Song lang

This is the Vietnamese excellent movie, mentioned about the traditional performance (cai luong) and the moment of boys love

"Song Lang" stands as a shining example amidst the often tumultuous landscape of Vietnamese cinema. It distinguishes itself with a compelling storyline that gracefully navigates character development, a rarity in a country where such nuance is often overlooked. In stark contrast to the discomfort one might find in many Vietnamese films, "Song Lang" manages to evoke a sense of ease and authenticity that is a breath of fresh air.

The film's careful inclusion of traditional Vietnamese performances and folksongs is a testament to the filmmakers' dedication to preserving cultural heritage. These elements are not mere adornments but are seamlessly woven into the narrative, contributing to the film's beauty and emotional resonance.

In a cinematic landscape that sometimes leans towards the formulaic and superficial, "Song Lang" stands out as a true gem. It defies the trend of mediocrity that plagues the Vietnamese movie industry, offering a rare and invaluable experience for those who appreciate well-crafted storytelling and the rich tapestry of Vietnamese culture. This film is a testament to the potential for excellence in Vietnamese cinema when passion, talent, and a commitment to cultural authenticity converge.

Song Lang (2018) is a Vietnamese film co-written and directed by Leon Le.

The premise of this film is that an emotional connection is possible between two men of very different outward temperaments.

Isaac plays Linh Phung, a performer in Vietnamese traditional opera. Lien Binh Phat portrays Dung "Thunderbolt," an enforcer for a vicious lone shark.

Thunderbolt goes about his job with impassive, brutal efficiency. He says that when people borrow money, they have to pay it back. If they can't, or won't, he sees to it that they do.

The two men meet when Dung Thunderbolt is about to burn the costumes when he's unable to collect a debt at Linh Fung's opera. Linh offers him enough to keep the match unlit, although Dung won't accept it.

The two men are attracted to each other. No one ever mentions the word "gay." It's probably not acceptable in Vietnam, where all culture is controlled by the state. My sense is that Cai-Luong opera male stars are thought to be gay, even though they portray excessively masculine characters onstage.

Their relationship changes their lives, in unusual and surprising ways. The plot of the film is complex and subtle, and keeps you thinking about it after the movie is over.

A real bonus is the scenes from the opera performances themselves. The opera music sounds strange to our western ears, but that doesn't mean we can't enjoy it as a true art form.

Both men are fine actors. However, for me, the best acting was done by Phuong Minh as Auntie Nga, the loan shark. I can't remember someone portraying a person with no soul so well. When tragedy strikes, her comment is, "No one is forced to borrow from me." She clearly has no guilt at all about her actions.

We saw this movie at the Little Theatre, as part of Rochester's wonderful ImageOut Film Festival. The opera scenes probably work better on the large screen, but the film is worth seeing on a small screen if that's your only option.

This movie has an extremely high IMDb rating of 8.0, with over 200 raters. That's amazingly high for a foreign film about gay men. I consider this a must-see film if you're interested in the music or in a relationship that grows between two very different men. I highly recommend it.

This movie moves me so so much. The camera work is execellent, beautiful shots. The acting of both the lead and supporting actors is great. The retro theme of Vietnam is poitrated to detailed levels, even the gift warp... I saw some commenting about this not being a real boy-boy relationship just a friendship. That is so wrong. The realtionship is so sutle, sophiticatedly pictured and that is a beauty of it. Gay love should not be all about hot scences... I wish there were more Vietnamese films this good. I am sure there will be but can someone speed it up.

The film is permeated by the vibes of cai-luong (reformed theater), a kind of traditional Southern Vietnamese folk opera. Here features a young guy who appears quite violent in action, quite muscular and rugged in build, and quite terse and monotonous in words. There features another young guy who appears meek and slim and naive and nice. They have the same childhood studded with memories of cai-luong troupes and activities. Yet as courses of their lives roll on, one strolls toward his fulfillment, and one along his perilous path and keeps that until the very end. Of course, on their ways, they have a brief pause to have a chance encounter followed by another chance one, extended by some spell of a prolonged conversation around art, life and even time travel. That's where the promising opening of the film is faded into hackneyed verbal patterns typical of ordinary situations in Vietnam. It's quite clichéd yet real.

Above all, I find the film most charming in its decent presentation of Southern Vietnamese ambience, mostly vividly expressed via minor characters, which feels so dear to me, who is also a native Southern. And it's the only big plus in my view of this film. Perhaps some people would mention its shots of beauty or exquisiteness or splendor, you name it, as an unignorable outstanding aspect, for good reason of their own. That is so exaggerated and not the case in my mind, as they are nothing more than some kind of mimicked and framed creation rather than revealing or creative one. I do find them beautiful, and only deem them as the spice of the film just as a variety of people portrayed here of life. After all, setting aside some over-romantic or over-hinted scenes and some faux coincidences, I'm left with a film of moderate caliber with few nonsensical happenings and verbalization which are usually a trademark for Vietnamese films.