Beyond being the only Vietnamese film to ever be nominated at the Oscars, The Scent of Green Papaya should be seen and kept in mind for a lot of different reasons. The act of summarizing such a film, whose plot is set in a neighborhood that is mostly inhabited by small-scale merchants, somewhere at the midpoint of the 20th century, would mean to impose a sort of linearity onto the film which I think might be ill-suited for such an endeavour. So I will simply invite you into its empire of cardboard and silk, into which a camera has been introduced.

Victor Morozov

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Film critic and journalist; writes regularly for Dilema Veche and Scena9. He studied film theory in Grenoble, Paris, Dublin.

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