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The Purple Horizon (Vietnamese: Chân trời tím) is a 1971 Vietnamese 35mm eastmancolor film directed by Lê Hoàng Hoa. [1] So far, it has been recognized as the largest Vietnamese film, considering the number of actors and weapons.
Lê Lực (director & writer); Lâm Tùng, Trịnh Mai Nguyên, Thu Hà, Phát Triệu, Hữu Độ, Tuyết Mai, Vĩnh Xương, Thanh Hải, Phạm Thanh Hòa, Kiều Đức, Vân Ngọc, Kiều Trang, Tuyết Nhung, Nam Cường, Văn Tân, Như Thành, Thùy Minh, Ngọc Huyền, Tấn Minh... Drama, Slice-of-Life, Romance Airs as a Tết drama
Phạm Nhuệ Giang (director); Phạm Nhuệ Giang, Đỗ Trí Hùng (writers); Hà Văn Trọng, Ngân Hoa, Mai Phương, Thanh Quý, Thu An, Trần Lực, Nguyễn Thư... Post-war, Drama Produced in the occasion of the Reunification Day. [56] Adapted from short story of the same name by Phạm Hoa. 11-18 May [57] Ngày mai (Tomorrow) 2 (70′)
Nick Nolte, Tim Roth, Bai Ling, Temuera Morrison, Damien Nguyễn: Feature Film: Set in 1990 Khi đàn ông có bầu (When Men Get Pregnant) Phạm Hoàng Nam: Nguyễn Phi Hùng, Kim Thư, Việt Anh, Hồng Nga, Bảo Quốc: Comedy: Mùa len trâu (The Buffalo Boy) Nguyễn-Võ Nghiêm-Minh
Gặp nhau cuối năm (The Year-End Reunion) is a Vietnamese annual satirical comedy that is broadcast across all channels of the Vietnamese national broadcaster Vietnam Television (VTV) on Tết Nguyên Đán, and has been produced by the Vietnam Television Film Center (VFC) since 2003.
A story based on the life of sleeper agent Albert Phạm Ngọc Thảo with character Robert Nguyễn Thành Luân (Nguyễn Chánh Tín) during 1956–63.. Its title Cards on the Table stems from the habit of playing cards in Chợ Lớn residents, where filmmaker Lê Hoàng Hoa and many colleagues have been attached since childhood.
The Vietnam Film Festival (Vietnamese: Liên hoan phim Việt Nam), founded in 1970, is a domestic film festival of Vietnam. It is considered as the major event of Vietnamese cinema with awards for numerous categories ranging from feature film to documentary film, animated film. The festival is held for each two or three years in different host ...
The films featuring the "warrior" tended to be set in what Muse called the "land of Nam,” a "romance wasteland" portrayed in the films that was different from the real country of Vietnam. [8] Muse wrote: "These movies portray the Land of Nam as a cruel, brutal landscape, littered with mutilated bodies and booby-traps, a place where even the ...