Bassley, a Nigerian footballer living in Vietnam, has been unable to make a living since he broke his leg. He and four middle-aged women he sometimes works for decide to escape the disappointment of their daily lives. They go to an old house where together they create a special world for themselves. But this intimate utopia cannot last forever.
Olegunleko Ezekiel Gbenga
Bassley
Khuong Thi Minh Nga
Miên
Vu Thi Tham Thin
Thương
Le Thi Dung
Trang
Nguyen Thi Cam Xuan
Hạnh
Bassley, a Nigerian footballer living in Vietnam, has been unable to make a living since he broke his leg. He and four middle-aged women he sometimes works for decide to escape the disappointment of their daily lives. They go to an old house where together they create a special world for themselves. But this intimate utopia cannot last forever.
This is quite a bizarre piece of cinema that centres around the relationship between injured footballer "Bassley" (Olegunleko Ezekiel Gbenga) and four women whom he does the occasional odd job for. His leg was broken so his career is pretty much over and they offer him a lifeline of sorts when they all move into a ramshackle old house and live together in a largely dialogue (and clothes) free environment. Aside from wincing a bit as they all cook in the nude whilst spitting oil emerges from the wok, there's not really much that actually happens here. They hardly ever speak, sleep in the same room and though there is nothing explicit going on, there is clearly a strong bond that develops amongst the five of them that we begin to appreciate is going to be tested as this progresses. Progresses, though, might be a generous word. It doesn't really go anywhere. Loads of lingering photography, wandering about au naturel peeling potatoes and speaking in glances and gestures doesn't really tell me anything about them. The nudity does clearly illustrate the variety and shapes and sizes of human beings, and to a certain extent humanises the scenario but it's not a feature of the story, it's just people without clothes that after a while ceases to be even remotely noteworthy. Is it supposed to be allegorical of the layered nature of society? Of our frequently all too flimsy methods of self-defence? I suppose the problem is, here, just what actually is noteworthy about this feature? I didn't hate it, but the purpose largely escaped me and I don't know that I knew what or whom it is for but the conclusion.
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พี่น้องฝาแฝดคู่หนึ่งจากอีสต์แอล.เอ. เลือกที่จะใช้ชีวิตแตกต่างไปจากเดิมและลงเอยอยู่คนละฝั่งของกฎหมาย
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Based on the writer/director's childhood, FARMING tells the story of a young Nigerian boy, 'farmed out' by his parents to a white British family in the hope of a better future. Instead, he becomes the feared leader of a white skinhead gang.