Cover Anh La’s journey is proof that each frame is not only an expression of emotion, but also the result of scientific thinking and a deep understanding of people
Anh La’s journey is proof that each frame is not only an expression of emotion, but also the result of scientific thinking and a deep understanding of people
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Anh La’s journey is proof that each frame is not only an expression of emotion, but also the result of scientific thinking and a deep understanding of people.
La Ai Anh, known professionally as Anh La, is a leading Director and Art Director in contemporary Vietnamese cinema, as well as the Founder and Lecturer of the Art In Film workshop series Xuyen Thau. Her debut short film Coi (2018) premiered at the San Diego Asian Film Festival 2020 and S-Express Vietnam 2021, while Vung Trung (2023) was named among the top five projects at the CJ Short Film Competition, hosted by CJ Cultural Foundation and CGV. Anh La’s works unfold as specialised, enigmatic worlds woven with dense aesthetic layers. For her, filmmaking is a search for a larger space to express herself, transform abundant ideas into reality, and connect deeply with the human condition.
Anh La, what brought you to the field of cinema and film art?
Although I explored various creative paths from interior design and fashion to event organisation, I always sensed a void, an unfulfilled space for artistic expression. It wasn’t until I encountered the “seventh art”, with its interplay of numerous artistic forms, that I discovered a vast “ocean” where I could freely explore and materialise my ideas. When I first “touched the door” to cinema, I realised it was the only space that allowed me to break free from life’s realities and communicate with raw, authentic emotion.
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Above When I first “touched the door” to cinema, I realised it was the only space that allowed me to break free from life’s realities and communicate with raw, authentic emotion
When I first “touched the door” to cinema, I realised it was the only space that allowed me to break free from life’s realities and communicate with raw, authentic emotion
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What is different about creativity in cinema?
Creativity in cinema, as I often say, is a convergence of multiple elements. While directors and screenwriters shape the narrative through words, the art director communicates through a “visual story” conveying and amplifying the character’s depth through every visual choice.
Art directors must remain grounded in the original narrative envisioned by the director and screenwriter, using it as a foundation for further development. For instance, when a director describes a character as a doctor, the default visual might be a white coat. But film art requires us to go beyond that. How do we imbue the coat with meaning, so that it speaks not just of the profession but of the doctor’s personal history and inner world? After all, this is not just a “doctor”, but a fully formed “character” with their own memories, experiences, and emotional complexity.
Bringing creativity into film, then, is not merely an act of imagination but also a methodical, highly practical process. It demands a careful synthesis of artistic sensibility and production logistics, ensuring that each detail not only pleases the eye but advances the story with purpose.
According to Anh Le, is art for humanity or art for art’s sake?
Movies, at their heart, follow the journey of characters, of people. So whether it’s cinema or any artistic form, its ultimate destination must always lead back to humanity.
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Above Shifting from being purely creative to taking on a leadership role was a true test
Shifting from being purely creative to taking on a leadership role was a true test
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In your career, which project are you most proud of?
That would be the short film Vung Trung, a tale of age-gap love set against the backdrop of a disturbing custom. Though the world it presents is fictional, it compels the viewer to believe in its reality, which is something I find deeply fulfilling. With Vung Trung, my team and I stepped beyond our usual boundaries, daring to test bold concepts in order to deliver a haunting and singular cinematic experience.
What were your difficulties when you moved from personal creativity to the role of director and art director?
Shifting from being purely creative to taking on a leadership role was a true test. Fortunately, my four to five years in event planning had already given me a solid grounding in organisation and coordination.
Still, in any film project, the greatest challenge rarely lies in technique or ideas; it lies in people. Success demands the ability to adapt constantly, to navigate a diversity of personalities and viewpoints. This is far more complex than focusing on one’s own creativity. Each team member brings a distinct outlook, and drawing them together into a cohesive vision is a creative feat in itself.
To ensure the team remains productive and continues to grow, I adhere to three key principles: observe carefully every shift in mood or energy within the group; listen sincerely to all input, whether critique or suggestion; and above all, stay humble. There’s always something to learn, be it from seasoned professionals, younger colleagues, or even from daily experiences.
Cinema opens up a vast ocean where I can freely explore and bring my ideas to life.
How do you evaluate the current development of the film art industry in Vietnam, especially the interaction between generations in the profession?
I believe that with proper financial backing, Vietnamese cinema is entirely capable of reaching Hollywood standards. We have both the youthful generation and the “old trees”. When the experimental spirit and fresh energy of the young blend with the experience and craftsmanship of the pioneers who laid the groundwork with precision and their own hands. I’m confident these two forces will converge to paint a bright future for Vietnam’s cinematic arts in particular, and the film industry as a whole.
Thank you, Anh La!
Article published from the original article in Tatler Vietnam, May 2025 issue
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