Kim is not one person. Kim is a role, a vessel. In the neon-lit alleyways of Wong Kar-wai’s Fallen Angels , Kim might be the woman with a blonde wig and a broken heart, trading monologues for the hope of being seen. In a lost digital archive of late-night cable, Kim is the actress in a straight-to-video thriller, whose gaze into the camera becomes an offer: watch me, want me, and I will take something from you in return.

" (2015) by (often referred to as Kim Hoang ) explores the complex intersection of global finance, masculinity, and the "trade" of intimacy in Ho Chi Minh City.