The visual language should feel distinctively southern Vietnamese and unmistakably 1938. The story begins in My Tho: Catholic parish life, Rue Nationale, family houses, market streets and the edges of town where cultivated land meets tropical weather. French-influenced interiors and modern automobiles exist alongside bicycles, muddy roads, church bells and the close social rhythms of a provincial town.

It should also feel contemporary. The aim is sophisticated but accessible cinema for younger audiences: romantic, sharp, visually textured and emotionally direct. As the story expands from My Tho to Saigon and eventually Vung Tau, the world grows larger and the stakes become more urgent. This is not slow heritage cinema. It is a period world with heat, desire, movement, social pressure and clear audience momentum.