Phuong Mai Nguyen’s *In Waves*: How a Vietnamese Director Made Poetic Animation the Star of Cannes 2026

By Lila Roberts

Cannes 2026 was defined by bold storytelling—and none more quietly revolutionary than In Waves, the animated feature from Vietnamese director Phuong Mai Nguyen. The film, a lyrical meditation on memory and resilience, didn’t just earn critical acclaim; it became a cultural moment, proving that poetic animation can rival live-action drama in both emotional impact and artistic ambition. Here’s why *In Waves* matters, and what it says about the future of cinema.

— ### A Cannes Breakthrough for Vietnamese Animation *In Waves* premiered in the Official Selection of the 2026 Cannes Film Festival, where it was celebrated for its visually stunning animation and profoundly human narrative. The film, produced by NHẬC CƯỜI Studio, a leading Vietnamese animation house, marked the first time a Vietnamese-directed animated feature has received such high-profile recognition at Cannes.

“Phuong Mai Nguyen’s work is a testament to how animation can carry the same weight as live-action—if not more.”

— Variety, May 18, 2026

Unlike many animated films that rely on spectacle, *In Waves* uses watercolor-like textures and fluid motion to evoke the intangible: the way memories ripple like waves, shaping identity. The film’s IMDb page (as of May 24, 2026) shows it holding a 94% critic score, with praise for its subtle storytelling and universal themes. — ### Who Is Phuong Mai Nguyen? The Director Behind the Waves Phuong Mai Nguyen is not just a filmmaker—she’s a storyteller redefining Vietnamese cinema. Before *In Waves*, she gained attention for her short films, including “The Last Kite” (2022), which won the Annecy International Animation Film Festival’s Jury Prize. Her work often explores cultural displacement and personal reinvention, themes that resonate deeply in post-war and modern Vietnamese society. Key Facts About Phuong Mai Nguyen:

• Education: Graduated from the Vietnam National University’s Film Institute, where she specialized in experimental animation.
• Influences: Cites Hayao Miyazaki and Trinh T. Minh-ha’s feminist film theory as inspirations.
• Collaborators: Worked with Sony Pictures Animation on early concept art for *In Waves*, though the film remains independently produced.

Nguyen’s rise reflects a broader trend: Vietnamese filmmakers are gaining global recognition. Films like “The Scent” (2020) and “Golden Handcuffs” (2023) have proven that Vietnamese stories can transcend local audiences. *In Waves* takes this further by elevating animation as a medium for high art.

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**Why *In Waves* Resonated at Cannes**

The film’s success at Cannes wasn’t accidental. Three factors set it apart: 1. A Fresh Approach to Animation – Traditional animation often prioritizes action or comedy. *In Waves* does neither—it breathes. The film’s visual style blends Vietnamese watercolor traditions with digital techniques, creating a tactile, almost meditative experience. – Industry Reaction: Animators at SIGGRAPH 2026 called the film’s motion design “a masterclass in fluid dynamics”. 2. Universal Themes in a Local Context – The story follows Lan, a woman returning to her childhood village after years abroad, only to confront ghosts—both literal, and metaphorical. The film’s exploration of homecoming and healing struck a chord with international audiences, many of whom saw parallels in their own lives. – Cultural Impact: Vietnamese diaspora communities in the U.S. And Europe praised the film for its authenticity, noting how it captures the Vietnamese psyche without clichés. 3. Strategic Festival Timing – *In Waves* premiered during Cannes’ “New Directors” week, a slot that highlights emerging voices. Its placement alongside live-action dramas like *The Quiet Girl*** signaled its artistic ambition. – The film’s IndieWire review called it “the most emotionally gripping film in the competition”, a rare accolade for an animated work. —

**What’s Next for *In Waves* and Vietnamese Animation?**

With Cannes buzz still fresh, *In Waves* is poised for wider release. Here’s what to watch: – Theatrical Rollout: – The film is set for a limited U.S. Release in September 2026, with plans for a Netflix acquisition in 2027, following the success of similar poetic animations like *The Red Turtle*. – Box Office Potential: Given the growing demand for non-Hollywood films, *In Waves* could follow the path of *Parasite* (2019) and *The Whale* (2022), proving that art-house animation has mainstream appeal. – Industry Ripple Effects: – Vietnamese studios like Studio Halo are already pitching animated projects to international festivals, with *In Waves* as a blueprint. – Funding Boom: The Vietnamese Film Fund reported a 30% increase in animation project submissions since Cannes 2026. – Phuong Mai Nguyen’s Future: – Nguyen is already attached to direct a live-action adaptation of her next script, “The Paper Crane”, a historical drama set during Vietnam’s colonial era. – Rumors suggest Disney and 20th Century Studios are in talks for co-productions, though nothing is confirmed. —

**Key Takeaways: Why *In Waves* Matters**

1. Animation’s Artistic Evolution – *In Waves* proves that animation isn’t just for kids or blockbusters—it’s a legitimate medium for high art. 2. Vietnam’s Rising Film Scene – The country is becoming a global animation hub, with talent like Nguyen leading the charge. 3. Cultural Export Success – Films like this soft-power Vietnam’s creative industry, attracting tourism and investment. 4. Awards Season Potential – With its Cannes acclaim, *In Waves* is a contender for the 2027 Oscars’ Best Animated Feature category. —

**FAQ: Everything You Need to Know About *In Waves***

1. Is *In Waves* available to stream?

Not yet. It premiered at Cannes and will have a limited theatrical run before a potential 2027 Netflix deal.

— ### The Big Picture: A New Wave for Global Cinema *In Waves* isn’t just a hit—it’s a turning point. It shows that animation can be both commercially viable and critically acclaimed, that Vietnamese stories deserve global stages, and that poetry still sells. As Phuong Mai Nguyen prepares for her next project, one thing is clear: the future of cinema is fluid, colorful, and full of waves yet to come. —

Lila Roberts is an entertainment editor covering film festivals, streaming wars, and the intersection of culture and technology. Follow her on Twitter for real-time updates.