The Tree House

Porcupine evokes the fragmented tale of a young man who breaks into an empty hospital to set up his online broadcast of poses and provocations; his audience includes real-life participants with anonymous tags like ‘bigballnz’ and ‘romeoazteca’.

In the depths of the underground coal mines, where danger awaits and darkness prevails, Nam and Việt, both young miners, cherish fleeting moments, knowing that one of them will soon leave for a new life across the sea.

In 2053, Saigon, Vietnam is submerged in water. People have to move to the higher places for survival. The Vietnamese government has tried more than once to carry people to Mars, but their attempt turns out to be just a bitter failure.

In an uncertain future where Vietnam is on the verge of being submerged in water, a son, far away from home, remembers his family. By way of cinematic magical transformations, trivial stories and banal images suddenly become unreal, as if reflections of something beyond reality.

She was born in a cave, more than 60 years ago. Now she lives in a village, with many children and grandchildren to look after. Sometimes, she dreams of her dead mother calling her home – to the cave.

On a slag heap, where coal miners used to tramp, men are now awaiting each other.

Truong Minh Qúy’s found footage film brings together multiple scenes depicting soldier’s deaths in Vietnamese propaganda films, revealing aesthetic patterns that speak to a nationalist agenda while hinting at a broader value system within Vietnamese society.

A silent film by Vietnamese director Truong Minh Quy in collaboration with Belgian director Nicolas Graux, was shot on the set of a film by Graux. We Sit in Silence at the Memorial Table is inspired by Educational Objectives, a poem written by Aleksey Garipov and translated to English by Nicolas Graux.

A visually provoking short film about one of the most extreme homosexual practices.