First Czech-Viet Feature ‘Summer School, 2001’ and Anime Series: Duzan Duong Is Everywhere at KVIFF

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The Czech Republic boasts one of the three largest Vietnamese expatriate communities in Europe, surpassed only by those in Germany and France. In the Czech Republic, Vietnamese people comprise the third-largest ethnic minority, following Slovaks and Ukrainians. This vibrant community is abuzz with excitement over the prospect of being portrayed and making an impact on the big screen. Notably, Tuesday, July 8th will see the global debut of Dužan Duong’s film “Summer School, 2001” as part of the Special Screenings program at the 59th edition of the Karlovy Vary International Film Festival (KVIFF).

As a fervent admirer, I’m thrilled to express that my anticipation has finally been met! The long-awaited debut Czech-Vietnamese feature film is now available for us all. Dužan Duong, an outstanding and gifted member of the first Vietnamese generation to grow up in the Czech Republic, has crafted a heartfelt depiction of a community that has deeply intertwined itself within the fabric of modern Czech history. This movie is not just a cinematic experience, but a testament to the rich cultural tapestry woven between our two nations.

In summary, the movie is set in the early stages of the third millennium. A 17-year-old boy named Kien, with his distinctive red hair, returns to his hometown Cheb after a decade away in Vietnam. Contrary to his expectations for a heartfelt welcome, he encounters a distant father, a weary mother, and a younger brother who is not particularly friendly towards him.

34-year-old screenwriter Duong, based in Prague, collaborated with Jan Smutný and Lukáš Kokeš to write the script for his first directorial venture. Notably, Duong and Kokeš also serve as the movie’s producers. The film boasts an impressive cast featuring Đoàn Hoàng Anh, Lê Quỳnh Lan, Tô Tiến Tài, Bùi Thế Duong, Ngô Xuân Thắng, and Nguyễn Dũng.

On their website, they proudly declare that this story, filled with humor and intelligence, tackles cross-generational conflicts and other topics while making a significant, loving contribution to the ongoing discourse about cultural identity.

Prior to the debut of “Summer School, 2001“, Duong spoke with THR about the motivations behind the film, aiming to portray the Vietnamese experience in the Czech Republic to a broader public. While there, Duong also presented an anime series concept during the Karlovy Vary event, and shared his plans for future projects.

Can you maybe share your family’s story and how your parents came to the Czech Republic?

My parents crossed paths in Germany during the Cold War era. They were assigned to work there from their home country, Vietnam. They met while working at a factory and welcomed me into the world there. When the Cold War ended, they had to return to Vietnam, so I was born in that beautiful land. A few years later, we left Vietnam for the Czech Republic, following a path similar to many other Vietnamese families living in the Czech Republic today. Our stories share common threads.

In the movie set during Summer School, 2001, a young man comes back to his homeland, the Czech Republic, following several years spent in Vietnam. Could we discuss how personal identity is portrayed within this film?

During my early years, financial obligations in Vietnam necessitated frequent trips by my parents to a marketplace for work. This was due to loans they took out upon our move from Vietnam to the Czech Republic. As a result, I grew up under the care of a Czech nanny and granddad who served as surrogate parents for quite some time. My parents were occupied with work throughout my childhood, so I essentially spent my formative years in the company of this elderly Czech couple. It was they who shaped me into the Czech individual I am today.

They instilled in me both culture and values, which has led to a sense of dual identity – feeling equally Czech and Vietnamese. However, since I primarily interact with Czech individuals and rarely see my Vietnamese parents in daily life, it becomes challenging to truly embody my Vietnamese side. This struggle forms the initial part of my account about my strained relationship with my parents.

In the movie, it appears that the family members exhibit a blend of feelings such as obligation, reverence, and affection. Let’s delve into the intricate tapestry of relationships portrayed in the film and discuss my approach to representing them.

The characters in the movie seem to grapple with a complex mix of emotions, encompassing duty, respect, and love. I’d like to explore the richness of these connections within the film and share some insights on how I went about depicting them.

Frankly, this movie is essentially a portrayal of my family and numerous other Vietnamese families living in the Czech Republic, woven together. We often refer to it as “auto-fiction,” as it draws heavily from the authentic experiences within our Vietnamese community here. Therefore, much of it mirrors reality. However, for cinematic purposes, we’ve incorporated dramatic elements into the storyline.

Can I ask how difficult it was to finance the film?

Making it wasn’t overly challenging for us, given that we possess a production company specialized in creating shorts and commercials. This provided us with an established team, reducing our financial requirements significantly. Additionally, we benefited from the support of numerous individuals with genuine dedication and kind hearts who shared our vision for this pioneering work in Czech cinema. To my knowledge, this type of Vietnamese film originating from the Czech Republic has never been attempted before. Consequently, we feel fortunate to be spearheading what could potentially become a new cinematic movement.

Have you asked what reactions or expectations there have been from the Vietnamese community regarding the upcoming movie before its release? In other words, how has the concept of a feature film about their experiences been received by them?

The answer: They’re thrilled! The sense of backing and anticipation I receive from the community is truly overwhelming. It’s not common for a debut film to create such buzz ahead of its premiere. The power of community solidarity at work! Needless to say, I’m anxious about the film’s release since we aim to please everyone who watches it without causing any disappointment. The pressure is high on us.

Will your entire family watch the movie?

Absolutely! Most members of my family haven’t seen it yet, and I can hardly wait to witness their reactions. In our Vietnamese family, communication isn’t always at the forefront. My parents aren’t fluent in Czech, so this film serves as a means for me to share my entire life’s journey with them. As it turns out, several elements of the movie resonate universally, as many young cast members were experiencing similar struggles during production.

Dužan Duong, Courtesy of KVIFF

How long did you work on the movie?

As a gamer, conquering the long-awaited completion of this movie after eight years felt like a major level-up. We’d been brainstorming in the writers’ room for quite some time – almost half a decade! Once we secured that initial funding, I couldn’t wait any longer. I took a risk and convinced my fellow producers that it was now or never. I had found an exceptional cast whose members were maturing, and if we delayed even a year, I would have had to recruit new players.

Who are the people in the cast? Are they professional actors, and how did you find them?

As a gamer, growing up in my neighborhood, there’s this kid from a family who run the grocery store below my apartment. We go way back – I knew him since he was just a tyke. He’s always been an outgoing lad, eager for fun and games, much like myself. So, one day, on a whim, I decided to cast him in my game project – it felt right, you know? No need for a long list of candidates. When I found the perfect fit, I approached him without hesitation.

The majority of the performers are newcomers in acting. I prefer this approach as I’m constantly seeking genuine individuals who don’t require pretense, but rather a gentle nudge towards their personal experiences or narratives. They simply need to portray these emotions truthfully before the camera.

Was there any particularly big challenge in making this movie?

Essentially, our main hurdle lay within the post-production phase. A significant part of what we created was shaped during this stage. Since our cast wasn’t professionally trained, they didn’t prioritize their on-screen appearance. This allowed us to capture some extraordinary moments, but it also meant sifting through a lot of footage to find the ideal pieces. We spent nearly a year in the editing room, an experience that was tough at times, yet I wouldn’t trade it for anything else.

In the movie, each of the three male family members has their individual storyline represented through separate chapters. Interestingly, the mother doesn’t have a dedicated chapter of her own, yet she remains an ever-present figure in the narrative. I wonder if we could delve into the reasoning behind this creative decision and understand more about the role of the mother in the film.

In my perspective, the narrative revolves around the journey towards manhood, and these characters are uncontainable, each one possessing an untamed spirit. The exception is the mother, who serves as a tranquil influence amidst the chaos unfolding. Thus, she plays a crucial role in the storyline. I aimed to maintain a masculine perspective while utilizing feminine wisdom to bring clarity to the tale.

Tell me about your production company and the other key production firm on the film…

As a gamer, I’m proud to say that AZN Kru is my family business, run alongside my wife. We’ve been creating commercials together, but we’re ready for something bigger – transitioning into features and fiction. Our aim is to make a big impact in the Czech Republic. My friend’s production company, Nutprodukce, has already made its mark there, so they’re helping us secure funding. The creative ideas, including the unique Vietnamese twist, all came from our side. They’ve been instrumental in providing the perfect script structure and the expertise to fund a low-budget film. We’ve also brought our knowledge of cost-effective production methods, ensuring we maintain high production value despite budget constraints.

Where did you shoot?

Although my ultimate goal was to film it in Cheb, the town of my childhood, close to the German border, our financial constraints prevented this. As a result, we had to artificially recreate everything in Prague. You may notice that Netflix and Amazon produce large TV series in Prague, and so we can also mimic such settings. Consequently, we merely simulated the small town and spent 23 days filming in Prague and Slovakia, as well as five days in Vietnam.

Is there anything else you’d like to mention about Summer School, 2001?

In the movie, Kien is dispatched by his family to Vietnam, only to be reunited with them ten years later. This scenario is quite typical among Vietnamese immigrants, allowing parents the opportunity to focus on work while their children are overseas.

While filming, I discovered that the concept of sending children away is unusual for Czech individuals. However, it’s quite normal among Vietnamese people. This very thing happened to me when I was a child, around five or six years old. Remarkably, my Czech nanny managed to convince my father to bring me back after just a few months.

You’re not just debuting your first feature film at the festival, but also presenting an anime series called “Lost Boys.” This project is being developed through AZN and nutprodukce. In addition, you are pitching this show as part of the KVIFF Talents program. Congratulations on handling two projects in Karlovy Vary! Could you tell us more about Lost Boys and its source of inspiration?

It appears that the work ethic I possess stems from my parents, as I dislike idleness and prefer to keep moving. My next endeavor is underway. I have a little sister who is 18 years younger, making her part of Generation Z, while I belong to the millennial generation. I’ve observed that today’s youth are heavily dependent on technology and social media, which seems to be engulfing them. I believe this over-reliance on technology is their greatest challenge, as they seem to be detached from the real world. They primarily know the digital realm, not having much experience with the offline world.

The story “Lost Boys” revolves around a young girl seeking an exit from her current reality, which reminds one of a digital matrix. She stumbles upon a gang of boys who engage in physical confrontations, deriving pleasure from their raw intensity. Eager to be part of this group, she’s initially rejected because she’s female. The group declares, “We only take boys, for we are the Lost Boys.” In an attempt to fit in and find happiness, she disguises herself as a boy and adopts the name Kenny. Some might describe it as a Gen Z adaptation of “Fight Club.

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2025-07-07 09:25