‘Flapping in the Middle of Nowhere’ is an ambitious film that at times does too much and ends up burying its own beautiful simplicity.
Words by Fabiola Büchele
The story is simple really and all too common if recent abortion statistics are taken into account. A young woman is pregnant. We can safely assume it wasn’t planned, and she now faces a tough decision with a crucial cut-off point – for the reluctance to choose is in itself a decision with massive implications.
It is this looming life decision that keeps Nguyễn Hoàng Điệp’s first feature film, ‘Flapping in the Middle of Nowhere’ engaging to viewers, despite the paralysing passivity of the main character, Huyền.
Her lackluster attitude towards the pregnancy, which she neither rejects fully nor seems keen to carry through, makes for the unexpected thrill of the film. The foetus is a ticking time bomb, and her friend and transgender prostitute Linh (Thanh Duy Phạm Trần) grows exasperated, as does the viewer, of her seeming inability to grasp the severity of the situation. This would be all the suspense needed.
Unfortunately, a number of unnecessary subplots and themes are also woven into the film. At times it seems as indecisive as the main character about what it wants to be, what story it wants to tell, which social ills it wants to tackle. Prostitution, outlandish sexual fetishes, poverty, domestic violence, parent-child conflicts, gang violence at cock fights and a transgender best friend are all added to the mix and take away from the strength of the core story. Some of the story lines are interesting in and of themselves, but because of their sheer number, most of them fizzle out and do not get the attention they deserve.
In addition, sometimes the film lingers at strange crossroads seemingly unsure of where to take the story next. Then at other points, it rushes through scenes where it could have delved deeper into the issue at the heart of the matter: the social conundrum of seeking an abortion, which though legal, is far from acceptable. Scenes such as those at the hospital, where Huyền is being judged by the very doctors who perform abortions, beg to be explored more.
In its entirety, ‘Flapping in the Middle of Nowhere’ is an impressive feat for a first time feature film. It deserves to be seen for tackling the complex themes of unplanned pregnancies and abortion, as well as for its unusual female perspective.
The strength of the film then lies in the details of some of its more gentle scenes and beautiful cinematography, which evoke the same sleepy, somewhat otherworldly Hanoi – always in a state of having just woken up – that ‘Vertical Ray of the Sun’ did. Some of the best moments of the film are scenes of Huyền and her boyfriend Tùng in the back of an urban maintenance truck being driven through the city and taken to dates, which always collapse with such realism when romance turns to unreciprocated sexual hunger. The opening scene too, where Tùng finds a couple of fish swimming in a pool of rainwater that has collected in the plastic casing of a street light is simply beautiful film making. We wonder, as does he, how they got there. But it doesn’t matter, they are the small gifts the world offers for free to those who bother to look.
The feel of the film is further exemplified by a Wong Kar-wai-esque mist, which turns everything at the edges grey and smudgy. The film only gets some colour every time Linh removes his wig to reveal a flock of candy pink hair.
The characters of Huyền and Tùng are beautifully portrayed, with both Thuy Anh Nguyễn and Hoàng Hà delivering subtle and pure performances. Hoàng Hà especially carves out nuances of his character’s layers to create a perfect opposite to gentle Huyền that viewers will both despise and empathize with in equal measure. Most importantly, his erratic changes in emotion seem real in all their contradiction.
In contrast to all of them is Bảo Sơn Tran who plays Hoàng, the strange john who likes to sleep with pregnant women, and who Huyền sells herself to in order to raise cash for the abortion. His stage ready performance adds an entirely alternate acting style to the mix, sitting awkwardly between the fresh, raw and honest performances of his younger counterparts.
In its entirety, ‘Flapping in the Middle of Nowhere’ is an impressive feat for a first time feature film. It deserves to be seen for tackling the complex themes of unplanned pregnancies and abortion, as well as for its unusual female perspective that, despite being passive and seemingly helpless, manages to emerge strong and fierce.
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Nguyễn Hoàng Điệp is currently focusing on supporting young independent filmmakers at her own, recently founded studio and is finalising her second film script ‘The saddest story on Earth’.
‘Flapping in the Middle of Nowhere’ premieres on 21st January 2015 at CGV Arthouse, Ho Guom Plaza Hanoi; on 22nd January in Saigon and from 23rd will be screened at all CGV cinemas nationwide. Visit https://www.facebook.com/dapcanhgiuakhongtrung for further information.
