In an exclusive conversation with Nhan Dan Weekly reporters, director Duong Dieu Linh remains steadfast in her vision — creating films that hold high artistic value while also reaching a wide audience.
Never regret bringing the film back to Vietnam
Q: After winning awards at the 2024 Venice Film Festival and screening at various international venues, what were your expectations for the commercial release of ‘Don't Cry, Butterfly’ in Vietnam?
A: Of course, there were expectations regarding numbers, but I believe the pressure in this aspect falls more on the production side. As a director, my concern is how many people can actually watch the film. I had hoped for a wider audience because, in the end, isn’t that what every filmmaker wants — for their work to be seen by as many people as possible?
Q: The modest box office performance of arthouse films like ‘Don't Cry, Butterfly’ suggests that international acclaim does not always translate to domestic success. What do you think is the main reason?
A: I used to think quite simply that once a film is made and released, it belongs to the audience, and they will judge it fairly. However, my first experience with a theatrical release in Vietnam has given me invaluable lessons and a more nuanced perspective on distribution.
Many external factors influence box office numbers beyond just whether a film is good or not. Timing, nationwide theatre coverage, the number of screenings, and screening hours all play crucial roles. ‘Don't Cry, Butterfly’ had only around 100 screenings per day, mostly scattered across major cities, with inconvenient showtimes — early mornings, office hours, or late at night.
Every day on social media, audiences would message or comment asking for more screenings in their cities or at more suitable hours so they could watch the film. This does not equate to blame. Distributors and cinemas have their own challenges. Screening allocation and scheduling depend on demand at each cinema, and understandably, theatres prioritise safer and revenue-secure options.
Q: You are a young director with an open approach to social media, incorporating trendy elements into your debut film. The film also has a relatively accessible theme, yet it still struggled to reach the masses. Do you feel regretful?
A: If I said I did not feel any regret, I would be lying. But my feelings come more from my love and appreciation for the producers, actors, and the entire crew. This was the debut film for many members of our team, so everyone was both excited and nervous about presenting it to Vietnamese audiences. That, in turn, put a lot of pressure on me throughout the film’s release.
To be honest, I understand that my cinematic language is still something new for mainstream audiences. But I cannot let fear stop me from creating. As Lu Xun once wrote: “There was never a road on this land; as people walk, a path is made.” Reading messages and social media posts from viewers sharing their thoughts about the film warms my heart. It reassures me that the film has reached a certain audience, made them reflect, and even sparked discussions about the themes I wanted to convey. I am not afraid of differing opinions. If anything, they help clarify the path I have chosen and push me to improve in future projects. So yes, there may be things to regret, but I have never regretted the decision to bring this film home to Vietnam.
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A scene from the film ‘Don't Cry, Butterfly’. (Photo courtesy of the figure) |
Audiences deserve high-quality films in every aspect
Q: On the other hand, commercial films in Vietnam continue to break box office records but often face criticism for declining artistic quality. Do you think there is a way to better balance artistic value and commercial success — essentially, to find common ground between the two film streams?
A: The cinematic language is something filmmakers are constantly exploring and reinventing. That’s why film festivals exist — to discover and honour new forms of expression, innovative techniques, and bold themes that mainstream entertainment rarely touches. However, whether a film is made for festivals or for commercial release, the ultimate goal is still to reach audiences.
My dream has always been to create a film that holds high artistic value while still reaching a wide audience. A decade ago, when I voiced this ambition, some people told me I was being unrealistic. But the recent box office success of critically acclaimed international films has proven otherwise. Audiences deserve to watch films with strong narratives, stunning visuals, and deep human values.
Q: What’s next for ‘Don’t Cry, Butterfly’ in 2025?
A: The film is still on its journey across various international film festivals. On February 27, it will have a wide release in Singapore.
Q: That’s exciting news! Could you share some thoughts on the current state of Asian cinema and Vietnam’s place within it?
A: The recent films and television works which I have seen from Asia, especially Southeast Asia, are making breakthroughs thanks to their unpredictability — both in subject matter and cinematic expression. We have an incredibly rich reservoir of stories, shaped by ancient civilisations and thousands of years of history. Today, we also possess the talent, economic resources, and knowledge to tell our own stories authentically, rather than allowing them to be reshaped through an “exotic” Western lens. “All rules are made to be broken”, and the transformation of Asian cinema is proof of that.
Q: What’s your next plan after this debut film?
A: I am currently focusing on my master’s studies in film and creative writing at the University of British Columbia, Canada. I am also taking the time to read books and watch movies — luxuries I have not had the privilege to enjoy in the past few years while working on ‘Don’t Cry, Butterfly’.
Thank you very much!
Duong Dieu Linh (born in 1990) is regarded as one of the promising filmmakers of Vietnam’s new generation of directors. She has directed several short films, including ‘Mother’, ‘Daughter’, and ‘Dreams’, which were showcased at the 2018 Busan International Film Festival in the Republic of Korea and various other international film festivals. ‘Don’t Cry, Butterfly’ is her feature-length debut, co-produced by partners from four countries including Vietnam, Singapore, the Philippines, and Indonesia.
