A figure transitions between two realities: An external material one - in which they are subjected to increasing levels of social interaction - picking up ‘human’ traits as they go. And an internal fluid one - in which they are able to seek refuge to be and feel themselves.

EXT. is centred around the experience of someone trying to figure out what it is to be ‘human’. The film is a reference to our experiences as social animals and the often absurd evolution we go through, to adapt to society.

It also references gender exploration - the journey of an initially gender neutral character, that is increasingly nudged to conform to a binary - in order to fit in - and their escape to a fluid space, devoid of expectations and norms.

The film uses movement instead of dialogue as a means of expression and follows the protagonist on their awkward journey through different surroundings, like an avatar in a computer game.

Ngày Mới’ (A new day has come), is a poetic visual response to the new track “Ngày Mới” of Vietnam-based electronic band Tiny Giant. The film depicts a world in constant motion that opens up when we slumber. Cavernous darkness is a habitat of transit, between worlds and the axis of time. In the heart of this motion, memories, knowledge, sadness and joy will leave their residues without completely disappearing: perhaps they have fallen into another place, another turning of time. The moment of transit in the cave doubles as both childhood and adulthood come to the surface in sync, where we bend closer in proximity to the inner child, the taste of a spoonful of innocence lingering on the tongue. Deity-like characters also appear in the video. They are gods of the filmmaker’s own world turned into images, as any person can have their own interpretation of a god. In this film, God is understood as a provider of support and company, and trust is a form of custody. We trust in the things that can protect and guide us. The eyeless horses, then, appear as mascots and attachment figures that walk with the children towards the world.

Part of the choreography was initially inspired by the ‘Kitsune Wedding’ scene in ‘Dreams’ – a film by Akira Kurosawa, in combination with experimental hip hop moves and the krumping stomps, choreographed and performed by Saigon-based dancer Kim from La Différence Saigon and Hanoi-based dancer Quay Trần from Abnormal Conceptz.

“Simple is complex and complex is simple.” Choreographer and director Naomi Kats exposes the internal world and the perspective we hold on our thoughts. To which extent do we allow ourselves to choose, and to look in the mirror?