“Fresh Flowers”: A brighter Summer day

Black screen. The light turned on and illuminated the hand. Several credits on red background. Conversation between parent and school representative about student test results. A child sitting outside hears. Father and child riding a bicycle. In front of his father, he sat in an ice cream shop, ice cream platter, and the radio broadcast the names of university admissions. Directly sit and eat ice cream. The black screen has words, content about the context of Taiwan in the 1960s, including a generation of people who fled China to Taiwan with a sense of fragility and insecurity.

That’s how Duong Duc Xuong unfolds his film story. It is easy to see, “the flower” in “A brighter summer day” is closely tied to the political, cultural and social context that the director chooses, a complex, sprawling, context: Taiwan in the early 1960s. Complicated, disordered by the presence of a generation of restless immigrants of identity in society is also patchy identity: the ruins of Japanese fascists, the throne of American imperialism and the faintness of Chinese culture. They live with anxiety and anxiety when the homeland has stayed behind and the future is woven by the painful memories of the present.

Frustrated because throughout the film, the fragile and violent coexistence makes the damage cracks. We will see the light bulb at the beginning of the film get smashed in the middle of the film. The young they bring with them their unknown into the world of bullying systems: the school, the gang. Even the family and the church – a place of comfort, become distant … Good-evil, good-bad, love, friendship, righteousness, … are in pain. Sometimes the hand holding the brick, the sword stopped at the pressing of life or separation of lovers.

But basically, blindness is what emerges on film. Blindness needs when people kill each other, pay each other. Blindness means not seeing (seeing) each other, not tolerating each other. They pressed against each other, but not swords, guns but equally sharp, it was a narrow frame, an ideal, and an expectation of themselves in order to confirm one thing that the film had mentioned: security safe. Because of pursuing safety, people become just seeing insecurity coming out and jumping into sleep right in the middle of their house.

And because of the pursuit of safety, people always miss the support of people: a tape of their confession and the singing of a friend can save a murderer-teenager rather than a hymn or an exhortation theology but people are ready to throw in the wastebasket. The final scene of the movie but it hurts so much. One day it will be sunny. Family drying, cleaning. The broken radio in the previous episodes captured the radio and broadcast a clear list of students who passed the university – details also appeared at the beginning of the film. Against the background of that sound, instead of the father and son eating ice cream, the mother stopped her hand drying the clothes of the prisoner ‘s school uniform and gradually pressed it to her chest.

Duong Duc Xuong is considered to be one of the directors who created the New Wave of Taiwan cinema with Hau Hieu Hien, Thai Minh Luong … image. Duplicates are deployed at different levels to increase the power of expression, potential to change the meaning of objects, details, actions, relationships … What I noticed between Duong Duc Xuong, Hau Hieu Hien, and Thai Minh Luong are proactively bringing sound and music into the key factors for the configuration of film life. Affordable, in the depths of insecurity and stillness, sound is what we catch the most sensitive. It brought back pain, leaking dreams so poignant, tolerant …

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