Director Leon Le I am loyal to my artistic choices

Following the reaction of domestic audiences to Quan Ky Nam, besides curiosity and anticipation, there is also surprise. Why did you "pull" actress Do Hai Yen back, when she was absent for many years after the success of The Quiet American, Pao's Story... ?

Honestly, Do Hai Yen was not on my initial list of choices for the role of Ky Nam, because in the script, she was a woman in her fifties to clearly depict the age difference between the two characters. More importantly, Ky Nam was also a woman from the North who came to the South in 1954, so her voice, demeanor and personality also required her to be typical of this generation. After a period of searching without results, some colleagues suggested that I should meet Hai Yen. She was very excited right from the moment she read the script and shared that she liked my film Song Lang, and also realized that Ky Nam was a special role.

We exchanged scripts many times. I had many conversations to understand more about Yen, her life experiences, the difficulties, incidents, hopes, and disappointments that she had gone through, because that was the necessary material to sympathize and transform into the character. Finally, there were rehearsals with Lien Binh Phat to check the compatibility.

To me, Hai Yen has all the elements: acting experience, cinematic beauty, compatibility with Lien Binh Phat, and most importantly, a serious attitude, ready to pursue the strict schedule of a film project. Until now, I still believe that it is difficult for anyone other than Hai Yen to take on this role.

- Ảnh 2. — Do Hai Yen and Lien Binh Phat play the main roles in "Quan Ky Nam"

Was the working process challenging, when you not only worked with a "new" face like Do Hai Yen but also made Lien Binh Phat different from Song Lang ?

I don’t see it as a challenge. The important thing is to be flexible in your approach to each actor, not only in the main roles but also in the supporting roles, even those with only one or two lines. Each actor has a different personality, level of experience, ability to perform, strengths and weaknesses. Therefore, I cannot apply a rigid directing method to everyone. Each person needs a suitable way of working to be able to best develop within the framework of their character.

Regarding Lien Binh Phat, I did not set a goal to "renew" or do it differently from previous roles. Instead, what I care about is how to help him portray this role perfectly. From psychology, behavior to inner self, everything must be logical, consistent, and genuine so that the character's choices and actions are convincing.

- Ảnh 3. — Lien Binh Phat returns with Leon Le in "Quan Ky Nam"

Besides Lien Binh Phat, this time you also collaborate again with co-screenwriter Nguyen Thi Minh Ngoc, cinematographer Bob Nguyen and composer Ton That An. Are you afraid that the audience will see a repetition?

I don't make art to prove myself, so I don't care about repeating or renewing the form. The only thing that matters is that the project must give me enough emotions to pursue it to the end. If my goal was just to create "difference" to prove my ability to make films, I wouldn't have refused many invitations over the past 7 years, from remake projects, musicals, historical to horror... to just focus all my time on Quan Ky Nam .

Placing Quan Ky Nam and Song Lang in the same space and time must have some special meaning to you?

The reason both films chose the 1980s is simply because the story had to be set in that time. If Song Lang were set in the 1990s or later, the Cai Luong stage would have lost its vitality when video appeared, and if it were to be brought back to the golden age of 1950 - 1960, the budget would not allow it.

The Ky Nam Restaurant also has some details that could only happen in the context of the subsidy years. The 1980s were my childhood before leaving Vietnam, so there must have been some nostalgia. In the future, I still have many stories about the country, people, and culture of Vietnam that I want to tell and learn more about.

- Ảnh 6. — Director Leon Le (right cover) and the "Quan Ky Nam" crew at the 2025 Toronto International Film Festival

- Ảnh 7. — Lien Binh Phat and Leon Le at TIFF 2025

It took you 7 years to make a comeback. Do you consider this "slow but sure" or "inevitable"?

7 years is not a long time for me, because I did not sit still during that time. I still worked, accumulated thoughts, knowledge, life experiences; still created art in many different forms and still devoted my mind to the next film projects. I just thought simply: When the script is not completed as expected, what to film? Why film quickly? What is the purpose of continuously releasing films? If that work of art does not reach, or at least approach, my own standards, then what is the point of doing it? For me, quality is important, not quantity.

"Quality is important, not quantity" is also a common comment in discussions about Vietnamese cinema. How do you see the industry in Vietnam?

There are many positive points: Censorship has become more open, creating conditions for filmmakers to develop their potential and express their creative personalities. Technically, it is undeniable that Vietnamese films are increasingly professional, from the production stage to the final product released in theaters. The actors are also diverse, young, beautiful in appearance and have improved acting ability.

However, the Vietnamese film market still lacks a balance in genres. Most producers and directors still follow trends, satisfying short-term tastes, instead of courageously trying out "different" works that are convincing enough to attract audiences to their side. There are still not many investors with long-term vision, brave enough to accept risks to create breakthroughs and truly contribute to the comprehensive development of the Vietnamese film market.

- Ảnh 9. — Movie poster "Ky Nam Restaurant"

In that context, where do you position yourself? Are your films commercial or artistic?

Maybe because I don't have many works yet, I don't consider myself a "professional filmmaker" to think about my position in the film industry. I know I'm lucky to have audiences who sympathize with the language and artistic emotions that I pursue. And for me, that's enough! I'm not greedy and demand that my films win big with "hundreds of billions", and I've never thought of myself as an "art" filmmaker. It can be said that Song Lang or Quan Ky Nam are simply dramatic, psychological and social films.

So what is the reason that makes many people think you follow the path of making art films?

I think it's largely because the domestic film market is lacking in genre balance as mentioned above. When a film doesn't follow the familiar commercial formula, it is immediately (or is) classified as an "art film".

To me, true art filmmakers are people like Tran Anh Hung, Phan Dang Di, Pham Ngoc Lan or Nguyen Hoang Diep - people who see cinema as a path to the end of a distinct, clear and unique aesthetic world .

Will there come a time when audiences see you... making movies en masse?

I really admire directors who can do that. But I am different. I cannot jump from one project to another seamlessly. I need time to "unwind", to live, to wander around looking for new inspiration. Perhaps partly because I do not consider myself a "professional filmmaker" but only a "creative artist". For me, creativity is not limited to cinema. I divide my time and energy into many jobs that I love: from book design, photography, travel to seemingly small things like making costumes, cai luong props, editing and rewriting plays. Especially now, when I co-operate and artistically direct the Thien Ly cai luong troupe, my time becomes more diverse and scattered.

- Ảnh 11. — Leon Le's 2018 debut film Song Lang was highly appreciated by both domestic and international experts.

Ky Nam Restaurant is quite unique in using 35mm film. Can you share about this decision?

The idea of shooting on film actually came from Song Lang but at that time the producer did not approve it because of concerns about risks and costs. With Quan Ky Nam , I produced it myself so that I could make the decision to shoot on 35mm film. I chose it simply because I love the beauty, the soul, the depth that only film can bring. However, it also encountered many difficulties.

First of all, it was the film development and scanning. Most of the film development facilities in Asia had closed down because there were no more projects to sustain them. Then came the equipment problem. We could not import rental cameras from abroad because no insurance company in the world would accept film projects here. Finally, I made a decision: buy the whole set of filming equipment myself. I always think: "If it's easy to do and easy to make money, everyone will do it. If it's difficult to do, then it's fun." Luckily, I have a team of colleagues who are as "crazy" as me and extremely talented. As long as I "ask", they are ready to jump in to support.

Of course, the production process encountered countless "headache" problems. But now looking back at the finished film, we all see that all the sacrifices and hardships were completely worth it. And from now on, I think I will never be able to turn my back on film.

His story reminds me of a comment by director Martin Scorsese when he said that cinema is losing its value. But there are still Christopher Nolans in the world who are dedicated to the 70mm IMAX format in the upcoming Odyssey or The Brutalist. with VistaVision recently. Do you have similar feelings about cinema today as Scorsese?

I am simply an artist who chooses an art form to express my feelings and thoughts. I do what I like and do it to the best of my ability because if I don't do it, I will regret it for the rest of my life.

If there is anything in my films that viewers can feel, it is the sincerity in the way they tell the story. As for how the audience feels and understands, I cannot control it, and I have no need to guide them.

The only thing I hope is that the film is successful enough to fulfill my responsibility to the investors - those who have believed in and accompanied me. That is why I have to be more loyal to my artistic choice, to create the most decent and complete work, according to my own perspective and standards.