The break-neck speed of the economic success and associated development experienced by Viet Nam in recent decades is well-known, yet for many outside the country mention of it still brings to mind the horrors of the 1955-75 war. In 'Monsoon' Kit, who as a child in the late 1970s left the country as one of the boat people, returns for the first time to scatter his parents' ashes. But as he explores Sài Gòn and meets relatives last seen thirty years ago, he finds much of the modern country does not resemble the distant memories of his childhood. Relief from this confusion comes in the muscular arms of Lewis, an American entrepreneur struggling with the ghosts of his father's involvement in the war. Kit's bewilderment at the modern face of a country long ago left behind reminded me of many British expats I have met during my travels - pining after a country that I doubt ever really existed as they remember it. Unfortunately writer/director Hong Khaou portrays this by filming many sequences of Kit staring glumly at buildings (although to be fair, sometimes he gets closer to them and we get instead a shot of Kit staring glumly at a door, which at least adds a bit of variety). Lead actor Henry Golding does not help: I like a subtle performance, but there is a difference between subtle and simply sounding uninterested in the lines you are delivering. Parker Sawyers puts a bit more oomph into his portrayal of Lewis and thus creates a more interesting character. I also found interesting the character of Linh, a young and modern local woman under pressure to join her family's tea business which she finds hopelessly out-of-date and inefficient, even if it provides a quality product. In her scenes Khaou explores, in a balanced way, the disagreements between modernity and tradition, between the young and their elders. Unfortunately, though, there is not enough of either Linh or Lewis to rescue this film. I can say it was worth seeing once, but I will not be troubling myself to watch it again.

source: Monsoon

source: Monsoon

I was looking forward to seeing this film because I spent many months that stretched into years in Thailand, Malaysia, Singapore, Jakarta, a little in Burma. But I never made it to Vietnam. So I was interested in the scenery, if nothing else...wondering how similar Saigon and Hanoi were to the other SE Asian cities I spent time in. And, what was the upcountry experience like, as compared to upcountry Thailand and Malaysia. Instead, as I watched this BORING film with so many possibilities, I kept imagining what the director said to his crew and the actors before shooting began. "Okay guys. We're to take a sentimental story -- scattering Vietnamese parent's ashes back in their homeland -- and turn it into the most boring story every put on film. Our star is going to portray the most boring Vietnamese man on the planet, who has a fling with a not so boring (but far from interesting) Black man in Vietnam. Now I know that doesn't make a lot of sense. But gee, so what. Let's go with an illogical interracial gay relationship in Vietnam. To make it more boing, we'll get lots of shots of our star just staring aimlessly. We won't really get into any of the culture of Vietnam. That would be interesting, and remember we've got to keep this boring. And by the way, I chose Henry Golding to play the Vietnamese man because he doesn't look or act Vietnamese. So everybody, here are some sedatives, dose up so we can snooze while we film this". I'm not kidding. This film -- with all its potential -- is boring. I had to check my pulse a few times to be sure I hadn't gone into a coma. And by the way, just how many long scenes of riding as a passenger on a motorcycle to we really need? And what did he ever do with his parent's ashes??? The whole reason for his trip to Vietnam. My most boring day ever in Thailand, Malaysia, Singapore, Jakarta, or Burma never got this boring. I'm not sure I can even think of something redeeming about this film...other than Henry Golding being handsome.

I like the premise of identity and change, but I was left asking 'and so what' after watching this film. Most of the questions raised seem skin deep and with no real attempt at conclusion, whether it's Kits apparent challenge as to where he belongs, whether his parents wanted to return to Vietnam after death, the extended family dynamic, the knock-on effects of the Vietnam war for both Vietnamese or Americans, or the questions of generational change and debt to your parents for Linh. All of these are interesting but the film frustrated in its approach to them I feel. Definitely some positives to take and still worth a watch but falls short.

Monsoon is a nuanced, beautifully shot character study. The basic premise is simple, chronicling the story of a man who journeys home after a family bereavement, in an attempt to reconcile with his past - coming to terms with the loss he's suffered since leaving Vietnam - meeting another kindred spirit in a chance encounter that results in a blossoming romance between the two. Thus, from that pain, love grows - & in the one place he'd avoided, he now has a reason to stay. It's slow & intentionally ponderous, wandering through the labyrinthine streets in a dreamlike trance - enhanced further by director of photography Benjamin Kracun's aesthetic which captures the film through a watchful lense, following our lead with a patient sense of natural observation, mirroring his perspective of reality. Hence, we begin the film as lost & lonely as Kit is in his own mind, grounded amongst the bustling vehicles & rushing pedestrians - but as the narrative progresses & his feelings for Lewis grow stronger - the cinematography poetically conveys how eventually they find their way above the chaos, lifting each other out of the dark & in to tranquility, safe in each other's company.

The break-neck speed of the economic success and associated development experienced by Viet Nam in recent decades is well-known, yet for many outside the country mention of it still brings to mind the horrors of the 1955-75 war. In 'Monsoon' Kit, who as a child in the late 1970s left the country as one of the boat people, returns for the first time to scatter his parents' ashes. But as he explores Sài Gòn and meets relatives last seen thirty years ago, he finds much of the modern country does not resemble the distant memories of his childhood. Relief from this confusion comes in the muscular arms of Lewis, an American entrepreneur struggling with the ghosts of his father's involvement in the war. Kit's bewilderment at the modern face of a country long ago left behind reminded me of many British expats I have met during my travels - pining after a country that I doubt ever really existed as they remember it. Unfortunately writer/director Hong Khaou portrays this by filming many sequences of Kit staring glumly at buildings (although to be fair, sometimes he gets closer to them and we get instead a shot of Kit staring glumly at a door, which at least adds a bit of variety). Lead actor Henry Golding does not help: I like a subtle performance, but there is a difference between subtle and simply sounding uninterested in the lines you are delivering. Parker Sawyers puts a bit more oomph into his portrayal of Lewis and thus creates a more interesting character. I also found interesting the character of Linh, a young and modern local woman under pressure to join her family's tea business which she finds hopelessly out-of-date and inefficient, even if it provides a quality product. In her scenes Khaou explores, in a balanced way, the disagreements between modernity and tradition, between the young and their elders. Unfortunately, though, there is not enough of either Linh or Lewis to rescue this film. I can say it was worth seeing once, but I will not be troubling myself to watch it again.

Gay romance that was supposed to be controversial because one boy is American one Vietnamese. They talk about war few times. Have sex more times. Flat acting. Just plain boring piece. Has 5.9 at the moment but after bbc2 screening that will go to 5.5. Watch this space.

A guy walk around to find something or maybe somewhere he belong. I'm so glad to hear that this film is totally filmed in Vietnam, my country, it's exciting waiting... but nothing really been showed. This film has a really boring plot, it just about this guy, take a trip from Saigon to Hanoi with no purpose (not to find love, or a home, he just simple following his memory when his family been here), and then he chose to stay (which i don't know why, if it because Vietnam is his hometown, then it sound so unreal, or because the man he love here, then it weird because this lover-guy not even a Vietnamese, so it make no sense and no related at all) the scrip easy to guess, no climax or impressed scene, it almost no meaning at all. This film has a silent vibes which really comfor me, but the scrip just can be saved. Boring. But i still watch it, cause i love my country and really happy to see it on a foreign director's movie.

Everything about Vietnam in this film is slightly edgy vibrant and totally authentic through a visitor's perspective, trying to make sense of the 'new' Vietnam both in Saigon and Hanoi. With the constant noise and chaos of motorbikes filling the audience's senses. The characters create the past and give air to the futility and crimes of war without attempting to allocate blame other than humanity's inhumanity to man. To a sad few this film will be viewed superficially as lacking story line and sex! but oh how that is actually the pieste de residence. Not everything was perfect and the American in Vietnam story line was weak almost to the point of cheesy but I still found something potent in this film.