ABSTRACT
This chapter looks at refugee memories as they have been archived in the Vietnamese diasporic cinematic imagination. Trần Anh Hùng's La Pierre de l’Attente (1991) (The waiting stone) and Khoa Đỗ's Mother Fish (2009) embody some aspects of ‘Fifth Cinema,’ which is constituted by the political impulse of the films and the innovative means by which refugees collaboratively produce their work (Kaur and Grassilli). The chapter argues that Trần's and Đỗ's fictional works importantly engender refugee (and not diasporic) lives and protest, in centring the figure of the refugee in both the films’ stories and their modes of production.
