Interview with Diana Cam Van Nguyen, director of Love, Dad

She finds letters full of love her dad wrote her 15 years ago. Now she fights to get that love back.

How much is Love, Dad autobiographical?

A lot. It’s my story, my voice, my handwriting.

How did you work on the letters’ incorporation to the animation? Are they original letters? Did you film yourself for the female character or is it an actress?

Yes, the letters are the original ones. And I know from the beginning that I want to use them as they are. That’s why I chose replacing animation technique. Because the letters are from 2004 and 2005 – they have some old school feeling in them. And this animation technique can show a large amount of letters and all the details in them in a few seconds. I didn’t use myself for the role. I think that the film is so personal that it would be too much. So, I decided to cast a non-actor.

How much are you interested into patriarchy in Love, Dad and in general? Does it include criticizing an alleged male superiority?

Yes, it does. I would not say I am interested in patriarchy. I just see patriarchy around me and that is something that has an impact on my life. The film is more about two different points of view and cultural gap. I don’t think that my dad is a bad person because he wanted a son. We are just living in different worlds and there is this misunderstanding.

Is there any particular short film that made a special impression on you?

Yes, there are a lot of them. I am looking forward to some of the films I didn’t catch in previous festivals. For example: Lemongrass Girl by Pom Bunsermvicha, Warsha by Dania Bdeir, Sierra by Sander Joon, Le Boug Doug by Théo Jollet.

What’s your definition of a good film?

I would say emotions and some originality. If the film can make me cry or when I see something special for the first time: I would say, that is a good film.

Love, Dad (2021) Trailer from Diana Cam Van Nguyen on Vimeo.