Top 20 Best Vietnamese Movies of All Time

The Wild Field is a well-known title among Vietnamese audiences. The film was produced during the subsidy period, focusing on the theme of war in Southern Vietnam. The story is set in the Đồng Tháp Mười region during the Vietnam War. A couple, Ba Đô and his young child, live in a small hut in the middle of the water. They are tasked by the Vietnamese Revolution to maintain communication lines for the army. The movie primarily explores the daily lives of the couple, while also incorporating intense combat scenes, such as the U.S. Army's Huey helicopters searching the flooded area to find the guerilla forces. During an assault, Ba Đô is killed by American helicopters, and his wife seeks revenge, shooting down one of the helicopters with the guerillas. The film ends with a scene of an American pilot dying in the helicopter wreckage, with a photo of his wife and child falling from his pocket. The film suggests that American soldiers, just like Ba Đô, have families and loved ones, but are forced to leave them behind to fight in a foreign land, ultimately losing their lives. The film condemns the inhumanity of war and highlights the humanity in the midst of it. Released in 1979, before the Golden Kite Award existed, it won a prize at the precursor to the award, the Vietnam Film Festival. This is considered one of the best war films.

When Will October Arrive is one of the standout films by director Đặng Nhật Minh, first released in 1984. The movie tells the story of a widow whose husband has died in the Southwestern battlefield.

Upon returning from a visit to her husband at the Southwestern border, Duyên learns of his death. On her boat journey back home, she falls into the river and is rescued by Khang, a teacher. Duyên keeps the news of her husband's death a secret, particularly from her ailing elderly father. To comfort him, she asks Khang to write letters in her husband’s name, as though he were still alive. These letters bring joy to the family, but the grief is something only she has to bear. Soon, rumors arise about an affair between Duyên and Khang. As her father grows weaker, he requests that she call her son to come home for a final reunion. It is at this moment that Duyên can no longer hide the truth about her husband’s death.

The film contains a poignant moment featuring a poem written on a kite:

"When will October arrive?
The rice ripens on the stormy fields.
We leave behind long days of waiting,
Loss, sacrifice, suffering, and pain.
While the autumn sky remains forever blue above."

The film's success with both critics and audiences led to nominations for the East-West Center Awards for Best Professional Understanding of Asian, Pacific, and U.S. Cultures, and it won a special jury award. It also received a commendation from the Peace Preservation Committee at the Moscow International Film Festival. By 2006, the film was one of the 30 titles preserved in Fukuoka City's library. On September 15, 2008, CNN rated 'When Will October Arrive' as one of the 18 best Asian films of all time. Some sources consider it one of the greatest classic films globally.

Cyclo is another renowned film by French-Vietnamese director Trần Anh Hùng. Much of the film was shot in Ho Chi Minh City and Hong Kong, in collaboration with Giải Phóng Film Studio and Salon Films Studio (Hong Kong).

The central character of the film is Cyclo (played by Lê Văn Lộc), a young man who is orphaned and earns a living as a cyclo driver in Saigon. By chance, he meets Madame Buồn (Như Quỳnh) and her lover, the Poet (Lương Triều Vĩ), and joins their criminal gang, committing various crimes. He soon finds himself trapped in guilt and fear, repeatedly attempting to escape the gang but failing each time. The Poet, a cruel man and a poet, is also the lover of Cyclo’s sister, whom he lures into prostitution. Meanwhile, Cyclo is coerced into taking drugs by the gang to numb his conscience as he participates in their robberies.

On the eve of Lunar New Year, while the city is bustling with celebrations, Madame Buồn’s mentally disabled son is run over by a car, and the Poet commits suicide in a state of inner conflict. Cyclo, high on drugs, shoots himself with a gun provided by the gang. After the New Year, everything returns to its order. Cyclo is released from the gang, Madame Buồn nearly goes mad after losing her son, and Cyclo returns to his old job as a cyclo driver. His sister resumes her former life. In the final scene, Cyclo mentions a cat, saying, "It looks even more beautiful than before it got lost." The film ends with a mandolin ensemble from a primary school: 'Wash your face like a cat.'

In 1995, the film was banned in Vietnam. At the time, this caused a stir within the film community. To this day, many believe that the ban on Cyclo was an 'injustice' to a talented filmmaker like Trần Anh Hùng.

Adapted from the novel by Nguyễn Huy Tưởng, the film Long Tri Festival Night is set during the Later Lê Dynasty, amidst the civil war between the Southern and Northern regions of Vietnam.

The film not only condemns the decayed society of the time but also highlights the struggle of the people against the powerful aristocracy of the feudal society. The story is set in a pivotal moment of social decay and fragmentation, allowing for the exploration of conflicts and tensions, delving deep into character relationships and offering insightful commentary on both historical and contemporary issues.

Unlike historical narratives that merely depict or illustrate events, Long Tri Festival Night uses a symbolic festival as the starting point, expanding the narrative through two opposing character arcs, with several other characters caught between them. At its core is the love story between Bảo Kim and Quỳnh Hoa, which broadens to explore other relationships such as those between teacher and student, friends, parents and children, siblings, and rulers and subjects, set against a chaotic and lawless society. As the villain, Đặng Mậu Lân, pushes evil to its most primal form, aided by the manipulative beauty of Tuyên Phi Đặng Thị Huệ, the forces of good must gather their strength and triumph, ending in a 'happy ending' according to folk literary tradition.

Created during the era of Vietnam’s opening to the world, the film brought together some of the most outstanding actors of the late 20th century. Long Tri Festival Night is regarded as one of the best historical and period films in Vietnamese cinema.

The Unfolding Card Game is a multi-part film series, produced from 1982 to 1987. The film dramatizes the psychological battle between spies from the Vietnam Workers' Party and the South Vietnamese government, along with American advisors in Saigon during the Vietnam War (1954-1975).

The screenplay was adapted by director Lê Hoàng Hoa from the manuscript of the novel 'Giữa biển giáo rừng gươm' by Trần Bạch Đằng. Lê Hoàng Hoa made significant modifications to the novel, ultimately naming the film The Unfolding Card Game, a title so successful that Trần Bạch Đằng later used it for the novel's published edition.

In 1982, the first episode was completed, but the male lead was not well-received. Consequently, Trần Bạch Đằng chose a relatively unknown actor, Nguyễn Chánh Tín, to play the lead role due to his 'genuine, natural acting style' that brought something unique to the role. This choice proved to be a huge success, and Nguyễn Chánh Tín's portrayal of Nguyễn Thành Luân became his iconic role. Actress Thúy An played Thùy Dung in the first three episodes, but had to leave due to pregnancy, with singer Thanh Lan stepping in to replace her in the fourth episode.

In 1986, the film's screenplay was adapted back into a novel of the same name, which was republished several times. While the film only covers part of the novel's story, many details from the novel were omitted in the film, including beloved supporting characters like the CIA spy 'Silver-Head' and Bảy Cầu Muối, who are absent from the original book.

For multiple generations of viewers, The Unfolding Card Game is considered a classic cinematic series. The individual films in the series are:

1. Adopted Son of the Bishop (1982)
2. Mobile Chessmen (1983)
3. Gunshot on the Highlands (1983)
4. Flood and Tango No. 3 (1984)
5. Blue Sky Through the Leaves (1985)
6. The Final Warning (1986)
7. High Pressure and Rising Waters (1987)
8. Wreath Before the Grave (1987)

'Vu Dai Village Back Then' is a famous film by People’s Artist Phạm Văn Khoa, inspired by three works of social realism by writer Nam Cao: 'Sống Mòn', 'Chí Phèo', and 'Lão Hạc'. The film paints a comprehensive picture of the lives of the people in Vietnam during the 1945 period. The characters of Chí Phèo, Lão Hạc, and Thị Nở have become iconic in Vietnamese cinema to this day.

The film is an adaptation of three separate works by Nam Cao, bringing together characters such as Giáo Thứ, Lão Hạc, Chí Phèo, Thị Nở, Bá Kiến, and Lý Cường in the village of Vu Dai before the August Revolution of 1945.

Though these works are blended together, viewers do not feel any inconsistencies or forced elements, thanks to director Phạm Văn Khoa's unwavering respect for the underlying theme throughout the film. Along with the film 'Chị Dậu' (1980), also directed by Phạm Văn Khoa, this film is considered one of the few truly successful Vietnamese cinematic works on the topic of rural life and the struggles of the Vietnamese peasantry before the revolution. The performances of key actors, such as Hữu Mười as Giáo Thứ, Bùi Cường as Chí Phèo, Đức Lưu as Thị Nở, and Kim Lân as Lão Hạc, continue to leave lasting impressions on generations of Vietnamese audiences.

'Vu Dai Village Back Then' also showcases director Phạm Văn Khoa's bold and innovative approach, as he dared to include 'intimate scenes' that were rarely seen in Vietnamese films during the early 1980s (prior to the Đổi Mới era). Upon completion, several scenes had to be cut, and the film was still not approved. Ultimately, Vietnam's General Secretary at the time, Trường Chinh, personally viewed the film and insisted that the banana grove scene remain, as removing it would have diminished the film's emotional depth and artistic value. Thus, the controversial scenes were kept in the final cut.

The film garnered several prestigious awards, with actor Bùi Cường winning the Gold Medal for Best Leading Actor at the 6th Vietnam Film Festival in 1983. Phạm Văn Khoa received the State Prize for Literature and Art in 2007.

'Vu Dai Village Back Then' is now regarded as one of the classic masterpieces of 20th-century Vietnamese cinema.

'The Little Girl from Hanoi' is a 1974 Vietnamese film produced by the Vietnam Feature Film Studio and directed by Hải Ninh. The film portrays life in Hanoi in 1972, during the U.S. military's Linebacker II campaign, which involved bombing North Vietnam.

Actress Lan Hương was cast as the little girl from Hanoi when she was just 12 years old, marking her acting debut. Kim Xuân, known for her work in Vietnamese opera, also starred in the film, having previously appeared in the famous 1953 film 'Kiếp Hoa'. Director Hải Ninh and screenwriter Hoàng Tích Chỉ had previously collaborated on the film '17th Parallel: Day and Night'. Filmed in the real-life aftermath of B52 bombings in Hanoi, 'The Little Girl from Hanoi' tells a deeply moving story of the capital's wartime life during the U.S. airstrikes. The plot follows two sisters, Ngọc Hà and Thùy Dương, as they flee the bombings after losing their mother, and their home in Khâm Thiên is destroyed.

One of the standout features of 'The Little Girl from Hanoi' is its realistic documentary-style approach. By using real post-bombing scenes, the film refrains from overly dramatizing its visuals, instead focusing on the most striking and meaningful moments. The black, wide eyes of Hà amid the rubble, her desperate calls, the birdcage on the floor, the burnt plastic doll beside the cradle, the rising incense beside the mourning cloth... These scenes, interspersed with everyday life in Hanoi, create a haunting and immersive experience, bringing the audience directly into the painful reality of the time.

However, despite the war's destruction and loss, 'The Little Girl from Hanoi' avoids being overly tragic. Director Hải Ninh balanced the harsh realism with a poetic touch, capturing the beauty within the devastation. Through the eyes of Ngọc Hà, Hanoi still shines with hope and warmth, as if peace could one day return. At the film's conclusion, the powerful message of 'Nothing is more precious than independence and freedom' serves as a fitting tribute to the humanistic spirit of the film.

Lan Hương’s portrayal of Ngọc Hà became a phenomenon in the 1970s, and her innocent gaze remains etched in the memory of many viewers as they reflect on the tragic fates of children amidst the flames of war.

Filmed in Hanoi immediately after the B52 bombings, 'The Little Girl from Hanoi' is a poignant and human-centered story about life in the capital during the U.S. bombing campaign. The film has received numerous prestigious awards, including the Golden Lotus for Best Film at the 3rd Vietnam Film Festival in 1975, the Special Jury Prize at the Moscow International Film Festival in 1975, and various individual awards.

'Living in Fear' (original title: 'Sống trong sợ hãi') is a 2005 Vietnamese drama film directed by Bùi Thạc Chuyên. The film explores the life of a South Vietnamese soldier, Tải, who has two wives and struggles to support them. He defuses American-made bombs for scrap metal to make a living, despite the objections of others. Tải plans to leave his dangerous job and farm a barren piece of land in front of his house, but when he discovers it too is filled with mines, he is forced to continue his previous work. As time passes, both of his wives go into labor, and Tải brings them to the same hospital. They share a room and converse multiple times. Eventually, Thuận, one of his wives, decides to move with their daughter Lành to live with Tải’s second wife, where they find happiness, but no one knows what happened to Thuận.

The film is based on a true story about a man who worked in mine clearance in Ninh Thuận. Written by Bùi Thạc Chuyên and Nguyễn Thị Minh Ngọc, it began filming in 2005 and premiered at the National Cinema Center in December 2005. This was one of the first Vietnamese films to use synchronized sound with the help of NHK (Japan). The film is not suitable for viewers under 16 years old.

'Living in Fear' won third place in the International Student Film category at the 2000 Cannes Film Festival, a Silver Medal at the 2000 Taiwan Film Festival, and five Golden Kite awards at the 2005 Cánh Diều Film Awards, including Best Director for a feature film, along with several other accolades.

This film has captivated generations of viewers and stands as one of the earliest Vietnamese films to draw international attention. 'The Warbler' is a short film that carries a profound ideological message, effectively conveying its impact through simple, direct, and authentic storytelling. The film features only a few characters, each playing a unique role, with the central character being little Nga.

The story takes place during the resistance against French colonialism. Little Nga, carefree and innocent, lives with her father in a small riverside village. She helps him transport and hide resistance fighters. When discovered by the French secret police, they torture her father and force Nga to set traps for the resistance. The film uses Nga's character to symbolize the great burden placed on her fragile shoulders. Her sacrifice at the end of the story creates a powerful emotional shock—though not entirely unexpected, it sparks both love and hatred, free from sorrow. This is a notable achievement of the heroic style of expression.

'The Warbler' is one of the rare early Vietnamese films to achieve a balance between literary and cinematic characteristics. The filmmaker uniquely creates a subjective rhythm of thought that guides the viewer's perception of contrasting images: the towering father and the small, delicate girl; the brutal enemy with weapons in hand and the innocent villagers defenseless; life on one side, death on the other.

The film's closing scene is considered the most crucial and significant moment. From a high angle, the camera captures Nga stumbling after being shot, her arms flailing as she clings to life, desperately calling out 'father' before collapsing by the riverbank. The camera slows, and the music swells, filling the space with an overwhelming sense of grief. This moment encapsulates the tragedy and immortalizes the heroism of the young girl, evoking profound emotion. In this case, cinematic language reaches its peak, both stirring and deeply thought-provoking. 'The Warbler' won the Special Prize for Short Film at the 1962 Karlovy Vary Film Festival and the Golden Lotus at the 2nd Vietnam Film Festival in 1973.

The screenplay for this film was adapted by writer Nguyễn Quang Lập from the short story of the same name by Đỗ Phước Tiến, a famous literary work that has been translated and published in many languages worldwide. 'The Immigrant Island' marks the directorial debut of actress Hồng Ánh.

Phước (played by Phạm Hồng Phước) is a drifter who decides to temporarily halt his journey at a goat hotpot restaurant. From the moment he receives an accusing glance from Xiếm Hoa (Ngọc Hiệp) and enters the gate, which is always locked during the day, he could never have imagined that his life would change forever. The owner of the restaurant is a taciturn, authoritarian man who appears quite intimidating. He has a daughter named Chu (Ngọc Thanh Tâm), who is paralyzed from the waist down, making her a source of shame that the owner hides away in the attic, forbidding anyone from approaching her. At this restaurant, Phước becomes friends with Miên (Nhan Phúc Vinh), a wild and free-spirited Khmer youth. Among the staff is Ahmed (Hoàng Nhân), a quiet Muslim man whose presence in the old house feels like time moving slowly. Phước’s arrival causes the lives of everyone in the restaurant to shift, slowly and subtly, but with a deep undercurrent of sensuality and obsession. The film is not just about individual fates but also paints a broader picture of a multicultural, multi-ethnic society. It adopts an artistic style often considered niche, addressing sensitive aspects of life and the human condition.

Before its domestic release, 'The Immigrant Island' was officially presented at the 2017 Cannes Film Festival as part of the Vietnam Night event. Shortly after, the film was shown with Spanish subtitles during the Vietnam Film Week in Madrid, Spain, on May 24 and 25, 2017. The film received 8 nominations across 9 categories at the 2017 AIFAA International Film Festival, ultimately winning the Grand Prize for Best Film, along with two other major awards for Best Actor (Phạm Hồng Phước) and Best Cinematography (NSND Lý Thái Dũng).

After 'Tam Cam: The Untold Story,' this is another highly anticipated work by Ngô Thanh Vân that has caught the attention of audiences. The Tailor recreates a Saigon of the 1960s, both dreamy and modern. In this setting, the elegant áo dài (traditional Vietnamese dress) of women is just as striking as the Western-style suits.

The owner of a tailor shop has two daughters: one prefers sewing áo dài while the other enjoys making Western suits. By accident, Như Ý travels back in time to 2017 and is shocked to find the tailor shop has been demolished. The once vibrant Thanh Nữ tailor shop is now a deserted site. The shop owner, Mrs. An Khánh, has become an alcoholic, losing herself in the process, and changes her name from Như Ý to An Khánh. Thanh Loan opens her own áo dài shop and later has two children, Helen and Tuấn. Helen is now a famous and powerful fashion designer in Saigon, while Tuấn works in her company.

Determined to revive the Thanh Nữ tailor shop, Như Ý seeks to rediscover her passion for áo dài and restore the shop to its former glory. Through this journey, she reconnects with her identity, family, and love for the traditional dress, which symbolizes the spirit of Vietnam. Eventually, the shop is renovated, and An Khánh and Thanh Loan reconcile their sibling relationship. Như Ý, now in possession of a magical jade piece in her áo dài, is transported back to 1969, where she meets her mother, Thanh Mai. She apologizes to her, telling her she has learned to make áo dài and proceeds to create a modernized version for her mother.

The film features renowned actors such as Ngô Thanh Vân, Ninh Dương Lan Ngọc, Diễm My, Kim Thư, and Trác Thuý Miêu. One of the aspects that attracted attention to The Tailor was its vintage-style promotional poster, offering a refreshing contrast to the modern blockbusters and futuristic themes dominating the cinema. Moreover, the film’s team attended the Busan Film Festival dressed in traditional áo dài, which further captivated international audiences.

Adapted from the novel 'Southern Land' by author Đoàn Giỏi, the film vividly depicts the life of people in the southern region of Vietnam during the years of resistance against French colonialism. The story is set in the Southern region during the period when it was under the control of the French and local feudal landlords. The film focuses on the lives of rural folk amidst a time of turmoil.

'Southern Land' is an emotional and meaningful children’s film about life and the people of the southern waterways. The film tells the journey of a young boy, An (played by Hùng Thuận), who sets out to find his father. During his journey south, An witnesses the tragic fate of many, encountering oppressed peasants suffering under the rule of the landlords and colonizers. Despite the vastness of the land, the farmers struggle with land loss, poor harvests, and their inability to protect their resources. Circumstances drive them to rise up in revolt. Throughout his challenges, An’s journey is propelled by the compassion and solidarity of the local people. These values give him the strength to overcome the hardships he faces.

'Southern Land' also condemns the crimes of war and colonial exploitation. It highlights how these oppressive forces forced many citizens to live in misery, with children like An being scattered in search of their lost families.

A classic Vietnamese film that no one can forget is Blood Money. The story revolves around the Khải family, with a father and his three children.

Mr. Khải is a traditional, strict man who disapproves of modernity and sticks to old principles. In contrast, his son Toàn leaves his father’s factory to start his own company with the ambition of becoming rich. Conflict arises within the family when Toàn wants to tear down their ancestral home to build a new one. The film explores the social tensions during the transition to a market economy.

Blood Money is a Vietnamese TV drama directed by Đinh Đức Liêm and produced by the Ho Chi Minh City Television Film Studio (TFS). The cast includes actors such as Lâm Tới, Chi Bảo, Quyền Linh, and Trương Ngọc Ánh. The film first aired in 1999 on Ho Chi Minh City Television (HTV).

After the success of 'Silk Ao Ha Dong' and 'The Immortal Legend', director Luu Huynh continues to explore social issues and the human condition in his intriguing new film, Marrying Someone Else.

Set in the La Nga floating village of Dong Nai province, Marrying Someone Else tells the story of Lua and Khanh, a couple living in poverty in a rickety hut but filled with love and happiness. Tragedy strikes when Lua, wanting Khanh to experience the joy of fatherhood, secretly asks Linh to father a child for them and demands he keep it a secret forever.

The birth of the child fills Lua and Khanh with joy, but it also awakens Linh's jealousy and selfishness. Despite his earlier promise, Linh starts demanding to meet the child and tortures Lua, causing her immense suffering. His obsession grows as he watches the happiness of his old friends, and he becomes determined to take the child back at any cost.

Thái Hòa, known as the 'box-office king', leaves the audience stunned with his powerful portrayal of Linh’s psychological unraveling. Every detail of his performance—from his crude gestures to his erratic behavior—is deeply disturbing. In contrast, Huy Khánh’s portrayal of Khanh as a humble, selfless father adds a poignant emotional depth to the film.

The film is set in Hanoi, where four sisters gather at the eldest, Suong's (Nguyễn Như Quỳnh) tea shop to prepare for their mother's death anniversary. Each sister brings her own story, with different circumstances.

Director Trần Anh Hùng describes it as a "sensual, gentle yet bitter comedy" that explores "betrayal and the yearning for romantic love", as well as the "harmony" or "delicate balance of face-saving" between the characters. The film has a soft, subtle style, capturing still moments to convey the harmony and pursuit of happiness of the characters, while reflecting the director’s childhood memories of Hanoi. Rather than focusing on the mundane experiences of the characters in a documentary style, the film reveals the hidden secrets and harmonious memories they keep. Trần Anh Hùng believes that the harmony portrayed holds a unique beauty, one tainted by bitterness and sadness.

Summer Straight Up has received critical acclaim. On the review aggregator site Rotten Tomatoes, the film earned a “Fresh” certification with 82% positive ratings based on 55 reviews, with an average score of 7.1/10, along with the comment: “Summer Straight Up is majestically tranquil, poetic, and gently lulls the audience into its everyday tale.

Please Believe Me is an adaptation of the novel by Nguyễn Thị Thu Huệ. Directed by Đỗ Thanh Hải, this was his directorial debut, starring a young cast including Bùi Lệ Hằng, Lê Vũ Long, and Hoa Thúy. The film first aired on the Sunday art program in 1997.

Please Believe Me follows Hoai (Bùi Lệ Hằng), a rebellious country girl known for her bad behavior at Hanoi’s University Dormitory. She skips classes, hangs out with the guys, and is involved in petty activities like debt collecting and drinking. However, deep down, Hoai is a good person who tutors Minh (Anh Tú), a shoe-shiner who she once helped escape the police. One day, while picking up money sent by her parents, Hoai meets Phong (Lê Vũ Long), a violin student at Hanoi Conservatory, and they begin a romantic relationship.

As their relationship deepens, Phong invites Hoai to his sister's birthday party, where Phuong, Phong's ex-girlfriend, mocks Hoai and tries to get her drunk. Unable to tolerate Phuong, Hoai gets drunk and reveals her true nature, dancing wildly with the guys, shocking Phong's family. Disappointed, Phong breaks off their relationship, despite Hoai's desperate plea for him to believe she has changed. Devastated, Hoai returns to her hometown in Thanh Hoa, planning to quit school and take the exams. Her friends are worried and search for her, and the film ends with a heartwarming reunion.

Waves at the Bottom of the River is a film based on a true story about a person's life in society, directed by Lê Đức Tiến and released in 2000. It follows the life of a character named Nui, who is the son of a concubine, and his mother originally came from a former bourgeois family.

Since childhood, Nui, along with his siblings Song (Mạnh Quân) and Biển (Phạm Minh Nguyệt), was rejected by their father and constantly tried to force them out of the household. When the war broke out and the city evacuated, Nui was sent to live with his maternal relatives. There, he had his first love with a distant cousin named Hien (Thu Hường), which led to her pregnancy. When the family discovered, Hien ran away. After the death of his mother and abandonment by his father, Nui struggled to make a living and became a thief, repeatedly imprisoned, and lived a life of crime. Later, he met May (NSƯT Kim Oanh), who became pregnant with his child, but she left him for her old lover, Hung Seo, and moved to China for smuggling. Nui eventually reconnected with an old school friend after 15 years and was about to marry her when May returned with their child and left him again.

Desperate to support his child, Nui resorted to begging and stealing, before sending the child back to the countryside and going to Hanoi to trade. However, after stealing due to lack of funds, he was caught and sent back to prison. Later, through various connections, Nui learned about the whereabouts of Hien and her child. Finally, when he reunited with Hien and her child, Nui was redeemed and returned to his true self.

Although not an official Vietnamese film produced by the country's cinema industry, but rather a foreign film shot in France, The Green Papaya Season is considered one of the finest works in Vietnamese cinema.

The Green Papaya Season is a Vietnamese-language film released in 1993, directed by French-Vietnamese filmmaker Trần Anh Hùng. The film tells the story of Mùi, a gentle young girl who is always curious about the world around her. She works as a maid for a northern Vietnamese family selling fabrics in Saigon during the 1950s.

Through the lens of Mùi's character, the film explores the status of women in Vietnamese society during that period. While the story is set in 1950s Saigon, the entire film was shot in a studio in Paris, France.

The film is classified as an overseas Vietnamese film because, despite being funded and produced in France with French technical staff and distributors, the director and cast were entirely Vietnamese.

Upon its release, The Green Papaya Season received widespread acclaim from critics. According to reviews on Rotten Tomatoes, the film achieved a high score of 82%. It won the prestigious Golden Camera Award at the Cannes Film Festival and was nominated for the highest honor, the Palme d'Or. It was also the first and only Vietnamese film to be nominated for Best Foreign Language Film at the Academy Awards. As such, The Green Papaya Season rightfully holds a place among the Top 20 Greatest Vietnamese Films of All Time.

The Silk Dress of Hanoi is a modern film directed by Lưu Huỳnh, set during the war and notably shot on traditional film stock rather than modern digital technology.

The film is set in 1954, in Ha Dong, as the war against the French nears its end. It tells the story of Dan (Trương Ngọc Ánh) and Gu (NSUT Quốc Khánh), two servants of a wealthy family who flee to the South, hoping to find peace and escape the hardships of their servitude. Their most valuable possession is a silk dress from Hanoi. However, war and natural disasters relentlessly test their fate. The war takes the life of their eldest daughter, An, and things take a tragic turn. While searching for clams in a storm, Dan is swept away by a flood. Later, in an attempt to protect the treasured silk dress, Gu dies in the flames of war. The film ends with a flashback to 1975, when An had asked her father, 'Dad, is peace beautiful?'—a peace she never got to experience.

Although it didn't win as many European awards as 'The Green Papaya Season' or Russian cinema awards like older films, The Silk Dress of Hanoi garnered much love from audiences.

It received audience choice awards at film festivals in South Korea, Japan, and China. In 2008, it was sent by the Vietnamese Film Department as the country's representative for the Oscars, although it didn't make it to the final cut.

The Buffalo's Migration Season is based on a short story by author Sơn Nam, depicting the lives of Southern farmers in the early 20th century.

The film follows the life of Kìm, a man who leads buffaloes to the highlands to find grass during the flooding season. The Buffalo’s Migration Season paints a vivid picture of the rural Mekong Delta during the extraordinary flood season, a phenomenon that is only seen once every century. The Mekong Delta faces flooding every year for about four months. Houses and roads are submerged, vegetation dies, and there is no grass left for the buffaloes to eat or space for them to sleep. To repay the loyal animals that help farmers cultivate rice, people would take the buffaloes across the flooded fields in search of higher ground, where patches of green grass remain for the buffaloes to graze during the flood season.

Quế Thanh, a screenwriter in Ho Chi Minh City, recalls: 'I watched the film when I was a child. My heart ached for the plight of the people, and I saw how difficult life was, both for humans and buffaloes, in this flooded land.' The Buffalo’s Migration Season gained international recognition, winning several major awards such as the Special Award at the Locarno Film Festival (Switzerland), Best Director at the Chicago Film Festival (USA), the Grand Prix at the Amiens Film Festival (France), and the Special Award at the Amazonas Film Festival (Brazil). It was also submitted by the Vietnamese Film Department as Vietnam’s representative at the Academy Awards but did not make it to the final round.