In this interview, we spotlight Dreh’s Um, an artistic-social film workshop dedicated to shifting perspectives within the German film industry. We sat down with founders Đức Ngô Ngọc and Sarah Noa Ngô Ngọc to explore their journeys and the workshop’s mission to empower Vietnamese German youth. Over a year, participants are guided through the entire filmmaking process, turning their lenses on their own families and communities to create unique short films that tell their valuable stories. Join us as we discuss the importance of representation in German cinema, community engagement, and fostering diverse voices in film.

What were both of your backgrounds before the creation of Dreh’s Um?

Đức: I was born in 1988 in Hanoi and joined my father in Germany together with my mom when I was about five years old. My upbringing in Germany was bound to many challenging experiences and when I felt lost and alone, I would turn on the TV and instantly felt like I had a friend sitting next to me. I think it is this experience that motivated me to become a filmmaker. I first studied at Bauhaus University in Weimar and then completed my master’s in directing at the Konrad Wolf Film University of Babelsberg (in Potsdam).

I was fortunate enough to also shoot a feature length documentary called Farewell Halong (VFF 2018) back home in Vietnam and to study abroad at the Hanoi Academy of Theatre and Cinema. During this time I was able to develop my thesis film Trading Happiness (VFF 2021), which I shot in the village of my grandparents. I process my personal experiences of migration in my award-winning work as a director to present my very own perspective on the issue to large audiences, be it in cinema or TV. I know that we have so many more stories to tell and that’s ultimately what led me to the creation of Dreh’s Um. 

SN: I was born in a small southern city of Germany called Freiburg, but soon moved to Addis Ababa in Ethiopia, where I spent all of my formative years as a teenager. Growing up internationally as a “third culture kid” and being confronted with my own privilege early on has highly shaped me as a person and is a crucial experience shaping my own filmmaking career. After graduating from an American High School in Ethiopia, I studied Film, Video, and Integrated Media at Emily Carr University of Art + Design (ECU) in Vancouver, British Columbia, Canada.

After that I moved back to Germany and studied directing at the renowned Konrad Wolf Film University of Babelsberg. In my own work as a writer and director I explore sociopolitical aspects of womanhood, emphasizing intersectional feminist perspectives and collaborative storytelling. My award-winning films Medanit (2015) and Among Us Women (Unter uns Frauen, 2021) showcase my voice and most importantly my approach as a filmmaker. It is this approach, closely linked to blending cultures, community and skill-sharing, that inspired me to be a part of the team behind Dreh’s Um. 

What is the purpose of Dreh’s Um Filmworkshop and how did it get started? What is the significance of the name “Dreh’s Um”?

Đức:  Currently, “Dreh’s Um” is a short film academy with the purpose to create easy, yet professional access to the German film industry. Over the course of one year Vietnamese-German youth (aged 14-24) are professionally guided through all stages of documentary film production. In this process we combine film education with socio-pedagogical support to create a safe space when dealing with challenging issues of identity and discrimination experiences in German society. 

I started Dreh’s Um because after finding my way in the German film industry as a director, I felt somewhat alone with the responsibility of telling the stories of my community. I have my own perspective, but our community is very diverse and I want this to translate onto the screen. Personally, I experienced how difficult it was, and is, to navigate through the industry and I want to support the journey of other young people and motivate them to join me.

After graduating from my master’s, I was also worried about generating an income, with no jobs waiting for me on the free market, and that’s when I thought of Dreh’s Um. I figured together with Sarah Noa, I could build a programme that would help me sustain my daily life and would help to elevate other Vietnamese-German voices: a win-win situation. 

The title Dreh’s Um builds upon a wordplay in German. The verb “drehen” can be translated to “to turn something around” or to “shoot something (in film)”. So the title suggests that we should shift and reframe existing dynamics in the film industry, take the camera into our hands and quite literally point it at ourselves. This way we can own and shape our diverse stories and reframe our narratives. 

How did you select the participants for this program? Were there certain qualities that you were looking for among them?

SN: Before we can think of selecting participants for each cycle it is crucial that potential applicants hear about Dreh’s Um and know that we exist and that they can apply to take part. We are inspired by the idea of street casting used in fiction films and actively search for applicants. In addition to spreading the word online, we, for example, advertise the programme in hair salons, nail studios and supermarkets at the Dong Xuan Center, and Vietnamese restaurants in Berlin. Similarly, the social workers from Ostkreuz City reach out to the families they support and spread the word about the project. 

This way, we received a number of promising applications. As a first step the applicants have to fill out a [simple online] application, that hands us first insights into their person. We then hold personal conversations with each applicant and based on this exchange we consider the group dynamics we want to form. Who brings in what level of experience? How can we merge applications of younger and older peers effectively? Who is shy and who is outgoing? Rather than disqualifying someone with no experience in filmmaking, who might be very shy or closed off, we consider: “Who else did we speak to that might inspire this person to open up and feel safe?” This way the selection process is quite extensive, but so far has guided us to very beautiful group constellations.

How did your participants learn about filmmaking over the course of their time at Dreh’s Um?

SN: At Dreh’s Um, the participants learn about filmmaking through a carefully structured combination of research, hands-on experience, and community engagement. For example, in addition to running the workshops, we’ve explored diversity issues in the German film industry and analyzed them in my master’s thesis, German-Vietnamese Documentary Film Workshops as a Proposal for Promoting Diverse Perspectives in the Emerging Sector of the German Film Industry. This mix of academic research and practical application forms the foundation of our unique cycle structure.

The program is designed as a one-year, free-of-charge experience that runs alongside schooling, studies, or careers. Ten individuals are selected per cycle. After completing two project cycles, involving around twenty participants over two years, we offer an advanced workshop in the third year. Five individuals, who have demonstrated special interest and talent in cinematic storytelling, are selected to deepen their skills in various film departments, building upon the knowledge gained during their initial participation.

Key elements of our program include support from social workers to help integrate adolescents with disabilities and those receiving family aid, addressing issues like family conflicts, discrimination, and identity formation. We emphasize documentary work through technical training and shooting exercises, regular film screenings, and analysis of Vietnamese-German and Vietnamese films. Participants can also connect with Vietnamese-German guests and role models from the creative industry, enhancing motivation and networking. Additionally, they have unlimited access to professional film equipment and knowledge throughout the program and we then guide them through the entire shooting and editing process of their own films. 

The combination of these elements creates a unique and enriching learning environment. We continually reassess, question, expand, and revise our approach to ensure it remains effective and impactful. Through this dynamic process, anchored in action and practice, Dreh’s Um was born and stands out in the industry.

What were some of the most pressing difficulties that your participants went through while making their films, and how did they resolve those obstacles?

Đức: Probably it would be best for them to answer this question themselves. From observation and our own experience as mentors, I can say that the editing process of the films always seems to be the biggest challenge. At the beginning of our workshops and during the shooting process the motivation of all participants is high and thriving. But once they encounter their filmed material, resignation follows. You can see what “mistakes” you made and have to deal with the consequences. Additionally, as a first time filmmaker it can be very overwhelming to make sense of many hours of recorded material and to find your story within. We and our very experienced editors Laura Espinel and Patrick Richter can support during this process, but in the end the participants need to figure out what they want to say. And finding that voice, and learning to articulate your own position whilst you are learning how to edit is a huge challenge. 

To resolve this frustration and sometimes even fear, it is crucial to remotivate the crew from our side and to show what possible paths to finding solutions could look like. When we keep the conversation and exchange running and show them that we too are very invested in their films, they push through and have moments of “editing highs”. It’s important to then ride on the wave of enthusiasm and when the participants see light at the end of the tunnel, they excel. 

During and after the process of Dreh’s Um’s participants making their films, what were some of the most significant things that you learned from them?

Đức: We learn a lot from the Dreh’s Um participants. Something that I find striking every time is the cross-generational collaboration taking place. Our participants taught me the importance of thinking beyond age barriers and learning from different generations, appreciating the value in diverse perspectives from both the older (e.g. parents and grandparents) and younger generations. The latter often introduces a very fresh perspective to our filmmaking journeys, viewpoints that truly come from outside the film industry and this inspires my own work and motivation to keep producing films. 

SN: I agree with everything Đức says, but can add a few personal learnings that stand out to me as a white woman. It remains a privilege to be invited into the safe space that is Dreh’s Um and the process and participants enable me to truly meet and engage with the Vietnamese-German community in a very intimate setting. By sharing their stories with me and in my presence, I get to better understand not only the lived reality of each participant, but also of my own family: my husband, my parents in law, my son. Family bonds in particular are something that strike me and often move me deeply. Be it the bond between a sister and brother or between grandparents and grandchildren – I have learned that there is nothing more important than the support system of your own family.

In what ways is the German film industry attempting to address issues of diversity in front of and behind the camera? What does the environment look like for Vietnamese Germans who wish to pursue filmmaking?

Đức: The German film landscape is in desperate need of change. Research studies like the 2021 Diversity in Film (by Citizens for Europe, CFEU) report lay bare the industry’s lack of diversity and entrenched discrimination – in front of and behind the camera. Conversations abound, from podcasts to conferences, about the need for fresh voices and innovative support for emerging talent.

Yet, the action following the important conversations often focuses on people like me, who are already a part of our industry. For example, the film fund MOIN (Moving Images North) from Hamburg established a diversity checklist that tries to ensure that productions applying for funds form their teams and content with diversity in mind. However, I quite honestly have to say that compared to countries like the UK or the US, Germany is lightyears behind and is having a very hard time to catch up. I believe that a long term shift towards diversity has to also consider breaking down entry barriers for those facing discrimination and navigating elitist educational structures. 

At this point it is extremely difficult to enter the industry and get accepted to film schools and if you can’t rely on [pre-]existing contacts, an internship in the industry, or the money you need to produce films for your portfolio prior to applications. Without these, you almost don’t stand a chance. At the same time artistic careers are often not understood as a plausible career path within our communities and families. The combination of all these factors makes it challenging for Vietnamese-Germans to even get in contact with the film industry or to imagine yourself as being a part of it. That’s why initiatives like Dreh’s Um are so crucial. 

What do you wish viewers to take away from the Dreh’s Um films that will appear at Viet Film Fest 2024 (Everything Belongs to You, Home is Where the Star Fruits Taste Sour, Motherland, Temporary Living)?

Đức and SN: We hope that viewers of the Dreh’s Um films will feel empowered and inspired to tell their own stories, embracing the idea that “everyone is a protagonist,” as our participant Hien puts it. We also wish to highlight and encourage more Southern Vietnamese perspectives in future Dreh’s Um films and workshop editions, so that Dreh’s Um can support a dialogue and understanding between the diverse experiences of Northern and Southern Vietnamese people in the diaspora. If we are lucky, people in the audience, other filmmakers and/or Viet Film Fest itself might be great partners when bringing this idea to life.

Will Dreh’s Um continue moving forward?

SN: We very much hope so. Because our films have been so successful and we are receiving a lot of requests to share our working approach, we sense that we have something special to offer. We are currently in the process of founding a threefold participatory production company. We envision an organization that combines non-profit work in the context of Dreh’s Um Academy with competitive offers by Dreh’s Um Coaching and Dreh’s Um Productions. The academy would continue to offer free-of charge film education, whilst we would commercialize coaching for application processes and the production of (short) films.

NOTE: Đức Ngô Ngọc was a member of Viet Film Fest 2024’s Curatorial Committee. He recused himself from judging any of Dreh’s Um films for their acceptance or rejection to VFF.

Everything Belongs to You, directed by Hien Nguyen, appears as part of the “But Not for Me” short film set at VFF 2024. That set will play in-person at the Frida Cinema in Santa Ana, California at 4 PM on Friday, October 11. It is also available virtually.

Home is Where the Star Fruits Taste Sour (Zuhause ist dort, wo die Sternfrüchte sauer sind), directed by Huy Nguyen, appears as part of the “Love, Actualized” short film set. “Love, Actualized” plays at the Frida at 4 PM on Friday, October 11. The film is additionally available online as part of the non-U.S. version of “Crossing Generations”. Both sets are available virtually.

Motherland, directed by Lan Mi Lê and containing an original song by Another Nguyen, appears as part of the “Love, Actualized” short film set. “Love, Actualized” plays at the Frida at 4 PM on Friday, October 11. The film will also play prior to the documentary feature Hao Are You at the Frida at 10 AM on Saturday, October 12. Both screenings are also available virtually.

Temporary Living, directed by Jasmin Phan, will precede the narrative feature Cu Li Never Cries at the Frida at 12:45 PM on Saturday, October 12. It is also part of the short film set “No Such Thing as an Easy Job”, which is only available virtually.


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