WE COME INTO LIFE

Their topsy-turvy transition to adulthood, set in motion by the sudden death of their parents, makes for an intense, heightened state where “normal” is suspended, and life is en¬countered as a kind of game. This is a time where the line between what is acceptable and what is deviant has become blurred.
The film opens with the parents’ death, signi¬fying a vacuum of moral authority as brother and sister are left alone and unprepared for life.
The realization that their formal schooling is over and they must find a way to support themselves illustrates the vast chaos between the realities of survival and the hopes and dreams of their idealized youth. The difficulty of finding a job shows the hopelessness of working for minimum wage when contrasted with the hopes of their generation.
The film does not base its narrative expression on actions but on their consequences. The intention is to take what happens to the fortunes of these characters in a city and revealing these situations in their metaphorical form.

By the two adolescents, adopting an attitude of “take what comes” (que sera sera) to their circumstances is the main current that creates this lackadaisical approach to life. In addition, the characters of the two white drifters envelop the film with an ambiance of huis-clos (dead end) with its dark but comic side in the parent’s house of the two adolescents. And, of course, the old blind dancer in an immense dilapi¬dated house represents the lost universe of artistic and po¬etic old values.
Sexuality in this film is intentionally non-conforming. Mai de¬cides to casually and without thought or feeling lose her virginity as if it’s an inevitable act beyond her control. She is completely indifferent and unattached to the act. The two strangers who take her virginity are equally indifferent as they are shown to be bisexual. Vinh has his first sexual act with the very old and blind dancer, at least in the first time, a world of ruins in grace opens to him, as an embrace of his lost mother.