Creating films from folk material.

Scene from the movie "The Soul Eater".

Appealing because it's both strange and familiar.

At the end of 2023, two films, "The Soul Eater" and "The Demon Dog," attracted significant audience attention. Evidence of this is that "The Soul Eater" grossed over 65.5 billion VND and "The Demon Dog" earned over 51 billion VND (as of January 5, 2024). These two films also topped the box office in Vietnam since their release in December 2023. A common thread is the strong use of folklore elements in both films.

In the horror film "The Soul Eater" by producer Hoang Quan, director Tran Huu Tan carefully selected folk elements to incorporate into the film, clearly showcasing the local culture. Based on the literary work of writer Thao Trang, who has a large readership, director Tran Huu Tan incorporated newly composed nursery rhymes to suit the film's narrative, hinting at the villain's evil methods. The rhymes appear intentionally to evoke familiarity and create a sense of mystery, interwoven with many spooky folk tales and imaginary characters related to the afterlife ...

The familiar imagery from the folk painting "The Mouse Wedding" is interestingly incorporated into the film by the director of "The Soul Eater." It depicts a wedding at night, where everyone wearing mouse masks is a unique custom of the villagers, based on the belief that the spirits will not be captured, thus warding off bad luck. The mouse masks also carry a deeper meaning, reminding them that their ancestors committed evil deeds in the past and subsequently had to live in hiding like mice, serving as a warning against committing further evil.

"Building the wedding scene took quite a lot of time. We used Vietnamese culture as an outer layer, thereby conveying a humanistic message to viewers, especially young audiences, with a feeling that is both new and familiar," said director Tran Huu Tan.

Released shortly after "The Soul Eater," the film "The Demon Dog" (directed by Liu Qinglun) has held its own in theaters for nearly a month, with steadily increasing audience numbers. Borrowing from the oral tradition of "The Dog Wearing the Bewitching Hat," the director reflects on the reality of dog theft, dog killing, and the karmic consequences that humans must bear for their lawless actions.

Producer Vo Thanh Hoa shared: "The film 'Demon Dog' is the opening project for a series of film projects that we have been developing for the past 3 years, consisting of 3 different parts with a horror theme combined with mystical folk elements, carrying a positive message, and will continue to be released in the coming years."

The box office success of the two aforementioned films is a positive sign for Vietnamese horror films, reinforcing filmmakers' confidence in exploring folklore as a source of inspiration.

It cannot be taken lightly.

Beyond horror films, positive audience reception has also been seen in many Vietnamese historical dramas released this year, most notably Victor Vũ's "The Last Wife," which grossed over 97 billion VND at the box office. Choosing a setting deeply rooted in Northern Vietnamese culture, combined with meticulous attention to costumes and art design, the film leaves viewers with an unforgettable impression thanks to its beautiful visuals: scenes of water puppetry, women in traditional four-panel dresses and conical hats, a village market, houses made of bamboo and thatched roofs, and the grand, ancient mansions of mandarins... The song "Floating Water Hyacinths and Drifting Clouds" is incorporated into the final scene, evoking a sense of poignant regret.

Notably, the costume design was meticulously crafted and widely promoted before the film's release. Actress and producer Dinh Ngoc Diep shared: "With the film set during the Nguyen Dynasty, the costume designer researched the clothing of the people, from the five-panel dress to the hairstyles of women from various social classes, and the daily habits of the people..."

“We still have a certain flair in costume design. The color coordination from the actors' costumes to the setting is harmonious. For example, the scene of the feast in the mandarin's house features many different colors of clothing, but they are not flashy, as they are all muted colors. Each wife of the mandarin has a costume that suits her personality: The first wife wears red, orange, and yellow, fitting her hot-tempered and formidable personality; the second wife usually wears green, reflecting her somewhat free-spirited and carefree personality; the third wife wears dark blue and brown, matching her melancholic mood,” said producer Dinh Ngoc Diep.

Producer Hoang Quan believes that what makes Vietnamese people proud and creates a unique and outstanding difference is the cultural element, with distinctive features that cannot be confused with anywhere else. Of course, there will be challenges, because with the horror genre, when incorporating folk cultural elements, it's necessary to determine what is sufficient and what goes beyond the limits. "We are making adjustments and refining the film as we go. We can't be complacent with what we already know; we must carefully consult and seek advice. That's essential when making films that borrow from folk culture," said producer Hoang Quan.

He also stated that during the "Soul Eater" project, he received advice and information, such as how to use materials that best reflected the Vietnamese context of that era and story. However, some elements were based on subjective feelings, and if the film crew were to redo it, they would research and seek more systematic support and advice.

Screenwriter Kay Nguyen, who has been involved with films such as "Co Ba Saigon" as co-director and "Cong Tu Bac Lieu " as co-screenwriter, believes that folk elements create a sense of familiarity. "That atmosphere depends on many factors, from the script, setting, sound, lighting, acting, actors' voices, post-production, special effects... Horror and historical films set in the past require huge budgets to establish the setting, customs, and traditions," said screenwriter Kay Nguyen.

There seems to be a powerful catalyst that has drawn young people to invest their money and effort in researching and producing "made in Vietnam" films. They have strived to affirm their national pride in cinematic creation, with the desire to create stories of Vietnamese people, using Vietnamese cultural elements. This is very encouraging.

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