​FILM PROJECTS

Back then, I was still a student at the Hanoi Academy of Theatre and Cinema, and for the very first time in my life, I got to “go on a film set.” It was my first film — and to this day, still the biggest film of my career. More than anything, it was the film that taught me the most valuable and practical lessons, guided by the most dedicated mentors I could have ever asked for.

14 Days, 12 Nights was the next film I had the opportunity to work on, from pre-production in Vietnam through the production journey across Hanoi, Sa Pa, and Ninh Binh which are most stunning location for shooting in Vietnam.

It was my first experience producing a story set across different periods and eras — a long, winding journey that taught me how much a film can hold.

Monsoon was the first film I worked on without being a part of Production. Together with my casting partner, I cast the entire Vietnamese cast, while also working closely with the AD team throughout pre-production and on set. It was a major turning point for me — teaching me that to become a better producer, I needed to understand, and keep learning from, every department behind a film.

This film gave me the chance to truly run a set as an AD, while also learning the “paperwork” behind production — from the most powerful tools on set: call sheets, shooting schedules, DOODs, one-liners, and more. It helped me build a much fuller, bigger-picture understanding of what it takes to bring a film to life on set.

Trạng Tí was the first Vietnamese feature film I worked on, opening the door to a lasting connection with Vietnamese cinema. It was one of the most meaningful turning points in my career, teaching me the differences between producing Vietnamese films and international productions in Vietnam.

Em and Trịnh was a defining film for me, allowing me to establish my voice and capabilities throughout the production. Two historical eras, a story spanning Huế, Đà Lạt, B’lao, Saigon, and Đồng Nai, and an unforgettable Trịnh playlist — experiences not everyone gets to have, and ones I’ll always carry with me.

This is the debut independent feature by director Tấn Hoàng Thông — was a true testament to what a united crew can create with a modest budget.

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Cu Li Never Cries is one of the most anticipated Vietnamese independent films of 2024. This was a memorable milestone in my journey through independent filmmaking, and in my wider path as a filmmaker.

One deep-forest location, endless nights of shooting. Móng Vuốt was my first venture into the thriller genre, adding a whole new set of experiences and lessons to my filmmaking journey.

My 10th feature film, marking a new chapter of growth and bringing me closer to becoming the producer I’ve always aspired to be. Đất Rừng Phương Nam was one of those rare, beautiful strokes of luck that found its way into my life — a gift for a girl who has loved and breathed filmmaking from the very beginning.

Red Rain — a turning point in my career, and a chance to share the pride of being Vietnamese. I’m proud to do what I love and what I do best, and to dedicate my work to a Vietnamese film that has reached more people than any Vietnamese film before it. So proud to be a small part of this journey.

The Last Empress — the latest project I’ve had the opportunity to be a part of. The film is currently in post-production, so stay tuned and look forward to it. I hope you’ll show it lots of love and support when it’s released.

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