RogerEbert.com by Simon Abrams

Việt and Nam only initially looks like something that you might expect to find on John Waters’ Best of the Year list. Soon enough the movie becomes a gentle romance about loving the dead.

The New Yorker by Justin Chang

Việt and Nam is a series of excavations, and, for all its gentle cadences—a shot of jungle leaves rustling in the wind about approximates the story’s rhythm—it seems to unearth new mysteries and paradoxes by the minute.

The New York Times by Lisa Kennedy

Quy treats the love affair between Viet and Nam with exquisite tenderness.

The Hollywood Reporter by Lovia Gyarkye

In exploring how the ruptures of the past map themselves onto relationships in the present, [Quy] elegantly approaches a familiar theme: how war reverberates throughout generations, imposing on witnesses and their successors.

Slant Magazine by Eric Henderson

Truong Minh Quy’s new queer romance-cum-sociohistorical lament mines beauty from both collective desolation and individual endurance.

The Film Stage by Luke Hicks

Minh Quý’s slow-cinema sensibilities are nothing short of spellbinding, the trance of rumination within reason enough to seek it out. And if that’s not enough, go for the best final shot of the year: a breath-stealing beauty that will leave you frozen in your seat even after the credits are over.

IndieWire by Josh Slater-Williams

While a degree of naturalism does still make its way into many slow-burn scenes, Quy’s filmmaking largely favors expressionism.

The Guardian by Peter Bradshaw

Viet and Nam is a film that first feels opaque and elusive, and yet it becomes drenched with emotion.

Los Angeles Times by Manuel Betancourt

Việt and Nam is both simple and cryptic. Its spellbinding pleasures reward a patient audience who’ll be swayed (and may well swoon) over its hypnotic wonders.

Screen Daily by John Berra

Viet And Nam may studiously occupy a certain world cinema niche, but Truong’s flourishes ensure that it offers a richly personal blend of the authentic and the abstract.