DOC NYC, A Quiet Triumph

One learns to appreciate the understated. Douglas Emerson, a Park City High School alumnus—class of 2014, naturally—has secured a Top 10 placement at DOC NYC with “Y Vân: The Lost Sounds of Saigon.” DOC NYC, for those not keeping score, is significantly less frantic than Sundance, avoiding the snow-drifted chaos of Main Street and the mandatory sighting of Robert Redford. Emerson's film, a collaborative effort with Khoa Ha and Victor Velle, appears to be a thoughtful project, restoring Vietnamese music lost for decades. The film's genesis, beginning eight years ago, suggests a dedication that extends beyond the typical festival circuit flash-in-the-pan. It’s refreshing. One detects a commitment to the work itself, a concept frequently lost in the step-and-repeat red glare of post-screening parties. The project’s evolution from initial research to a fully realized feature—a process Emerson likens to dissecting a ‘whale’—speaks to a level of patience rarely seen amongst the current generation of filmmakers. Ha’s graphic aesthetic, drawing on Saul Bass’s iconic style, is a notable touch. A far cry from the derivative, all-white gallery openings at the Kimball Art Center, which, frankly, are entirely devoid of imagination. Emerson’s mentorship of Ha is commendable, though, one wonders if a little more ruthlessness in post-production wouldn’t have served the 90 hours of footage better.