The first Vietnamese films to change the image of female leads using AI are a groundbreaking achievement of films in this country.
chOT don (Trades) became the first Vietnamese film to completely replace the image of female leads using AI. This is a groundbreaking move prompted by the actress's current legal troubles.
Female lead face A little dong Created by AI to replace Thuy Tien
This is a rare and well-known precedent for Vietnamese cinema.
Although true audience reactions are only revealed in the official release of the film, the use of AI has undoubtedly opened up a new chapter in the industry despite prolonging skepticism and debate.
At a recent press conference in Ho Chi Minh City, co-director Namshit revealed that the idea of using AI came from Galaxy Studio's Dinh Thi Thanh Huong and the film's production director.
Co-director Namshit revealed that Bao Nan and he were hesitant at first. They assumed that AI would look artificial and heartless, but when they received a test version from their partner tech companies, they were truly amazed as the technology they had predicted would be able to maintain an incredible level of emotion and naturalness had progressed well beyond.
According to the founder of Lumination Hang Minh Loi, it serves as a technology support unit for the film. This represents a groundbreaking step, paving the way for new applications of AI technology in Vietnamese films.
To manage the image replacement of the film's protagonist, Hang Minh Loi said in addition to key technologies such as digital audio, digital human and large-scale linguistic data processing, Lumination also developed consistent character technologies to maintain uniformity in character images in a variety of contexts.
Experts note that the film's crew's decision to use AI to completely replace the character's image depicted by Nguyen Thuc Thuy Tien is somewhat bold and poses risk. But it may also be seen as the most viable solution following the legal troubles faced by the film's female lead. Previously, the film had to repeatedly delay release dates, facing the possibility that it would not be shown in theaters.
Meanwhile, production director Dinh Thi Thanh Huong admitted that the crew were considering abandoning the project due to the financial impracticality of the re-shoot scene with Thuy Tien.
Cases like A little dong It's not new in global films. In 2015, after Paul Walker suddenly passed in production Fast & Furious 7the filmmaker relied on CGI, with four stunt doubles recreating his presence on screen. in casino (2022), Korean actor Choi Min-Sik (later in his 60s) was digitally “abolized” to appear as a 30-year-old.
However, despite these advances, the discussion regarding the use of AI in films remains unresolved, particularly regarding the legal, ethical and artistic meaning. The executive director of SAG-AFTRA (USA) Duncan Crabtree-Areland warns how core issues apply, not the technology itself. He emphasized that artists need to maintain control over their use of likeness, voice and imagery and receive fair compensation.
From another angle, Korean critic Kim Heln Sick argues that while Deepfark technology may offer cost-saving benefits for independent works and low-budget productions, there is a risk of standing by new talent and limiting creative quests over time.
Regarding A little dongVietnamese critic Tuan Lalamem notes that using AI to change the face of an actor for theatrical release is bound to raise questions, not just legal and ethical boundaries, but whether AI can truly capture the soul of a character. Legally, the film's producers revealed that they had not just replaced faces, but created an entirely new character, thereby avoiding infringement of individual rights. The film has been approved for distribution with a T16 rating. This means it's suitable for viewers over the age of 16.
Ultimately, the integration of AI and new technologies in cinemas is an inevitable necessary evolution. What lies in how emotional depth, the quality of the film and, most importantly, how it is implemented to reduce costs while maintaining the filmmaker's creative vision. No matter how advanced technology advances, it must remain a tool rather than a replacement for human artistry.
By Van Tuan – Translated by An Quang
