Director Hoang Nam: From self-made artist to cinematic dreamer

His debut feature, The Ghost Lamp, is set for release on the tenth day of the Lunar New Year 2025 and is already being tipped as a breakthrough moment for Vietnamese cinema. “After ten years of filming, I’ve come to see how rich Vietnamese culture truly is, not just in terms of its landscapes but in its people. I was asked why I hadn’t captured that beauty on film. That question sparked the idea to create something deeply rooted in Vietnamese tradition. The spiritual thread in the story isn’t the focus, but a device that draws viewers closer.”

And so, Vietnamese cinema welcomes a bold new voice: Director Hoang Nam. His work gleams with intention, like finely cut gemstones, each scene composed with care, each element meticulously refined.

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Working with an entirely new cast, Hoang Nam finds the director task far less daunting than he once feared. For him, the rules of filmmaking mirror those of life: every endeavour must be distinctive, wholehearted and carried out with absolute dedication. He approaches each project as though it were his last, savouring every moment.

To shape his first feature, he and the crew braved a litany of trials. “We scaled mountains, waded through rivers, built sets, orchestrated special effects, choreographed fight sequences and even staged explosions. That spirit of commitment and refusal to shrink from difficulty has defined my style and earned people’s affection,” he says.

True to the adage that every beginning is hard, production proved anything but smooth. Among the sternest tests was Super Typhoon Yagi, which barrelled in during the final days of shooting. Only once the tempest had passed did Nam exhale, gently thanking providence for keeping the team safe.

His debut feature, The Ghost Lamp: The Story of a Nam Xuong Girl, weaves a spiritual motif throughout, lending depth and holding the audience fast. Nam is convinced that today’s Vietnamese cinemagoers warmly embrace home‑grown films when they are intelligently crafted. For him, cinema is not merely a stage for storytelling but a showcase for Vietnam’s beauty and cultural heritage.

He has lavished particular care on this first cinematic “brainchild”. Given The Ghost Lamp’s rich cultural texture, Tet felt the natural window for release. Yet the date could not rest on personal preference alone; it required agreement from every stakeholder, especially the distributor. The tenth day of Tet, also the Day of the God of Wealth, carries added resonance and, conveniently, faces little box‑office competition.

Looking ahead, hthe director intends to establish a production house not only to nurture his own projects, but also to champion emerging talent. Having started with nothing, Nam knows the hurdles confronting young filmmakers and hopes to shorten their detours. A single word of encouragement, he says, can deliver immense strength. His next mission is to broadcast Vietnamese cultural values, both at home and abroad.

Hoang Nam’s journey is far from over; the chapters are still being written. He continues to pour passion into every frame, forging work that is as arresting as it is meaningful. What began as a YouTube dream is steadily becoming cinematic reality, and its glow, he hopes, will inspire grander visions in the next generation.

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