Inside the Yellow Cocoon Shell is one of 2024’s most impressive meditative cinematic achievements

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Inside the Yellow Cocoon Shell is one of 2024's most impressive meditative cinematic achievements

As a cinephile who has traversed the labyrinth of films from various eras and cultures, I must say that Ân and Hưng’s “Inside the Yellow Cocoon Shell” stands out as a singularly profound and thought-provoking cinematic experience. The film’s exploration of existential and theological matters is reminiscent of the great masters like Bergman and Dreyer, yet it manages to carve its unique niche with its quiet, introspective nature.

We are all wanderers. All of us navigate life without the answers or emotional security we crave. In response to that void, we wander. Human beings traipse across life, often searching for ways to fill that emptiness, to quell that wandering urge. Drugs, religion, athleticism, art, and family, there are so many ways we try to keep our feet on the ground. Yet we’re always compelled to amble off, those eternally elusive answers beckoning us. Phạm Thiên Ân’s directorial debut Inside the Yellow Cocoon Shell chronicles one such wanderer in Thiện (Lê Phong Vũ).

Ân’s screenplay opens with a motorcycle collision that takes the life of Teresa, Ân’s sister-in-law, while her son Dao (Nguyen Thinh) remains alive. This heartrending incident forms the foundation for “Inside the Yellow Cocoon Shell,” a film where cinematographer Dinh Duy Hung and director Ân consistently employ expansive visual framing to portray the events. The scenes will not only present broad vistas but also foster a tranquil, contemplative ambiance. Moreover, they will underscore the vast environment encompassing the main characters.

Overlooking the accident scene, food stalls continue serving meals to patrons, seemingly oblivious to the incident. As the camera focuses on the wreckage and injured parties, some drivers casually drive by, adding to the grim tableau. This is an event that will indelibly mark Đạo’s life. Not only did he lose his mother in the crash, but he miraculously survived one that took her life. The mental torment stemming from this harsh reality is almost unbearable to contemplate. Ân and Hưng’s cinematography subtly captures the sobering truth that even such a catastrophic event barely slows down the world. The chilling apathy of many toward even the most heart-wrenching scenarios is portrayed with quiet, unnerving force.

In my narrative, I follow in Thiện’s footsteps as he journeys back to his roots, accompanied by Dao, for a somber family event – the funeral of his sister-in-law. The destination, my old home, now shrouded in a haze of memories I left behind. Among these remnants, I seek solace in a familiar face from the past, Thảo, who has taken the path of a nun. Alongside this reunion, I delve into the mystery surrounding my long-lost older brother Tam.

As a captivated viewer, I can’t help but marvel at the breathtaking backdrops that gracefully unfold within the intricate cinematography of “Inside the Yellow Cocoon Shell.” The rich details in every frame hold me spellbound, keeping my eyes glued to the screen as Ân meticulously slows down the pace. This deliberate leisureliness is evident in the visual theme where significant conversations between characters often transpire partially off-screen. For example, Thiện’s discussions with the elderly Mr. Luu frequently occur just beyond the camera’s view. Instead, we witness extended shots of Luu’s home or his Vietnam War veteran medals, captivated by their silent narrative during their dialogue exchanges.

Rarely do we fully understand the people we meet. Human beings are so complicated and nuanced. There are always layers to even loved ones (let alone strangers) that will be total mysteries. Answers to pressing existential questions are similarly often elusive. Thiện himself notes in Inside the Yellow Cocoon Shell that inexplicable parts of reality frustrate him, like why he always wakes up so early. Withholding key visual information in conversation like Thiện and Mr. Luu’s exchange parallels the real world’s incompleteness.

Thiện’s journey across his former homeland unfolds as a breathtakingly beautiful odyssey. A photograph showing Thiện on the balcony of ruins, enshrouded by persistent fog (giving the impression he’s confined within emptiness), is an arrestingly beautiful scene that leaves one in awe, questioning how it was even captured! The scene then shifts, revealing Thiện from behind, no longer enveloped by white fog. Instead, nearby forests and houses are visible from this angle. This stark contrast does not diminish the impact of the earlier images; instead, it adds another layer of complexity to that initial frame. One of the most stunning images in “Inside the Yellow Cocoon Shell” now highlights the fluidity of reality. What appears as an endless void from one perspective is merely a high viewpoint of everyday reality seen from another.

In these two images, “Inside the Yellow Cocoon Shell” serves as a powerful visual summary for the overall narrative. These shots encapsulate how the fluidity of reality makes it challenging to quell our restless desires. Furthermore, they echo the lack of universal remedies for the emptiness that plagues human existence, as each individual’s “solution” to existential dilemmas varies significantly. Thiện, standing on the balcony, takes on different appearances depending on one’s perspective. Similarly, solutions to life’s deep questions are as diverse as the people who seek them. For instance, Thảo finds solace in religion, while Thiện explores other paths to inner peace. An elderly woman warns Thien about the costs of seeking answers to mysteries like his missing sibling, having found her own sense of tranquility through means that may be alien or ineffective to Thiện.

The prolonged nature of each shot in “Inside the Yellow Cocoon Shell’s” enhances the script’s themes particularly well, as the fixed gaze of the camera emphasizes the discomforting distance between Thiện and the other characters he interacts with. For example, the hesitant dialogue during Thiện and Thảo’s first conversation at a church doorway feels especially awkward in this visual context. The slow tempo amplifies scenes such as Mr. Luu narrating his war experiences to the main character, making the images of this traumatized man all the more poignant. These extended shots intensify the emotional pain that Mr. Luu carries daily and underscores his inability to escape his trauma. The cinematography and editing prevent viewers from avoiding Mr. Luu’s haunted gaze or subtly tormented performances.

Ân and Hưng’s film “Inside the Yellow Cocoon Shell” masterfully delves into profound existential and theological themes, a feat that would undoubtedly earn admiration from filmmaking legends like Ingmar Bergman and Carl Theodore Dryer. Remarkably, this exploration is all the more impressive given the movie’s understated demeanor. The soundtrack is sparingly used, featuring distant animal sounds, footsteps on grass, or the hum of motorbikes rather than a cacophony of noise. The screen is often filled with tranquil images of fish swimming peacefully in a bucket of water, as opposed to an array of loud and chaotic scenes.

The unique sound design in “Inside the Yellow Cocoon Shell” creates a cinematic sensation akin to lazing on a hilltop during an autumn day, providing a peaceful escape from daily life (as symbolized by indifferent drivers in “Cocoon”). In this tranquil setting, one can listen to their inner thoughts and ponder questions that the pressures of capitalism typically keep us from contemplating. Although answers may not be found, reflecting on what lies beyond our immediate world can offer a sense of peace. The minimal soundscape enables deep introspection. Remarkably, this universal experience is effectively conveyed through Ân and Hưng’s distinct visual style. Few films are as thoughtfully crafted and rare as “Inside the Yellow Cocoon Shell.”

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2024-08-22 15:15