Within the pitch deck of the feature film project Portrait of a Misty Sun, one line stands out: “Let our stories be told by our voices.”
For too long now, stories about Vietnam during the Indochina period are still rendered through the romanticized strokes of the West. Think of L’Amant from Jean-Jacques Annaud, The Quiet American from Phillip Noyce, or Indochine from Régis Wargnier...
And so, Portrait of a Misty Sun is like a direct response. And what it is is a historical romance feature film, at the moment pacing toward the first day of shooting and then an end of 2025-start of 2026 release window. It carries with it a nostalgic air and an evident ambition, both of which are decidedly Vietnamese and host this aim to let locals share local history, culture and people to the world.
A story about love
There was much turbulence and significance during Vietnam’s French ruled period, in particular the first half of the 20th century. They still serve as the bedrock for many creations in Vietnamese arts, in spite of the overwhelming traces of the political-military complexities and colonialism.
Portrait of a Misty Sun takes place in the early 1940s in Hanoi, at the time still rich in ardent beauty and bygone mystique. Think “Casablanca in Vietnam,” and from there a place where romance and history come together to create a cinematic experience that will appeal locally and globally.
The film’s story follows two young artists of the Indochina College of Fine Arts (now the Vietnam University of Fine Arts) who find their romance and dreams tested by political turmoil. Eventually all of their decisions — similar to many Vietnamese during that time — will come to a fateful fork in the road: “Should what I do next be for me, for my people, or my belief in something greater?”
Visual arts, in particular painting, will be the soul of the story and the selling point of the project. The famous works of Lê Phổ, Tô Ngọc Vân, Joseph Inguimberty and those who make Indochinese arts a defining one will serve as inspiration for the film’s aesthetics, or the primer of a vivid cinematic experience.
Youthful forces
The hearts and minds bringing Portrait of a Misty Sun to life are ambitious and young.
In the film’s director’s chair is Jay Đỗ, who studied Film & TV Production at Santa Monica College and acting at Beverly Hills Playhouse. His debut film, the short À La Carte, which appeared at Raindance and Vancouver International Film Festival, weaved the brutality of French colonists with the fortitude of Vietnamese cuisine.
Accompanying Jay Đỗ is Phạm Gia Quý. The alumnus of the Savannah College of Art and Design began his cinematic journey as a music video director — helming two for the band Ngọt — and then the award-winning action short Impermanence (Vô Thường). Since 2021, Quý has been operating as an executive producer for the Early Risers series and the leader of his company Spring Auteurs, where he’s both its CEO and IP manager (and Jay is the talent manager).
Backing them both are advisors with much experience in and who are leaders of many creative fields — cinema, fine arts, architecture, fashion, and art history. Their presence guarantees Portrait of a Misty Sun will adhere to its pursuit of authenticity in beauty and its respect to a storied phase in culture.
Current stage
Portrait of a Misty Sun is now seeking funding, or the latest crucial step after inception, writing (four drafts thus far) and scouting — and even turning down early funding offers out of the crew’s belief that the project can be in much better form.
Most recently, the project and Quý were present at the Asian Producers Network program as part of the 35th Singapore International Film Festival (SGIFF). The occasion also marked Portrait of a Misty Sun’s public debut after a lengthy conceptual period. From this point on, and expectedly, the project hopes to continue attracting interest of those who want to see a glorious period of Vietnamese arts on the big screen — and the world stage.
Translated by Nguyên Lê.