September 9, 2024 – Santa Ana, California – The Vietnamese American Arts and Letters Association (VAALA) is excited to announce the highly anticipated return of Viet Film Fest 2024, the largest international Vietnamese film festival in the diaspora. This year’s festival, with designs inspired by the surrounding Californian landscape, promises to be a must-visit destination festival. Celebrating over 20 years of Vietnamese cinema, Viet Film Fest 2024 will take place virtually on your home screens from October 5 to 20, and with a three-day in-person festival on October 11,12, and 13.
With its first screening in 2003 at University of California, Irvine, Viet Film Fest was created by Ysa Le and Tram Le to fill the void of underrepresented films centering around the Vietnamese experience. Now running successfully for over two decades, the festival has attracted thousands of national and international attention for its stunning showcase of shorts and features submitted from many corners of the world, including Australia, Cambodia, Canada, France, Germany, Israel, Japan, Korea, Norway, the Philippines, Poland, United Kingdom, Singapore, the United States, and Vietnam. Since becoming an annual event, this year’s festival has seen record-breaking submissions, with 39 short films and 11 features. Viet Film Fest 2024 continues its legacy of celebrating the community’s stories from all over the world and all walks of life.
Highlights of Viet Film Fest 2024:
- Viet Film Fest Launch: This red carpet event offers an exclusive first look at our highly anticipated official lineup, along with a showcase of newly collectible Viet Film Fest merchandise. Attendees will have an exciting opportunity to win prizes and hear announcements about special events at the festival. Additionally, we’ll reveal the festival’s award nominations. We are thrilled to also premiere the official Viet Film Fest 2024 trailer and feature live performances at the Launch. RSVP here. Sunday, September 22 at 3 pm.
- Red Carpet Opening, Ru, by Charles-Olivier Michaud: Based on the novel of the same name by Kim Thúy (who co-wrote the screenplay), Charles-Olivier Michaud’s Ru is the story of a formerly wealthy Vietnamese family settling into life in a quaint Québec town after fleeing their homeland as boat people. Friday, October 11 at 7 pm.
- Opening Reception Gala: Trống Đồng Awards Ceremony: Join us for a night at Bowers Museum for Viet Film Fest’s Opening Reception Gala: Trống Đồng Awards Ceremony, where we celebrate the achievements from Viet Film Fest 2024. This event serves as a grand kickoff for the Viet Film Fest 2024 and as a platform to promote VAALA’s mission of fostering a vibrant Vietnamese cultural presence in the community. We will present awards for Best Actor, Best Actress, Spotlight Award, Inspiration Award, and the Grand Jury: Trống Đồng Award for Best Short and Best Feature. Prior to the award ceremony, please join us for our reception featuring a dinner spread catered by Brodard Chateau and cash bar provided by Cir Lounge. Friday, October 11 at 10 pm.
- Free Screening Event Exclusive for Santa Ana Residents: An event to extend our gratitude to the community hosting the festival, residents of Santa Ana will be able to see the curated short film sets “But Not for Me” and “Love, Actualized” at no cost. Valid proof of residency required. Friday, October 11 at 4 pm.
- Centerpiece Screening: West Coast premiere of New Wave by Elizabeth Ai: New Wave tells the story of youthful rebellion, joy, and trauma among Vietnamese American teenagers in the 1980s who found an outlet with Eurodisco music, which influenced Vietnamese American “New Wave” music. Filmmaker Elizabeth Ai delves into the lives affected by this era and this musical movement – including New Wave icon Lynda Trang Dai and Ian “DJ BPM” Nguyen. New Wave had its world premiere at Tribeca 2024 and was a Special Jury Mention for Best New Documentary Director (by jurors: W. Kamau Bell, Nisha Pahuja, Archie Gips) and was critics’ picks by New York Times, Vogue, IndieWire, among other publications. Saturday, October 12 at 7 pm.
- Book Launch Event for Elizabeth Ai’s New Wave: Rebellion and Reinvention in the Vietnamese Diaspora : Join us post screening to meet the contributors to director Elizabeth Ai’s compilation of essays and stories that provide the narrative of the 1.5 Vietnamese generation. New Wave: Rebellion and Reinvention in the Vietnamese Diaspora by Elizabeth Ai celebrates the rebellion, reinvention, and rebirth of joy in this young generation in cultural limbo. Featuring essays from prominent Vietnamese scholars, critics, and stars, New Wave is a love letter to the first generation of Vietnamese punks and rebels who came of age in the 1980s.This event will be free to all in attendance of the Centerpiece Screening at the Frida Cinema. Saturday, October 12 at 9:20pm.
- Special 25th Anniversary Presentation: Three Seasons directed by Tony Bui with a Q&A Session (Screening in 4K): Viet Film Fest 2024 is honored to provide a twenty-fifth anniversary retrospective screening of Tony Bui’s Three Seasons. This was Bui’s first feature film, and it appears in VFF 2024 with a new 4K restoration. As the filmmaker who made the first Vietnamese American movie with a largely Vietnamese cast and crew, Tony Bui opened the doors for many others to follow. At Viet Film Fest 2024, we are pleased to present the Inspiration Award to Tony Bui for being a trailblazer to the Vietnamese filmmaking community. Sunday, October 13th at 2 pm.
- Industry Networking Event: As the wrap-up of Viet Film Fest 2024, we’re thrilled to host an exclusive industry reception and mixer for our talented filmmakers from around the world. Join us in celebrating two weeks of vibrant storytelling in Vietnamese and Vietnamese diaspora cinema as we connect, collaborate, and toast to the future of our industry. The event will feature a panel discussion on ‘Vietnamese Representation in American Filmmaking’ followed by opportunities to mingle, network, and enjoy photo ops with special guests from the film industry! Sunday, October 13th at 4:30 pm at Coffee Factory, 15582 Brookhurst St, Westminster, CA.
- VAALA x UCI SEA archives Pop Up Exhibition: “From Past to Present: The Power of Art in the Vietnamese Diaspora” This pop up exhibition will showcase the various formats of art (music, poetry, fashion – ie new wave fashion and painting) and community collectives (Project Ngoc & VAALA) created by the community from the 1970s to present. Come out and learn more about the impact and empowerment of art in the Vietnamese diaspora showcased inside and outside the Frida Cinema from October 11th -13th,2024. This collaborative pop up exhibition between the VAALA and UCI Southeast Asian Archive is curated by Julia Huynh, Curator for the Southeast Asian Archive at University of California, Irvine.
Feature Films Include:
Ru (Canada; dir. Charles-Olivier Michaud), In-Person Screening on Friday 10/11 at 7 pm, with a Q&A afterwards
Based on the novel of the same name by Kim Thúy (who co-wrote the screenplay), Charles-Olivier Michaud’s Ru is the story of a formerly wealthy Vietnamese family settling into life in a quaint Québec town after fleeing their homeland as boat people. The film – which premiered at the 2023 Toronto International Film Festival (TIFF) – centers mostly on daughter Tịnh (Chloé Djandji), but also gives space for father Minh (Jean Bui) and mother Nguyen (Chantal Thuy; who won Best Supporting Performance in a Drama Film during last May’s Canadian Screen Awards for this role).
A Canadian winter is unlike anything Tịnh’s family has ever experienced, and the self-congratulatory welcome they receive from the Québécois is simultaneously heartwarming and isolating. As Tịnh and her brothers receive a French Canadian schooling and her parents attempt to eke out a new living, they largely keep to themselves, unwilling to articulate the suffering that has brought them to their new home
“Ru” has meaning in both French and Vietnamese languages. In the former, it can mean (archaically) a flow of tears or blood; in the latter, it means cradle or lullaby. Using either of those definitions, Ru languidly wafts, with little dialogue and sometimes no warning, between its dualities. Its evocation of the past differs, in purpose and tone, on its adoption of an adult’s or a child’s perspective. The past’s danger and the present’s safety coexist always, and Tịnh’s family will face these difficult days alone as much as together.
Hao Are You (Germany; dir. Dieu Hao Do), In-Person Screening on Saturday 10/12 at 10 am, with a screening of Motherland prior and a Q&A afterwards – Virtual At-Home Screening from October 5 to 20
Hao Are You is an autobiographical documentary about the fractured bonds of a family that fled Vietnam in 1975 to escape the communist regime. Director Dieu Hao Do, who grew up in Germany, embarks on a journey to reconnect with his relatives, now scattered across three continents. But what drove the family into such deep silence and estrangement?
The film explores the intergenerational impact of persecution and violence on the survivors and their descendants. It becomes clear that the old wounds have not healed, even decades later.
Hao Are You was awarded the prestigious First Steps Award for Best Documentary, one of the most significant honors for emerging filmmakers in Germany. The film demonstrates that Asian stories are also part of the German narrative. Despite its painful subject matter, this important film quietly encourages viewers to engage with their own family histories and connect with others who share similar experiences, showing that they are not alone.
A film about unspoken stories that continue to shape lives in the present, even decades later.
Cu Li Never Cries (Vietnam; dir. Phạm Ngọc Lân), In-Person Screening on Saturday 10/12 at 12:45 pm, with a screening of Temporary Living prior and a Q&A afterwards
With Cu Li Never Cries, Phạm Ngọc Lân delivers an impressive feature film debut that captivates with its visual power and poetic storytelling. The film unfolds in beautiful black-and-white images and an atmospheric depth, telling the story of Duong (Minh Chau), a Vietnamese widow who inherits not only the ashes of her late German husband but also a small Cu Li—a pygmy loris that gradually bonds with her.
Upon returning to her homeland, Duong is confronted with surprising news about her niece Van, whom she raised: Vân (Ha Phuong) is engaged to Quang (Xuan An), a man from a humble village. What initially seems like a joyful announcement soon reveals deeper conflicts. Van plans to move away with her new in-laws, and there is another reason behind the rushed wedding. These developments plunge Duong into a deep crisis, where she increasingly loses control over her emotions and drifts into her own surreal world.
In this subtle, intelligent film, Phạm Ngọc Lân paints a portrait of a Vietnamese society torn between tradition and modernity. His protagonists, lost in this changing world, find the greatest truths in the smallest moments. Cu Li Never Cries is a sterling example of Vietnamese arthouse and slow cinema, and was awarded the Best First Feature prize at the 74th Berlinale last February.
Taking Root: Southeast Asian Stories of Resettlement in Philadelphia (United States; dir. Oanh-Nhi Nguyen), In-Person Screening on Saturday 10/12 at 1 pm, with a screening of Peace Offering prior and a Q&A afterwards – Virtual At-Home Screening from October 5 to 20
Oanh-Nhi Nguyen’s Taking Root: Southeast Asian Stories of Resettlement in Philadelphia is a documentary which analyzes the history and modern realities of Southeast Asian refugees who found a new home in Philadelphia. The documentary – a three-part webseries that will be presented at Viet Film Fest in its entirety, with the three parts spliced together to form a feature film – contextualizes Southeast Asian presence in the United States as a product of American interventionism and war in the region. In exploring the resettlement of Southeast Asian refugees, the documentary addresses the early challenges, racism, and poverty experienced by those traumatized by war, highlighting the enduring impact of American structural violence and warmaking. The film highlights efforts by Southeast Asian refugees to contest historical erasure and distortion and the agency of those who had been forced from their homes due to conflict and their endeavors to form communities abroad.
Taking Root articulates the importance of inherited and intergenerational trauma which informs the Southeast Asian refugee experience. Adamant in its critique of American militarism and imperialism, the film explores how violence from war leads to violence and oppression experienced in its aftermath. Comprehensive in scope, yet refreshingly specific in the local history of the greater Philadelphia area, the film captures the experiences and histories of diverse communities which make up the Southeast Asian diaspora, bringing in voices from the Cambodian and Hmong communities which are often ignored in discussion of the Vietnam conflict.
Daydreamers (Vietnam; dir. Timothy Linh Bui), In-Person Screening on Saturday 10/12 at 3:30 pm with a Q&A afterwards
Daydreamers (Người mặt trời) is a tale of two estranged brothers, Nhat (Trần Ngọc Vàng) and Marco (Thuan Nguyen; VFF 2019’s Like an Old House), extreme opposites of the other, trying to exist in modern Vietnam. Both are vampires. Nhat is a daydreamer muddling by in a group living in the shadows – he vows never to devour human blood again, as he longs to regain his humanity. Marco is a rebel who left the group long ago, fully embracing his vampirism while attempting to integrate into modern society. Marco re-enters Nhat’s life, but things are complicated when Nhat develops a relationship with a human woman, Ha (Trinh Thao, VFF 2018’s Go Go Sisters), who knows his secret. The film’s violence begins to unravel as Marco learns of this relationship, and will attempt anything to keep their vampirism a secret, even if it means potentially harming his brother.
In his first Viet Film Fest appearance as a director since Green Dragon (2001; the inaugural VFF in 2003), Timothy Linh Bui (producer on 1999’s Three Seasons, VFF 2015’s How to Fight in Six Inch Heels) delivers an entertaining, action-packed, supernatural film rarely seen from a major Vietnamese studio production. Its high-octane choreography is an outlier for a Vietnamese film. But Daydreamers explores themes of loneliness, isolation, class division, and the struggle for human connection. Even though the film revolves around the fantastical, it juxtaposes the working class – laborers, fishermen, and field workers – against modern high society.
The Empathizer (United States; dir. Fred Le), In-Person Screening on Saturday 10/12 at 3:30 pm with a screening of White Butterfly prior and a Q&A afterwards – Virtual At-Home Screening from October 5 to 20
In The Empathizer, director Fred Le travels to Vietnam to explore why his mother refuses to return to the homeland she left. There, he interviews a number of Vietnamese expatriates who have made a living in Vietnam, including artists, athletes, business owners, and students. Each discusses the contradictions between what they learned about Vietnam during their own Western upbringings and their experiences in present-day Vietnam. It might appear, at first, that The Empathizer is leaning so heavily on the views of the young Việt kiều (the Vietnamese diaspora) who emigrated back to Vietnam, but Le eventually returns to the source of why this film exists. And when he does, The Empathizer finds its emotional and moral center.
Aptly titled, The Empathizer pushes the audience to consider the diverse viewpoints and experiences of the various Vietnamese diaspora approaches to Vietnam. It blends humor and gravity in articulating the lasting effects of division, suspicion and animosity borne out of war, forced migration, and politics. The film speaks directly to the children of Vietnamese refugees who seek to empathize with the tribulations of their parents, but often cannot fully grasp the effects of displacement-induced trauma. Highlighting the rift between generations, The Empthaizer pushes the audience to explore ways to build empathy and understanding.
New Wave (United States; dir. Elizabeth Ai), In-Person Screening on Saturday 10/12 at 7 pm with a screening of No More Sad Songs prior and a Q&A afterwards
New Wave tells the story of youthful rebellion, joy, and trauma among Vietnamese American teenagers in the 1980s who found an outlet with Eurodisco music, which influenced Vietnamese American “New Wave” music. Filmmaker Elizabeth Ai delves into the lives affected by this era and this musical movement – including New Wave icon Lynda Trang Dai and Ian “DJ BPM” Nguyen.
It was not just music, but a movement. Yet New Wave’s emotional core is found in Ai’s personal journey – a journey not as emotionally disparate from those of the New Wave legends as one might expect. New Wave features the fashion, the moves, the heart, and the drugs that took the youth of the Vietnamese American community by storm. It uncovers that the Euro-synth dance beats and aesthetics helped mask deep traumas and unfulfilled expectations of that time period. Over the course of making the film, Ai discovers her need to chase and tell this story to address the abandonment from her own mother, and as a way for her to find closure and healing.
New Wave expertly crafts its telling and exploration of generational trauma, cultural identity, and the lasting effects of war in a fun, yet heartwarming way. Dramatized recreations used in the film were wonderful connective tissues that kept the narrative running. Ai’s starting point on this documentary comes six months after giving birth to her first child. Years later, she accomplished a beautiful story that is unknown to many.
Invitational Film: The Taste of Things (France; dir. Trần Anh Hùng), In-Person Screening on Sunday 10/13 at 11 am
In his first film at Viet Film Fest since Norwegian Wood (2010; VFF 2013), director/writer Trần Anh Hùng returns with The Taste of Things (La Passion de Dodin Bouffant) – appearing at this festival as an out-of-competition selection.
In rural France at the turn of the twentieth century, gourmand Dodin (Benoît Magimel) and Eugénie (Juliette Binoche) live under the same roof, conjuring meals for themselves and Dodin’s fellow gourmet friends – the film begins with an audaciously constructed 38-minute cooking scene. Dodin and Eugénie are in a multi-decade, unmarried romantic relationship, with almost all of their expressions of love being poured into their cuisine. The film’s minimal dialogue reflects the obsessive nature of both characters, as the audience learns much more about them from their focused expressions in the midst of cooking, satisfied glances after a perfect cook, and the wide smiles during tasting. Dodin and Eugénie’s artistry is transient, and the two reflect on their nostalgia and the impermanence of their work.
Shot in the Loire Valley, The Taste of Things premiered at the 2023 Cannes Film Festival where it competed for the Palme d’Or and won the Best Director Award for Hung. Cinematographer Jonathan Ricquebourg’s camera elegantly glides along the kitchen counters, the dining table, and the verdant exteriors of their estate, accompanied by painterly natural lighting that accentuates the film’s atmosphere. One need not be a gastronome to delight in The Taste of Things – from its tender romance, its luxuriant cuisine, and stunningly-crafted ending.
Fanti (Vietnam; dir. Andy Nguyen), In-Person Screening on Sunday 10/13 at 11 am, with a screening of Newspapers prior and a Q&A afterwards – Virtual At-Home Screening from October 5 to 20
Andy Nguyễn’s thriller, Fanti, explores the pitfalls of digital desirability. Upstart actress Anh Duong (Nguyễn Lâm Thảo Tâm) meticulously curates her Instagram profile and is hoping to be a star. Just as she lands a film role that she hopes will take her to the top, Anh begins getting mysterious messages and creepy photos from a mysterious stalker. The stalker escalates and begins terrorizing her, putting Anh’s burgeoning career in jeopardy. Throughout all of this, she also has to deal with her ambitious, pushy mother (Khanh Le, 2000’s The Vertical Ray of the Sun), a sleazy agent, and the stresses of the film industry. Will she be able to keep her life and career safe?
Befitting its themes, Fanti is a slick, glossy thriller exploring celebrity, social media, filial relations, and the burgeoning Vietnamese film industry. Building tension out of everything from social media user interfaces to dinner parties, Fanti’s twist-filled narrative will entertain. Nguyễn Lâm Thảo Tâm conveys the thrills perfectly, showing the vulnerabilities of young, female celebrities. A Lotte Film Vietnam and HKFillm production, Fanti is also Viet Film Fest alumni Andy Nguyễn’s first feature length film, which won him Best New Director at the 23rd Vietnam Film Festival. As a director, this is Andy Nguyễn’s first entry into VFF since his short film Forever in Hiatus (2012; VFF 2013).
Special 25th Anniversary Presentation: Three Seasons directed by Tony Bui with a Q&A Session (Screening in 4K)
Viet Film Fest 2024 is honored to provide a twenty-fifth anniversary retrospective screening of Tony Bui’s Three Seasons. This was Bui’s first feature film, and it appears at VFF 2024 with a new 4K restoration.
As a post-war Vietnam begins to adopt economic reforms (Đổi Mới), Bui’s film captures the stories of several individuals who intuit the impending Westernization of the country and the gradual erosion of traditional Vietnamese culture. An American (Harvey Keitel) in Saigon looks for a daughter he fathered during the war. He meets Woody (Nguyen Huu Duoc), a child hawking cigarettes. When Woody’s stock disappears, he blames the soldier and pursues him. Meanwhile, cyclo driver Hai (Đơn Dương) gives Lan (Zoe Bui), a hotel escort, a ride. Hai finds himself waiting for her daily, and, in the midst of his attraction towards her, attempts to break through her veneer. Lastly, Kien An (Nguyễn Ngọc Hiệp), a young woman, takes a job harvesting the lotuses in the pond of Teacher Dao (Trần Mạnh Cường), a recluse with leprosy. Her singing soothes his melancholy, and he asks her to write down poetry he dictates. The characters’ paths cross in small ways, around flowers and kindness.
As the filmmaker who made the first Vietnamese American movie with a largely Vietnamese cast and crew, Tony Bui opened the doors for many others to follow. At Viet Film Fest 2024, we are pleased to present the Inspiration Award to Tony Bui for being a trailblazer to the Vietnamese filmmaking community.
Before Sex (Vietnam; dir. Michael Thai, Tùng Leo, and Huỳnh Anh Duy), In-Person Screening on Sunday 10/13 at 2:15 pm, with a screening of Mom, Dad… I Want to Be a Porn Star prior and a Q&A afterwards – Virtual At-Home Screening from October 5 to 20
Before Sex (Trước Giờ “Yêu”) oscillates between three guy friends (Tung, Ton Kinh Lam, and Nguyễn Lê Việt Hưng) at a bar, with their favorite pastime being people-watching and psychoanalyzing the couples around them. On the other side of the bar, three female friends (Khazsak, Khánh Vân, and Jun Vũ) trade stories and tease one of their own who is always falling for the wrong guys. As the guys gossip, they also reflect on their own romantic misadventures, offering each other a mix of sincere and humorous advice, and wondering what true love entails. The three female friends have their own conversations about love, with two of them trying to boost the other’s confidence. As the film progresses, the two sets of friends find themselves romantically intertwined.
Exploring the complexities of young love, friendship, and self-discovery in the characters’ early 20s, Before Sex – co-directed by Michael Thai, Tùng Leo, and Huỳnh Anh Duy – navigates themes of vulnerability; the search for genuine companionship; and the humorous, bewildering, yet sincere attempts to understand relationships. The interplay between the male and female friend groups highlights the shared struggles of navigating love and the awkwardness of finding one’s footing in romantic endeavors. Before Sex balances a thematic and tonal tightrope: light-hearted banter with deeper emotional undercurrents, mixing coming-of-age elements with broad humor. The ensemble’s performances add nuance to the film, capturing the messiness of early adulthood with charm, zaniness, and authenticity.
Short Film Sets Include:
“Crossing Generations” In-Person Local OC High School Exclusive Free Screening, Friday 10/11 at 10 am and 12:45 pm with Q&A afterwards (US Virtual Edition) – Virtual At-Home Screening from October 5 to 20
In this globe-trotting set intended for high school/secondary school students (but also suitable for older audiences), each of these films finds their protagonists reckoning with significant changes to their lives in respect to their Vietnamese identity.
A Vietnamese exchange student encounters misperceptions and prejudice in his first days at a North Dakota private school in Mike – a departure from the glossy ideal that he imagines America to be. By contrast, Viv’s Silly Mango is a riot grrrl-infused dramedy that shows how close friends often form an inextricable part of an individual’s personal growth and self-realizations. Together, Mike and Viv’s Silly Mango both comment on peer pressure, for good and ill, and how one’s upbringing informs how they present themselves to others.
Phở is the interlude between this set’s two halves, a narrated montage as the generations of a Vietnamese French refugee family pass by – a gentle transition to films with more parental themes. The shadowy humidity of an early summer evening in Louisiana overhangs One Summer Night’s contradictions: a traditional Vietnamese responsibility to tend to our parents’ health and a parental desire to see their children succeed. No easy answers there. So too in the concluding film, Boat People. Boat People, which uses an ant metaphor to tell its story, is the result of the “sad silence” that has often followed many a second- and third-generation Vietnamese individual’s questions about why their elders left Vietnam.
Across generations and places, these films present how Vietnamese people the world over grapple with change through the lens of their past.
“Crossing Generations”(High School Students’ Set) (International Virtual Edition)
In this set intended for high school/secondary school students (but also suitable for older audiences), each of these films finds their protagonists reckoning with significant changes to their lives in respect to their Vietnamese identity.
A Vietnamese exchange student encounters misperceptions and prejudice in his first days at a North Dakota private school in Mike – a departure from the glossy ideal that he imagines America to be. By contrast, the documentary short Home is Where the Star Fruits Taste Sour finds its German Vietnamese director (also the film’s main subject) traveling to Vietnam, learning more about his grandparents, and deepening his bonds with them. Together, these opening films both comment on children growing up far from the care of their parents, and how growing cultural divides can drive wedges into the bonds of familial love.
Phở is the interlude between this set’s two halves, a narrated montage as the generations of a Vietnamese French refugee family pass by – a gentle transition to films with more fraught situations than the first half’s. Dramatic, sudden changes to tight-knit families define both Newspapers and One Summer Night. In the possibility and reality of loss, the wounds inflicted upon these families are bound by memory and the traditional duties and responsibilities that both children and their parents accept quietly – oftentimes, without question.
Across generations and place, these films present how Vietnamese people the world over grapple with change through the lens of their familial ties.
“But Not for Me” In-Person Screening on Friday 10/11 at 4 pm
When someone is denied something – whether it was “theirs” to begin with or not – how do they respond? Do they turn their energy against others or look inward? Technicians and Phở Succession offers their answers through their Vietnamese characters’ callings. In both, the Vietnamese protagonists confront an abrupt end to their sources of financial stability – the steady work of a nail salon threatened by new technology and the death of a patriarch who was an expert chef, respectively. Between those two films are Endorphins and Everything Belongs to You, which adopt more meditative, less structured approaches, as opposed to the plot-driven scenarios of the aforementioned works. Endorphins captures the wandering thoughts of a young man swimming laps as he recovers from a breakup; Everything Belongs to You, as a cinematic essay, asserts the director’s feelings of her German and Vietnamese identities and her conflicting sense of cultural belonging.
“But Not for Me” concludes with two films of defiance. The penultimate film, Broken Being: Prequel, is an animated science-fiction piece involving a medieval Vietnamese man reclaiming his loved one from a futuristic menace. Far less violent but just as uncompromising is The Little Shopping Trolley, which sees the matriarch of a financially-strapped Vietnamese Canadian refugee family act in bad faith in order to take advantage of a grocery store’s advertised discount. Denials, whether of an antagonistic, intangible, or material manner, provoke a response. The tension of the responses seen across this set snap into place, ripe for reflection.
“Love, Actualized” In-Person Screening on Friday 10/11 at 4pm
How do you say “I love you” without actually saying it? “Love, Actualized” explores the many ways the Vietnamese diaspora – whether in front or behind the camera – express their love to one another, their home countries, or their own identities.
Accidents and Emergencies and Spit of You explore family tensions and the struggle to connect during times of family strife and loss, whether those divisions separate children and parents, siblings, or in-laws. From the Dreh’s Um film workshop, both Home is Where The Star Fruits Taste Sour and Motherland examine the search for identity and belonging across different generations and cultures – between Germany and Vietnam, grandparents and grandchild. Mike and Infinity! highlight the racial tensions between staying true to oneself and adapting to external pressures. Even love may not overcome all amid a new social environment or the specter of political challenges
Each film in “Love, Actualized” provides a unique lens on how we express and confront our deepest connections and personal choices. Love makes the situations found in these films all the more bearable.
“Home Is Where the Art Is” In-Person Screening on Saturday 10/12 at 10:30 am
Passion, pride, perseverance. To create is not easy, but creating is also an act of joy. Whether it be clothes (Tailor Made), music (Kėo Kéo: Sài Gòn Sound, No More Sad Songs, Woodshed), or even film itself (Mighty Maddy’s Mission to the Future, Thời Thơ Ấu (Childhood)), the films all show the joy and community that comes with creating.
Tailor Made follows Tam Nguyen, a tailor who moved from Vietnam to Canada, and has been working for forty-three years. In Woodshed and Kėo Kéo, we see the difficulties of performing music for an audience, as well as its triumphs and joys. No More Sad Songs, Mighty Maddy’s Mission to the Future, and Thoi Tho Au (Childhood) explore how creative expression connects families. No More Sad Songs follows a mother and daughter as they prepare for a gig, Mighty Maddy shows us Mighty Maddy fighting off ninjas and other villains with the help of her parents, and the intimate documentary Thời Thơ Ấu shows us the filmmaker trying to connect and understand her parents better.
Though there can be considerable difficulties – emotional, legal, physical – navigating the artistic process, each of these films are a triumph of personal pride, bringing in others to appreciate what they have created.
“In Her Shoes” (U.S. version) – Virtual At-Home Screening from October 5 to 20
Step into the compelling worlds of “In Her Shoes,” which showcases the resilience, strength, and diverse experiences of strong female protagonists. In Hair Like Snow and Lullaby, two Vietnamese refugee mothers question their sense of motherhood in the midst of a birthday celebration and while revisiting a personal tragedy, respectively. These two opening films illustrate the burdens carried by those displaced – culturally and geographically – from their homes. Spring Will Come depicts two girlfriends as they deal with their troubled relationship and a mysterious woman’s quest to free a spirit from their apartment.
I Loved You First and Nanitic both feature young girls who learn more about their families and what it means to be resilient in times of loss, sacrifice, and uncertainty. Their contexts could not be any more different. I Loved You First is a partly biographical film of the director’s mother, who fled Czechoslovakia to a newly reunified Germany in order to escape deportation to Vietnam. Nanitic uses worker ants as a metaphor to explore its themes, all while its protagonist observes her aunt take care of her bedridden grandmother. Viv’s Silly Mango ends this set with uplift, inspiration, and good humor as Viv’s life is upended by the arrival of a rebellious new girl at school.
Each story highlights the power of perseverance, the complexities of identity, and the unbreakable bonds that shape us. “In Her Shoes” is an inspiring journey through the eyes of unforgettable female protagonists.
“In Her Shoes” (International Version) – Virtual At-Home Screening from October 5 to 20
Step into the compelling worlds of “In Her Shoes,” which showcases the resilience, strength, and diverse experiences of strong female protagonists. In Hair Like Snow and The Little Shopping Trolley, two Vietnamese refugee mothers have contrasting experiences while shopping at a supermarket – the former finds a mother in a moment of self-doubt, the latter in one of defiance. Spring Will Come depicts two girlfriends as they deal with their troubled relationship and a mysterious woman’s quest to free a spirit from their apartment.
Mom, Dad… I Want to Be a Porn Star finds a young Vietnamese girl reckoning with the possible consequences of telling her staunchly Catholic family a most unexpected desire. I Loved You First and No More Sad Songs both feature daughters who learn more about their mothers in vastly different contexts. I Loved You First is a partly biographical film of the director’s mother, who fled Czechoslovakia to a newly reunified Germany in order to escape deportation to Vietnam. Concluding the set, No More Sad Songs captures an incidental conversation between a rising pop music star of Vietnamese descent with her diva mother, as the two find unexpected similarities in each other beyond bright lights and performing stages.
Each story highlights the power of perseverance, the complexities of identity, and the unbreakable bonds that shape us. “In Her Shoes” is an inspiring journey through the eyes of unforgettable female protagonists.
“No Such Thing as an Easy Job” – Virtual At-Home Screening from October 5 to 20
There is no way around it. Sometimes, work is just really hard. In this set, filmmakers show us labor and all of the personal complications it brings.
The documentary Black Hat, White Hat: the Legendary Hacker Hieu PC gives us Hieu’s perspective as he goes from an identity thief in Vietnam to a prison in the U.S. When Mary decides she wants to tell her parents she wants to be a pornographic actress, it results in amusing and serious conversations in Mom, Dad…I Want to be a Porn Star. Temporary Living and Tailor Made are two documentaries of men who work as diasporic subjects. In Temporary Living, we learn Thao’s story of moving to East Germany as a contract laborer, and, in Tailor Made, Tam Nguyen moved from Vietnam to Canada and now has forty-three years of experience as a tailor under his belt.
Woodshed and You Will be Fine brim with tension, as we see the pressure of being on the job. In Woodshed, Ben wants to be a professional saxophonist despite his asthma, making it physically difficult for him to perform. In You Will Be Fine, a chef feels the emotional burdens and the historical weight of the recipes he is making in the kitchen. Through this set, we see what people will do to achieve their dreams, pursue their passions, or even just survive.
“To Our Parents, with Love” – Virtual At-Home Screening from October 5 to 20
What does it mean to truly honor and support our parents? “To Our Parents, with Love” delves into this question through a series of poignant stories.
Traditionally, Vietnamese children are expected to be caregivers to aging and ailing parents. Both One Summer Night and Repeat address the weight of those expectations, the emotionally taxing responsibilities that sometimes lead to personal desires taking a backseat. The deeply personal journeys of Lifeline and Coconut find adult children reconnecting with loved ones – whether through revisiting memories or navigating new emotional terrain that comes with aging. Mẹ Con (My Mom) and Newspapers examine the ways we honor familial bonds and fulfill promises through creative expressions and reflections on shared experiences.
“To Our Parents with Love” offers a nuanced look at the sacrifices and enduring love that define the bonds, frayed or taut, between children and parents.
“With Pride” (North America Only) – Virtual At-Home Screening from October 5 to 20
This set, in keeping with longstanding Viet Film Fest tradition, reflects upon the diversity of sexuality and gender across the Vietnamese diaspora. Queer filmmakers share their childhood and family with us in Thời Thơ Ấu (Childhood), Hi Ading, and Mę Con (My Mom). In Mę Con and Thoi Tho Au (Childhood), we get intimate documentaries by queer filmmakers exploring their parents’ histories and journeys. Hi Ading gives us a tender visual poem of the filmmakers’ parents. In Spring Will Come, we experience sapphic heartbreak in Saigon as a DJ comes to terms with the end of a relationship. Viv’s Silly Mango, in a radical tonal contrast to Spring Will Come, a pre-teen girl comes to terms with her identity while being supported by her riot grrrl band. Across these short films, we find queer joy, heartbreak, and community told with their own voices.
Geo-location restrictions (“geofences”) for some film sets may apply.
Ticket Information:
| Type | Discounted for Seniors + Students (with a valid ID) | Early Bird/ConcessionEnds September 29th | Regular |
| General Admission Ticket | $14 | $14 | $16 |
| Virtual Screening Ticket | $14 | $14 | $16 |
| Special Screenings Ticket:- Red Carpet Opening: Ru – Centerpiece Screening: New Wave | $16 | $16 | $18 |
| 5-Pack (exclude Special Screenings) | $70 | ||
| Xinêphille Badge | $125 | $150 | |
| Industry Networking Event | $25 | ||
| Opening Night Gala: Trống Đồng Awards Ceremony | $80 | $90 |
Ticket purchasing and scheduling info can be reviewed with the link below.
https://vietfilmfest2024.eventive.org/passes/buy
For the latest information on festival lineup and special events, please visit our website at vietfilmfest.com and follow us at @vietfilmfest on Facebook and Instagram.
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Viet Film Fest 2024
Online: October 5 to 20
In-person: October 11, 12, and 13
Follow @vietfilmfest on Facebook and Instagram
Viet Film Fest 2024 Contact:
Minh Pham
Public Relations Manager
press@vaala.org
Corey Linh
Communication Specialist
coreylinh@vaala.org
About VAALA
Founded in 1991 by Vietnamese American journalists, artists and community members to fill a void and provide a space for artists to express themselves as a newly resettled immigrant community, the mission of the Vietnamese American Arts & Letters Association (VAALA) is to connect and enrich communities through Vietnamese arts and culture. Celebrating its 30th year of service, VAALA collaborates with diverse community partners to organize community-centered artistic cultural events, including art exhibitions, book signings, music recitals, plays and its annual Viet Film Fest and Gallery Beyond Walls programming. More information about VAALA on Facebook, Instagram, Twitter, and YouTube.