Published on April 3, 2026
Debut feature films , especially those with original screenplays, have always captivated audiences, ever since writer-director Orson Welles crafted *Citizen Kane* in 1941. In 2024, Vietnamese filmmaker Pham Ngoc Lan follows in Welles’s footsteps with his debut feature, *Cu Li Never Cries*, co-written with Nghiem Quynh Trang. This film brilliantly intertwines time with the histories, traditions, and family lives of contemporary, unified Vietnam, focusing on two ordinary lovers navigating an unplanned pregnancy and their desire to marry.
*Cu Li Never Cries* presents a bittersweet tragi-comedy that explores multigenerational perspectives within Vietnam’s complex landscape. Through its narrative, the film oscillates between reflection and anticipation—vividly portraying the past errors of the older generation while encouraging the youth to forge a distinct future free from historical burdens.
The story unfolds across two generations. An elderly woman, recently widowed and returning from East Germany with her late husband’s ashes and his pet slow loris, Cu Li, finds herself living in Hanoi alongside her niece, Van. Van, an orphan, supports herself as a nanny, caring for small children while their parents work. The emotionally charged reunion and the aunt’s transition back to life in Vietnam after experiencing a different culture serve as a poignant backdrop to Van’s domestic struggles.
As the film delves into the contrasting mindsets of its characters, it cleverly juxtaposes the traditional Vietnam of the past with the modern life of the younger generation. The aunt undergoes an emotional journey, maintaining cultural rituals while witnessing Van’s rapidly modernizing approach to relationships and marriage. The aunt facilitates Van’s engagement, merely as a formality, before the couple embarks on a wedding that mirrors more Western customs despite their non-Christian backgrounds.
A significant creative choice is the inclusion of Cu Li, the slow loris, throughout the film, serving as a symbolic link between generations. The cuteness of the animal contrasts with its tragic potential, as slow lorises in the wild are resilient yet vulnerable creatures, much like the human characters in the film. In particular, the dual symbolism of Cu Li resonates deeply, connecting the sentiments of loss experienced with Van’s uncertain future.
The narrative employs clever details, such as the broken metal rib of the aunt’s umbrella, which symbolizes her fragmented life and the past mistakes that haunt her. A poignant moment occurs when Van temporarily absconds from her wedding celebration, uncertain about her future, only to be found , who gives her a cherished necklace as a sign of approval—a tacit passage of wisdom from the older to the younger.
The film’s humor subtly weaves through moments of sadness, as the aunt’s former colleague showcases an altered statue of Ho Chi Minh. This poignant scene correctly escapes the somberness while humorously reflecting on cultural shifts within Vietnam. The director has noted that despite its limited budget, the film’s black-and-white aesthetic emerged as a stylistic choice to convey its themes more effectively while also addressing production costs.
While *Cu Li Never Cries* may not yet reach the legendary status of cinematic masterpieces like *Citizen Kane* or Ridley Scott’s *The Duelists*, it stands as a noteworthy debut, capturing the essence of Vietnam’s tumultuous yet vibrant history. The film’s awards circuit success—including recognition at the Berlin, Jeonju, and Thrissur International Film Festivals—attests to its powerful storytelling and the artistic vision of its young creators.
Recent works from other emerging Vietnamese directors, such as Ash Mayfair’s *The Third Wife* and Thien An Pham’s *Inside the Yellow Cocoon Shell*, further highlight the resurgence of Vietnamese cinema. With *Cu Li Never Cries*, Pham Ngoc Lan exemplifies a new wave of storytelling, addressing poignant themes of memory, loss, and cultural reconciliation, which resonates deeply within the fabric of contemporary Vietnamese society.
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