Children of the Mist

It’s an auspicious arrival for first-time feature director Diem, who handles delicate subject matter (not to mention vulnerable human subjects) with a frankness that stops short of button-pushing. That tact is crucial in a film operating as both close-quarters character study and wider ethnographic portrait, offering a rare, dedicated view of Vietnam’s little-represented Hmong population.

Diem’s intimate access and sensitive approach, together with editor Swann Dubus’ keen eye for texture and detail, make for a compelling and eye-opening drama.

From behind the camera, Ha Le Diem attempts to protect Di by reasoning with kidnappers, but is pushed away; she admits to the young girl later that she did not anticipate the tradition could be so brutal. The decision to leave in such details is particularly thought-provoking, fracturing the supposed neutrality of documentary film-makers.

The filmmaker educates and entertains with a profoundly human story about the life of a young woman. Viewers will become invested in what happens to Di and learn about the Hmong tradition along the way.

Although this is all presented by Diễm with no judgment, it’s hard to watch such young girls be so blithe about a tradition that robs them of their autonomy.

The filmmaker Ha Le Diem shot Children of the Mist over the course of three years, integrating herself into Di’s life in a way that complicates the documentary’s otherwise unobtrusive, observational approach.