For filmmaker Nguyen Trinh Thi, the disjuncture between her immediate lived reality and her world’s portrayal on screen—particularly in Vietnamese and American cinema, as well as through her own lens—has propelled her filmic practice. In recent years, Nguyen has shifted her concerns from the brightly projected single image to the “expanded cinema” as a dark, enveloping space of listening, shadows, and marginal visibility, like the forest at night.