A rich, layered ethnography in which fantasy and fiction converge and coalesce, Minh Quy Truong's The Tree House employs a tautology which is meditative, expansive, and constantly self-reflecting, the fantastical serving as a symbolic device for the films astute ruminations on indigenous lives, collective identity, and diaspora. Time and space themselves are fabrications in this film's complex cinematic language, an assembly of sound and image which observes but also predicates parallels between the metaphysical and material nature of the human experience. Self critical and expansive in it's documentation of these indigenous souls, the film's observational and assertive lens operate in a place of recognition, placating the intrinsic exploitation which is apart of the observational documentary format - the claim of taking one out of anonymity and presenting them to the world. An experience from a region which is severely lacking contemporary cinematic voices.
Love of all things cinema brought me here.