the Vietnam War. Portrayed by a non-actor, this senior worked with the director to speak honestly about his experiences of the past; his figure in the film operates as a connection to the traumatic, not-so-distant history of Vietnam.
Since making rounds on the film festival circuit last year (TIFF, NYFF), Inside the Yellow Cocoon Shell has drawn many comparisons to the work of filmmakers like Apichatpong Weerasethakul and Theodoros Angelopoulos, cornerstones of the contemplative cinema movement. These similarities are apparent when watching Ân's film but should not be taken as reductive analyses. In a world overfilled with movies, television, and other media constantly shoved in our faces, contemplative cinema that takes its time to reveal its message feels like an opportunity for viewers to slow down and truly absorb what they see onscreen. With Ân's visionary promise as a filmmaker, Inside the Yellow Cocoon Shell never feels like an overindulgent drill in style or form.
Transcendent in its audiovisual language and challenging in its form and thematic explorations, Inside the Yellow Cocoon Shell marks one of the most intriguing and refreshing theatrical releases so far this year (even if 2024 has just begun). The film will make its U.S. theatrical debut on Friday, January 19, in New York City at Film at Lincoln Center and will open in Los Angeles on January 25 at American Cinematheque. In the weeks following, Inside the Yellow Cocoon Shell will expand to select theaters around the country.
3.5/5
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