“Jasmine”: A symphony of colours crafted by an Italian artist and director Dang Nhat Minh

“Jasmine”: A symphony of colours crafted by an Italian artist and director Dang Nhat Minh

RMIT lecturer in Digital Film and Video Martino Cipriani shared his remarkable journey as a colourist alongside the esteemed Vietnamese director Dang Nhat Minh in his latest project titled “Jasmine”.

My journey with Dang Nhat Minh and “Jasmine” (Hoa nhài) started over a cup of coffee. Despite our age difference and diverse cultural backgrounds, we discovered an unspoken connection through the universal language of cinema. Conversing in a blend of English and French, Dang Nhat Minh shared with me his ongoing project, “Jasmine,” a compelling narrative about the lives of individuals seeking hope and dreams in the bustling city of Hanoi. 

Touched by the director's dedication and the profound story, I offered my services as a colourist to the project. It was an opportunity to infuse the film with colours that would celebrate the spirit of Hanoi and the lives of its people.

Martino Cipriani (second from right) and director Dang Nhat Minh (middle) Martino Cipriani (second from right) and director Dang Nhat Minh (middle)

With great enthusiasm, I embarked on the colour grading process, setting up my studio to paint a vibrant symphony of colours that complemented the soulful account of the movie. 

Hanoi is well-known with its rich cultural heritage and dynamic scenery. As the only colourist on the project, I had the privilege of shaping the film's visual aesthetics. The subdued tones, muted hues, and low saturation captured the city's atmospheric charm, painting a mesmerising canvas for audiences to immerse themselves in. 

The completion of “Jasmine” marked a significant milestone, as the film found recognition in numerous international film festivals. Despite its modest budget, the film resonated deeply with audiences and critics alike, a testament to the power of artistry and storytelling.

Reflecting on this journey, I believe that “Jasmine” exemplifies the power of collaboration, where creativity has no borders. Artistic expression becomes a collective endeavour, driven by the desire to communicate with audiences on a profound level.

Beyond the realm of “Jasmine,” I see an opportune time for Vietnamese filmmakers to explore the richness of “slice of life” storytelling. The cinema landscape is evolving, with a growing interest in Southeast Asian films both locally and internationally. There is ample space for filmmakers to delve into realist approaches and create authentic stories that capture the essence of Vietnam.

Martino Cipriani in his studio Martino Cipriani in his studio

As an artist, my passion lies in engaging with communities and society through the language of cinema. The act of creation is not merely an act of self-affirmation; it is a means of communicating with a larger audience, representing culture, values, and the essence of a nation.

Regarding the Vietnamese film industry, I believe that the dominance of Hollywood and Korean cinema in theatres reflects the business-oriented approach of distributors. The absence of film quotas in Vietnam allows theatres to choose the films that cater to a wider audience, which often translates to foreign productions.

To address this, it would be beneficial to implement film quotas and support local filmmakers, fostering creativity and the production of original content. Vietnamese cinema has a rich history of powerful films from the past, showcasing the country's artistic capabilities, and it is crucial to nurture this potential.

My journey with “Jasmine” and Dang Nhat Minh has reaffirmed my belief in the power of cinema as a collective art form. Through collaboration, passion, and a commitment to authenticity, we can create works of art that transcend borders and resonate with audiences across the globe. 

Story by: Martino Cipriani, Associate Lecturer in Digital Film and Video, School of Communication & Design, RMIT Vietnam

“The best films rely on human values”

Amidst fierce competition from Hollywood and other Asian countries, how can Vietnamese film directors preserve their national values?

For me, the best films do not rely on national values, but human values, and films that can explore freely the human values and relations we all share tend to find audiences and resonate with them, wherever the film comes from. Asian nations are finding that by exploring human contexts in their own regions and environments, they have successfully made movies that address local interests while also finding wider international audiences.

How can management and filmmakers collaborate to strengthen Vietnam's film industry and compete with the developed film industries in the region?

What I learn from Vietnamese film makers and distributors is that unclear rules of censorship guidelines hinder film development and production, and that an approach more in line with other international models would support a more diverse engagement in story development. I know that Vietnamese distributors and production companies are lobbying for this, and hope developments can follow in this field.

Dr Nick Cope, Program Manager for Digital Film and Video, School of Communication & Design, RMIT Vietnam

28 July 2023

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