December 17, 2020

ALUMNI SPOTLIGHT: CAROL NGUYEN

NFFTY has grown into a strong and vibrant community of over 3,000 filmmakers from around the world. Alumni have experienced success in many areas of the media industry. To celebrate these achievements, we are highlighting NFFTY alumni here!

Carol Nguyen (NFFTY ‘17-’20) is a Vietnamese Canadian filmmaker based in Toronto and Montreal. Her films often explore the subjects of cultural identity, family and memory. Her most recent film, No Crying at the Dinner Table, premiered at the Toronto International Film Festival and had its international premiere at IDFA 2019, going on to receive the Jury Prize for Short Documentary at SXSW. Carol is a 2018 Sundance Ignite fellow, Adobe Creativity Scholar and a TIFF Share Her Journey ambassador, where she strives to empower diverse voices and women through her own stories and personal experiences in the film industry.

OUR INTERVIEW WITH CAROL:

What first inspired you to start using film as a medium to tell stories? 

I discovered filmmaking in high school after enrolling in a film program. My first film was an expression of trauma, which I was not able to verbalize at the time. Using film and art really helped my healing process. It was the beginning of my comprehension of the power of storytelling.

The majority of your films are documentary, or a hybrid of documentary and experimental. What do you find most compelling about working in those genres? 

Working in documentary and experimental forms allow me to express myself in ways that I cannot yet understand or describe. I break conventions to create meaning and find symbols/parallels in reality. I also think that when I started learning more about world cinema, I was highly influenced by underground and international films. There was an experimental language, in which Hollywood and the mainstream never dared to explore, that spoke to me in greater ways than just image or plot. That innovation and playfulness was what attracted me to trying new and different types of storytelling.

Your work often features your family and centers on very personal stories. What is it like working with your family to create these films? Do you ever find it difficult to be both the director and daughter/sister on set?

I get asked by a lot of people about how they can do a similar thing with their family, or get their parents to be comfortable in from of the screen. In all honesty, I don't think filming family works for everyone. My family is kind of special in the sense that they've been a part of my films and filmmaking journey since I was in high school. They've always been very supportive and proud of my films, so when I approach them to be in a film (especially No Crying), they accept without hesitation because they already have a relationship and trust me as a director as well as the camera. 

I always love working with my family. They are a big part of the themes I am trying to explore, since they hold the key to so many stories of my heritage and of the past. They are one part of the assimilation process, which I try to come to terms with. Our family always walks away from a film with a new experience and understanding of each other. It's really lovely to have the opportunity to tell stories with them.

No Crying at the Dinner Table won the Special Achievement Award for Best Editing at NFFTY 2020 -- what was the editing process like for you, and did you face any unexpected challenges? 

Me and my editor Andrés Solis combed through hours of footage to be able to get the film to what we thought was the core. Like every film, there were a lot of lovely accidents and frustration when we met challenges of how to neatly structure the film. There were many moments where I had to take a step out and put my "director's glasses on" to be able to make cuts to parts of my family's stories that I held dear to my heart - unfortunately, those parts just did not align with what I wanted to say overall. Andrés was a fantastic editor. He was patient, used a lot of trial and error, and was a great listener, trying to make sense of my concept in the project timeline.

What has the experience of working with a team for festival and distribution strategy been like for No Crying at the Dinner Table, and would you recommend other young filmmakers invest in those resources? 

Up until now, I have self-distributed my own films. It wasn't until a friend suggested that I submit my film to a local distribution company, Travelling, that I started looking into passing my film along to others. Working with Travelling has really been a dream. Their team is really dedicated and hard working. They also truly believe in me and my film, which I'm grateful for. I'm not sure if I can give universal advice for short filmmakers in terms of investing in distribution. I can only speak for short film distributors in Montréal, which are very well known, legitimate and passionate.

In addition to participating in many festivals as a filmmaker, you’ve also sat on a few festival juries. What has your experience been like on the other side of things?

I'm always honoured when asked to sit on juries. I feel as if I can pay my dues back to the festivals that helped me. Sitting on juries also helped me understand the selection/award process and how subjective it can be. It has made me set my expectations to a healthier level for myself and be more accepting of my rejections.

Your work has received a lot of positive press coverage over the years, do you have any tips for success for other emerging filmmakers looking to break into the industry and draw an audience to their work?

Make what you are passionate about, don't give up and be yourself. (These are so cheesy, but it's true!)

You’re currently a Share Her Journey Ambassador with the Toronto International Film Festival. How were you selected for that role, and what has your experience been as a part of that movement? 

TIFF approached me back in 2016 and asked if I wanted to be an ambassador. Of course, I did! I am/was the youngest filmmaker on the roster, so I thought they had sent an email to the wrong person at first, haha. The experience with TIFF has been great. My contribution with the campaign varies from sitting on panels, speaking out through interviews, helping to raise donations, etc. I am so proud to be a part of a campaign that is furthering equity and equality for diverse voices in the industry.

How has NFFTY impacted your life or career? 

NFFTY was the first festival where I found a community of young people who loved doing what I loved doing. I built a lot of confidence after attending NFFTY for the first time, just knowing and meeting the network of people who wanted to support young voices. I made lifelong friends and even met collaborators. I don't think I would have been able to understand just how many young people there are out there, who fight for the same thing that I do in film, had it not been for NFFTY.

What’s next for you?

I am currently in development for a short-animated documentary and a feature documentary!