Sigh Gone is a new film by writer-director Jeannie Nguyen and cinematographer Andrew Yuyi Truong, the filmmakers behind First Generation. The duo’s latest storytelling effort takes them to their parents’ home country of Vietnam, where with help from local producers at BLAZE they’ve crafted a love story with a contemporary twist.
The short film centers on Thuy, a girl who’s desperately trying to get over a recent heartbreak. Alone at home and unable to quiet her restless mind, she decides to go for a ride on her scooter. But as she cruises through the bustling streets of Saigon, she discovers there’s no use hiding from her emotions. Her grief is even echoed by lyrics inscribed on the back of her motorcycle helmet. The quote, penned by Vietnamese musician Trinh Cong Son, translates to, “Not all that is lost is forgotten.”
这部短片以一个正在拼命试图从最近的心碎经历中走出来的女孩 Thuy 为中心，影片描述了她一个人在家，无法平静她的心绪不宁，于是决定骑上她的机车去兜风。但当她在西贡熙熙攘的街道上穿行时，她发现隐瞒自己的感情是没有用的。她的悲伤和印在摩托车头盔背面的歌词所呼应，那是越南音乐家 Trinh Cong Son 的原话：“失而不忘。”（Not all that is lost is forgotten.）
As her day drags on, the bereaved protagonist’s heartache goes from bad to worse—she can’t even make even simple decisions, like where to go and what to eat. To make matters worse, she realizes she’s completely forgotten about a friend’s birthday, and when she rushes over with a cake to make amends, the neighbors tell Thuy no one’s home, and chastise her for being a terrible friend.
随着时间的流逝，失去所爱的 Thuy 的心痛愈发加剧，她甚至不能做出简单的决定，比如去哪里、吃什么。更糟糕的是，她完全忘了朋友的生日。当她匆忙拿着一块蛋糕去赔罪时，邻居们跟她说根本没人在家，且指责她是个糟糕的朋友。
Thuy heads home feeling even more defeated than before. But as she pulls up to her apartment, she finds a welcomed surprise: her lost love is there waiting for her—an iPhone that she left at a friend’s place.
回家后的 Thuy 感觉比之前更沮丧了。但当她把车在公寓停好后，她发现了一个惊喜：她丢失的“挚爱”在那里等着她——她的 iPhone，曾留在了一个朋友家的 iPhone。
Sigh Gone turns out not to be a story of lost love after all, but a commentary on our obsession with smartphones. While it’s a lighthearted take on the subject, there is something bleakly familiar about this portrayal of our modern consumption habits. For many viewers, the anxiety and frustration of not having our smartphones within arm’s reach may hit a little too close to home.
Alongside technology codependency, the film also touches on the double-edged nature of social media. “To be honest, it’s a little scary that today’s young people have never experienced life outside social media,” Nguyen says. “While these platforms can be great tools to make connections with and be exposed to art and culture from around the world, they’re more frequently highlight reels for people’s lives. It’s inauthentic, but young people don’t process that. It can be detrimental to their psyche.”
At one point in the film, Thuy asks herself, “What’s the point of creating memories if they’re not shared?” This question takes on a different meaning when it becomes clear that she’s referring to Facebook. What seems like a wistful question becomes a damning critique of our need to be constantly plugged into these digital feeds. With the ubiquity of smartphones and our ever-increasing screen time, Sigh Gone poses a tough question: are we living our own lives anymore, or are we too busy living vicariously through our devices?
除了科技与人的共生关系，这部电影还涉及了社交媒体的双刃性质。“老实说，现在的年轻人在社交媒体之外从来没有体验过生活，这有点吓人。” Nguyen 说，“尽管这些平台可以成为连接世界各地的艺术文化，并成为与之接触的绝佳工具，但它们通常只是起了强调人们生活的作用。这不是真实的，但是年轻人不会接受。这对他们的精神是有害的。”
在电影中，Thuy 问自己，“如果不能分享，那么创造记忆有什么意义呢？”当明确了她所指的是 Facebook 时，这个问题就有了不同的含义。似乎从一个伤感的问题变成了对现代人们捆绑于数媒信息之上的一种严厉批评。随着智能手机的普及、人们屏幕时间的日益增加，《Sigh Gone》提出了一个严峻的问题：我们是在过自己的生活，还是我们忙于通过设备，以间接的方式生活？