User Reviews

This film exposed me to the calm and simple life in rural Vietnam. This is definitely not an easy watch, and I'd recommend viewers to appreciate the serene narrative set within a dilemmatic situation.

I've not experienced Vietnamese culture, but I do get a rough idea of its relevance growing up in Southeast Asia. Majority of the film's scenes have a tranquil backdrop, yet it's inhabitants are constantly challenged with the realities of life.

To sit in a dark cinema for 3 hours observing the slow pace of life while contemplating the hidden meanings within the structures and nuances of life as a young Vietnamese, I feel refreshed and grateful for this cinematic experience.

Finding meaning and purpose in life can be a long and solitary journey, especially if one doesn't know how or where to look. So it is for a single, lonely thirtysomething seeker (Le Phong Vu) living in Saigon after moving there from his rural mountain village after most of his family emigrates to America. He feels empty and lost as he looks for a suitable path to follow, but nothing turns up, leaving him increasingly adrift and unfulfilled. However, when a family tragedy occurs, he must return home to pay final respects to a deceased loved one with his young, orphaned nephew (Nguyen Thinh) in tow. The journey thus becomes a metaphor for his search, an absorbing meditation on life, love, death, finding oneself and letting go of old ghosts from the past, including an old flame (Nguyen Thi Truc Quynh) who now has a more serious commitment. This odyssey is fittingly depicted cinematically with a series of long tracking shots and deliberately slow pacing to emphasize the extended time it takes to make such a measured, thoughtful and revelatory passage, one beautifully enhanced by positively gorgeous cinematography. It's the kind of film that gives similarly situated viewers much to think about, particularly given that they're likely to relate to the circumstances of their on-screen counterpart. However, writer-director Thien An Pham's debut film - winner of the 2023 Cannes Film Festival's Golden Camera Award for best premiere feature - could benefit handsomely from some judicious editing, especially in the second half. While this release is definitely a feast for the eyes, some sequences nevertheless go on needlessly long and could have been cut by about 20-30 minutes to reduce its patience-trying three-hour runtime. This shortcoming aside, though, "Inside the Yellow Cocoon Shell" gives audiences a revealing look at the work of a gifted new talent with tremendous potential, one who successfully brings both beauty and inspiration to an insightful finished product. As trite as it may seem, finding our place in the cosmos rests more with the journey than the destination, as the protagonist discovers for himself, a realization many of us can no doubt relate to.

I don't see the point of reviewers who say a movie like this is slow and boring, and "nothing happens." (If you want a movie where indeed nothing happens, try "Goodbye, Dragon Inn.") Sure, there are longueurs, and not all the plot choices are good ones. But there is a quiet beauty about this film, and it is at its best deeply pleasurable. Some of the scenes and framing are like pictures in a museum. The uncertainties of time, place, and characters I often find annoying in other films are less irksome here. I think viewers who appreciative this kind of slow-paced movie, and are less concerned about a pulsing plot than an absorbing sensory experience, will like it.

Inside the Yellow Cocoon Shell won the Camera d'Or at the 2023 Cannes Film Festival and after viewing it, I can see why.

It's a extremely beautiful looking movie with strong direction from Pham Thien An, great sound designs, and interesting themes and concepts explored within the movie. The themes about Vietnamese culture, souls, loss and reconnection are explored throughout as Thein An captures the tone, atmosphere and environment with his directing style and approaches onto the narrative. Many of the camerawork, soundtrack, sound designs and the uses of the performances from the cast are visually breathtaking and felt realistic.

Many of the dialogue moments is pretty strange but it felt like a spiritual experience or poetic style of writing that felt purposeful and fits the setting within the characters and story. For a run-time of 182 minutes, it is slow and it will be tough for many viewers but I personally was observed and invested throughout understanding the hidden meanings and the life styles of Vietnamese culture and the themes explored.

Overall, it's a refreshing to see more Vietnamese cinema.

Watching this film feels like sitting for three hours in a sauna waiting for something that never comes and that I don't even care about.

Usually, I love contemplative film where nothing happens. But it should come with a mastery in mise en scene, and a certain sobriety. Artistic boldness should still hold the audience for the duration to the very end. Yet this film offers nothing beyond its self-indulgent ravishing photography. The filmmaker clearly wants to inflict suffering on the viewer, but this experience is purposeless. And this sense of purposelessness, which one may assume is the philosophical meaning that the film tries to suggesst, is forced upon the viewer through half-hearted dialogue. In fact, the dialogue didn't hold enough attention in relating to the material around it to make it interesting.

It's simply an international coproduction by a Vietnamese filmmaker indented for highbrow international critics and festivals, made for the sake of being clever and 'cinephile'.

Sleepy, nonsense, with too many boring and meaningless long shots. Slept for two hours during a three-hour movie. Sat in the cinema for three hours. Why watch a chicken crow ten times and then have fight with another person? There was a fight between chickens. Why watch Tian An riding a motorcycle through the entire village and village roads? Why watch a tongue kiss and a wild pee in fool? Tian An disgusting useless, the director unbridled cheapening of time not only caused great physical and mental discomfort to the audience, but also revealed his extremely low directorial ability ridiculous,so embarrasing...