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Friday, August 9, 2019

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Aeon Mall on 8-9-19--Saigon 11









[Aeon Mall in Bình Tân]



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1 comment:

Ian Keenan said...

You wrote a while back about how violent US films export well financially.

I missed "The Third Wife" in the theaters here.. by Ash Mayfair, an NYU grad from Vietnam, set in 19C Vietnam. It only did $81 thousand in US box office so it was gone from the theaters quickly despite better reviews than anything else. Apparently it did $147 thousand in Vietnam in the opening weekend but it was banned by the government after a week because the lead actress has love scenes at 13.

https://www.hollywoodreporter.com/news/third-wife-pulled-release-vietnam-1212887

I thought that the robust business done by Long Day's Journey Into Night in China, a long, slow Andrei Tarkovsky pastiche, indicated that the Chinese audience was getting ahead of Western audiences for art films but then I just saw this in the Wikipedia:

"Despite its unusual story structure, the film was marketed and distributed in China as a romantic event film, and an ideal date movie for its New Year's Eve release. It also received a wide theatrical release. The strategy worked; by 25 December, the film had already sold 100 million yuan ($15 million US dollars) in presales tickets.[8] Despite its strong presales, it faded quickly from the box-office charts, having grossed $41 million US during its initial three weeks (most of it from its 31 December premier).[5]

In China, its massive early box office success led to a backlash; the hashtag “can’t understand Long Day’s Journey Into Night” trended on social media, and users of the ticketing platform Maoyan drove its aggregate user rating down.[5]"

I agree that it's a long film demanding on audiences and I like Bi Gan's first film better. It was, in fact, shocking to me that such a film would sell well, and apparently it didn't. It isn't in my view a classic that would attract die hard advocates. In the US it did about a half million in theaters, which alone would have meant losing money.

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About Me

Born in Vietnam in 1963, I lived mostly in the US from 1975 until 2018, but have returned to Vietnam, where I live in remote Ea Kly. I've also lived in Italy, England and Germany. I'm the author of a non-fiction book, Postcards from the End of America (2017), a novel, Love Like Hate (2010), two books of stories, Fake House (2000) and Blood and Soap (2004), and six collections of poems, with a Collected Poems apparently cancelled by Chax Press from external pressure. I've been anthologized in Best American Poetry 2000, 2004, 2007, Great American Prose Poems from Poe to the Present, Postmodern American Poetry: a Norton Anthology (vol. 2) and Flash Fiction International: Very Short Stories From Around the World, etc. I'm also editor of Night, Again: Contemporary Fiction from Vietnam (1996) and The Deluge: New Vietnamese Poetry (2013). My writing has been translated into Japanese, Italian, Spanish, French, Dutch, German, Portuguese, Korean, Arabic, Icelandic and Finnish, and I've been invited to read in Tokyo, London, Cambridge, Brighton, Paris, Berlin, Leipzig, Halle, Reykjavik, Toronto, Singapore and all over the US. I've also published widely in Vietnamese.