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At which distance should one record a city, landscape and people? From the eyes of Bùi Đình Hạc and Nguyễn Đăng Bẩy, Hanoi is a promise: a Hanoi after the event of Điện Biên Phủ. Under the “sky of freedom”, to cite the commentary, panoramas of the capital’s renown landmarks unfold like a series of postcards. A harmonious world where nature and heritage of then and now coexist. In long shots, at a small scale, people can be seen dressing neatly, working and playing with delight. Hope is an obvious choice. A sense of future glimmers amidst vast expanses of open space.

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Director
Nguyễn Đăng Bảy

Nguyễn Đăng Bảy

People's Artist Nguyễn Đăng Bảy (b. Bắc Ninh province, 1/1/1923 - 6/2007) was a Vietnamese cinematographer. He began filming documentaries reporting the wartime activities of Hồ Chí Minh, after being given a camera in 1949 by his office. Afterwards, in 1960, he participated in his first feature film "The Construction Girl" (Cô gái công trường). The next year, his work in "The Passerine Bird" (Con chim vành khuyên, d. Trần Vũ & Nguyễn Văn Thông) won him the award for Best Cinematography at the 2nd Vietnam Film Festival in 1973. Nguyễn Đăng Bảy won this award again at the next festival in 1975 for the film "We'll Be Seeing Us Again" (Đến hẹn lại lên, d. Trần Vũ, 1974). In total, he was the director of photography in over 30 feature films, including "Rising Storm" (Nổi gió, d. Huy Thành & Lê Huyến, 1966); "Mrs. Dau" (Chị Dậu, d. Phạm Văn Khoa, 1981); "Holy Day" (Ngày lễ Thánh, d. Bạch Diệp, 1976); "Stormy Ride" (Chuyến xe bão táp, d. Trần Vũ, 1978); "That Day on Lam River" (Ngày ấy bên sông Lam, d. Nguyễn Ngọc Trung); etc.
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