In the context of Vietnamese cinema gradually asserting its presence on the international stage, having a short film selected for the official competition at Cannes is always a remarkable milestone. In 2026, that recognition belongs to “The Dream is a Snail”, a short film by young director Nguyễn Thiên Ân – a work rich in imagination, bold in cinematic language, and deeply rooted in the contemporary realities of young artists.

More than just a prestigious selection, the film’s inclusion in the top 10 shortlisted works for the Short Film Competition signals a clear shift within the new generation of Vietnamese filmmakers: more freedom, stronger individuality, and a willingness to confront the grey zones of reality.

Basic Information About the Film

“The Dream is a Snail” is a 16-minute fictional short film. It blends elements of dark comedy, satire, and metaphor, creating a world that feels both absurd and familiar – where personal obsessions and social contradictions intertwine in subtle yet striking ways.

From its very title, the film introduces a powerful symbol: the snail – slow, fragile, yet persistent. At the same time, it is a creature deeply associated with sensation and physical contact. This image becomes a recurring motif, guiding the audience through multiple layers of meaning.

At Cannes 2026 – A Significant Step Forward

At the Cannes Film Festival 2026, the Short Film Competition received a total of 3,184 submissions, from which only 10 films were selected for the official competition. “The Dream is a Snail” stands as the only Vietnamese entry among them.

This distinction carries particular significance. Unlike side programs such as the Short Film Corner, being part of the official competition places the film within a far more rigorous framework – where cinematic language, creative vision, and artistic independence are critically evaluated.

This achievement is not only a personal milestone for Nguyễn Thiên Ân but also an important marker for the Vietnamese short film community, especially for independent filmmakers striving to find their own voice.

A Story of the Body, Performance, and Illusion

The film follows Huy, a background actor struggling with both his career and sense of identity. In a bizarre yet unsettling turn, he discovers a peculiar sense of pleasure when snails crawl across his body. This leads him into an unusual job: becoming a “snail model” for a mysterious “rejuvenation” workshop.

From a seemingly absurd premise, the film unfolds into a rich metaphorical space where the boundaries between reality and performance, profession and exploitation, consent and manipulation become increasingly blurred.

Huy is not merely an individual character, but a representation of a generation of young people drawn into artistic “dreams” – spaces where glamour often coexists with vulnerability. As his journey unfolds, Huy gradually loses the ability to distinguish between the roles he performs and his true self.

Cinematic Style: Dark Comedy and Symbolic Language

“The Dream is a Snail” does not follow a conventional linear narrative. Instead, it constructs an imaginative cinematic world where absurd elements are used as tools to reflect reality.

The use of dark comedy is carefully controlled – not to provoke laughter alone, but to create a lingering sense of discomfort. The audience may find themselves laughing, only to be confronted moments later with unease or doubt about what they have just witnessed.

At the same time, the film employs symbolic imagery – particularly the human body – as a site of intervention, control, and sometimes loss of agency. This opens up deeper reflections on the relationship between art and power, between creativity and exploitation.

Production Context and Supporting Ecosystem

“The Dream is a Snail” is one of five projects selected for CJ Short Film Project 2025, an initiative aimed at supporting and nurturing emerging filmmakers in Vietnam.

Beyond financial support, the program provides a structured environment for project development – from script to production and post-production. The film’s selection at Cannes can be seen as a testament to the effectiveness of such initiatives in connecting young talents with international standards.

Nguyễn Thiên Ân stands in the center.

Significance and Early Reception

Following the announcement of the official selection, many Vietnamese media outlets described this as a notable milestone for Vietnamese short films. Beyond artistic recognition, being part of Cannes opens up new opportunities for distribution, collaboration, and future project development.

“The Dream is a Snail” has been recognized as a work that is both subtle and unconventional, capturing the anxieties of urban youth – those caught between the pressure to “become someone” and the fear of being “used” within a system that prioritizes image.

Director Nguyễn Thiên Ân – Between Reality and Fiction

Nguyễn Thiên Ân began his filmmaking journey with colorful short fiction films, entirely self-taught. Over time, he developed a deep interest in real-life stories and embraced the principles of direct cinema through documentary filmmaking.

This transition did not close one path but opened another: a creative space where reality and fiction, observation and construction intertwine in compelling ways.

Between 2024 and 2025, he participated in the training program of Varan Vietnam in Hanoi – a program deeply rooted in the spirit of cinéma direct and the tradition of independent documentary filmmaking. This experience has played a crucial role in shaping his approach to characters, storytelling, and cinematic language.

A Message from Varan Vietnam

Varan Vietnam warmly congratulates its alumnus Nguyễn Thiên Ân and his work “The Dream of a snail” for this remarkable achievement. This is not only a personal success for the filmmaker, but also an encouraging sign for a new generation of filmmakers – those who continue to search for their own voices in an increasingly diverse and competitive cinematic landscape.