Award-winning director Dương Diệu Linh.

The award-winning film Mưa Trên Cánh Bướm, or Don't Cry, Butterfly, is being shown at the 29th Busan International Film Festival's 'A Window on Asian Cinema' section on October 4, 5 and 10. It is the first debut film by director Dương Diệu Linh and has already won the 2024 Venice Film Festival Critics′ Week Grand Prize.

Việt Nam News reporter Nguyễn Bình interviews Linh about making the film and its global appeal.

Don't Cry, Butterfly won the Grand Prize and the Most Innovative Film award at Settimana Internazionale della Critica. How do you feel now? And why do you think the film won the awards?

Honestly, until now I still think I'm living in a dream, and I didn't think that my little film would be received so warmly. As for why the film won the award, I don't know either. It might be subjective to judge one's own work.

I would like to repeat the panel's comments when announcing the award. Don't Cry, Butterfly is a mix of comedy, social drama and fantasy, and I think it was recognised for the way it represents the complexity of the mother-daughter relationship.

What is the most unforgettable memory from the awards ceremony?

My only memory of the awards ceremony is that I felt overwhelmed at that moment. My producer told me later that after we received the 'Most Innovative Film' award, one of the organisers told her "don't go back home". She held my hand tightly while the judges announced the remaining awards. It was a very nice surprise.

Many people came to congratulate the film crew at the party after the awards ceremony. One of volunteers told us that she wanted us to win because she and the other volunteers thought we were polite and humble. It moved me.

Don't Cry, Butterfly is a film made out of the love and mutual respect of the entire crew. I am proud that our spirit is spread everywhere the film is introduced.

Mưa Trên Cánh Bướm or Don’t Cry, Butterfly is your first feature film. It has a poetic title both in Vietnamese and English. Why did you name it that?

When I named the film, I thought it would have both a high and low register, both in Vietnamese and English. It should be sentimental but not mawkish. I wanted the name to still have a certain brightness.

The word 'butterfly' itself has three syllables, so when combined with the two words 'don’t cry', it creates a pretty pleasing harmony and rhyme. It sounds like a slogan.

In the Vietnamese pronunciation, I also focus on timbre and rhythm. The Vietnamese name conveys a story in the film and the two up tones at the end of the name express flying gently.

People think that the butterfly is a symbol of transformation. That could be one way of looking at it. Personally, I've always thought the butterfly represents something very free, which is what the two main characters in the film are always searching for.

What do you most remember when making Don’t Cry, Butterfly?

It took me five years to make the film. I received a lot of support and encouragement from consultants and our team as well during the filmmaking.

Making a film is never easy, but when everyone works together, all of the difficulties will pass smoothly.

Now, I only think of the moments we spent together and the deep spiritual connections that the process of making the film brought me. For me, that is probably the greatest benefit of being a filmmaker that nothing can replace.

You have made short films before Don’t Cry, Butterfly. Do you think that helped you prepare for making your first feature film?

For me, short films are an important step for filmmakers towards making their first feature film. Firstly, it gives me a chance to learn the storytelling structure and find a dream team. I also made some mistakes in the short films.

It's like how a writer can hone his pen through short stories before moving on to writing novels. A short film requires less time and a lower budget, and the responsibilities involved are much lighter.

An independent filmmaker feels free to experiment with new topics and a new filmmaking style before she/he makes a feature film. Plus, attending film festivals with short films also helps the filmmaker find investors and funds much more easily.

Some experts say that emotion is more important than story making in a film. What do you think?

For me, the most important thing is probably truth. Being honest with the character's emotions and being honest with the messages I want to convey through the film, instead of trying to cram in details to create an impression in a forced and empty way.

These things need to come from the experience and worldview of the creator. I believe that once a work of art comes from the sincere heart of the artist, it will automatically find its way to the audience's heart, one way or another.

Were you born to an artistic family? What inspired you to become a filmmaker?

I was not born in an artistic family. One of my cousins and I used to be seen as abnormal people in our family, since he studied painting and l chose filmmaking.

When I was a high school student, I attended a videography training course held by the World Wide Fund for Nature. In the one-week course, I learned a lot about filmmaking, and I thought it was interesting.

My love for cinema developed further in the 2000s, when DVD shops were booming. I knew that Nanyang Technological University in Singapore was recruiting students for a film major, so I took a risk in registering and was accepted. And the rest is history.

Could you name some other Vietnamese films you have seen? And why have you seen them?

I'm keen on watching Vietnamese films, although I have been living in Singapore. I have watched films by established directors, independent directors and blockbusters.

Whenever I come back to Việt Nam, my colleagues invite me to film premieres. Currently, Southeast Asian Netflix has bought the copyright to show Vietnamese films, so I can watch them.

I watch all kinds of films without selection. It is great for me to see Vietnamese films. Vietnamese cinema in recent years has been bustling, vibrant and full of potential. I'm glad to make a small contribution to the domestic film industry. — VNS