Lě Bảo turns his attention to one of the senses with his sophomore festival film Hearing (Thính giác). Although even in a film about sound, it has quiet moments as it observes Nimh (Quốc Tuấn). It shows him playing drums, or his Mother (Ngọc Tản) making some dinner for herself and him. Sometimes, she sings. She remembering her husband with rose coloured glasses, or him having memories of his own marriage. In accessing memories, this film dichotomies clash – past and present, rural and urban in a collision course.

Lě Bảo’s previous works, reportedly, are about other two senses but Hearing is more expectedly, traditionally cinematic. Again, silences work well here, like rituals before the Mother talks about memories of her ex husband. The same goes when Nimh spends time with his children, teaching them how to play the drums. And of course, moments also serve impressionistic storytelling about someone trying hard to be a good father.

Meditative filmmaking isn’t for everyone, and sometimes it’s not even for me, but it has its rewards. Lě Bảo’s has a painterly approach, reminding viewers of shot angles and sizes, which is essential, subtle storytelling. Some directors opt for directness, and he does that in Hearing, but high angles are chef’s kiss. The camerawork gives us a mix of compassion and omniscience while most movies can only do either. Sure, showing Nimh and his ex Ngoc (Khánh Huyền) feels like a shortcut but it works.

Despite Hearing‘s occasional use of Bergmanesque experimental film shortcuts, it still has moments that are fascinating. It’s a celebration of exurban living, Vietnamese folk music, and surprisingly, that country’s up and coming rave scene? I like this film, which may surprise people who are looking for stories told different ways.