Actress and film director Hồng Ánh.

Award-winning actress and film director Hồng Ánh was the only Vietnamese juror at the ASEAN International Film Festival and Awards held in Kuching, Sarawak, Malaysia from August 2 to 4.

Việt Nam News reporter Nguyễn Bình spoke to Ánh about the festival and film industry.

Your first movie Đảo Của Dân Ngụ Cư (The Way Station) won prominent awards including Best Film, Best Actor and Best Director of Photography at the ASEAN International Film Festival and Awards (AIFFA) 2017 in Malaysia. How did you feel to return the festival in the same place?

This festival is a return that I always expected. I have experienced it three times and in different roles at the festival, a director with a film in attendance, a special guest of the festival and this time as a judge.

The film festival returns after a four-year pandemic hiatus. Therefore, the desire to "return" in me seems stronger.

I was received by familiar filmmakers and movie screening spots in the hundred-year-old houses. I feel I have returned home.

The jurors, including me, had two months before the festival to watch the movie nominations. Some of the 34 movies were selected from more than 120 movies in total to compete for the awards.

When we arrived at the festival, we had three days working together. Each judge had to make personal recommendations to select nominations for the official awards. Not only that, each of us also had to convince the rest of the members to defend our opinions. The final list of nominations and awards are decided by final consensus from the jury.

What do you think about the nominations? Which one do you like?

All the movies in the official competition are from many different countries. They have different colours and cinematic storytelling. But they all have one thing in common that is easy to see. That is, the spirit and culture of Southeast Asia is very clear in each film.

No matter what genre the film is, drama, horror, action or comedy, it is a truthful reflection of the social and human issues that each country faces, such as identity, ethnicity, gender, division and conflicts stretching from the past to the present.

I really like three movies, the best film-winning Barbarian Invasion from Malaysia and two Vietnamese movies Memento Mori – Đất (Memento Mori – Earth) by Marcus Mạnh Cường Vũ and Đêm Tối Rực Rỡ (The Brilliant Night!) by Aaron Toronto.

Malaysia, Indonesia and the Phillippines had the most movies competing in the festival. In your opinion, why does Việt Nam have only two movies and what should Vietnamese filmmakers do to have more movies shown at international and regional festivals?

Each festival has distinct criteria. With AIFFA, its goal is to honour and enrich the cultural colours of the ASEAN region. Whether or not the movie is admitted to and subsequently shortlisted for the official competition, it doesn't mean the quality or universality of each film.

In addition, when making a movie, filmmakers all have a certain goal in their minds. They have the choice to make a blockbuster or an arthouse movie.

For me, when making a movie, there is no right or wrong. It's just that the movie's message will be received by the audience or not. Furthermore, it's up to curators and film festivals whether the movie fits their criteria or not.

I see the selected and winning movies at the AIFFA are all about human and social issues.

Those movies may have a lot of indigenous cultural characteristics, but they are problems that can be found anywhere, regardless of ethnicity. Audiences and the festival judges need to see them somewhere in the movies. I think that it is empathy without borders and language barriers.

You have a new role in a theatre production directed by Đoàn Khoa. Which role is more difficult for you?

I just performed in an experimental play Mình Nói Chuyện Mình (We Talk Ourself), directed by talented director Khoa.

It is a project to gather adventurous people. Director Khoa returns to theatre after 15 years, and veteran artist Kim Xuân has never performed in an experimental work.

In the beginning, Khoa and I wanted to bring something new to Sài Gòn Theatre. We challenged ourselves. Khoa is the play scriptwriter, director and actor, and I am the actress and production manager.

Both movie and play have different requirements and difficulties. I don't think what is more complicated. But for me, acting in a play will require an actor to improvise and have a deeper focus.

Play is a live theatre performance and I have just one chance to get it right.

You have won big prizes such as the Golden Lotus at the National Film Festival, Việt Nam Cinematography Association's Golden Kite Award and Best Actress at Dubai International Film Festival. What do these awards mean to you?

To me, each award is a source of happiness. It is my effort to be recognised by the professionals. I don't classify the award whether it comes from the Dubai festival – the top 15 A-class film festivals in the world or a domestic film festival.

The awards will help me to forge my career filled with purpose and passion and never be complacent.

Vietnamese documentary Chuyến Đi Cuối Cùng Của Chị Phụng (The Last Journey of Madam Phụng) distributed by your Blue Productions made a record turnover of documentaries in Việt Nam. Do you want to make a documentary?

A documentary filmmaker needs to have great grasping skills and profounding understanding of the specific subject he wants to reflect on. The documentary is about real people, and real events, so the filmmaker will have to find information and relevant sources.

The documentary filmmaker must have enough time to live with the character and witness the event. He even is a part of the story.

I love documentary and I am always willing to do everything to support Vietnamese filmmakers within my ability. But to become a documentary filmmaker, I'm probably not ready. Making documentary is very difficult. I always admire documentary filmmaker. — VNS