Why are films starring Le Phuong causing such excitement and anticipation among viewers?

Hanoi [Vietnam], April 11: The drama "Ghost of Happiness," starring Le Phuong, is currently airing on THVL1 and is attracting viewers with its love triangle and marital tragedy in modern society.
The Ghost of Happiness isn't a new story about marriage, but it keeps audiences on the edge of their seats because it touches upon the very real cracks in modern family life: infidelity, extramarital affairs, and the collapse of a seemingly perfect home. In the film, Le Phuong , Luong The Thanh , and Ngan Hoa form a controversial "trio."
The Ghost of Happiness strikes a chord with viewers.
Director Nguyen Duong's film portrays an ideal family: a successful husband, a gentle and self-sacrificing wife, and well-provided for children. However, the deeper the film delves, the more the veneer of "happiness" crumbles, revealing cracks that those involved are unaware of. Le Phuong's character, Thanh Mai, is a familiar type of woman in East Asian society: she gives up her career, retreats to the background, and places all her trust in her husband. This sacrifice, which should be the foundation of happiness, becomes a weakness in the film, leading to her betrayal without her knowledge.
Meanwhile, Luong The Thanh's character, Hoang Dung, is a typical example of a modern-day marital tragedy: materially well-off, but lacking the strength of character to resist temptation. This character's downward spiral doesn't stem from a sudden "twist," but from instinctive, morally reprehensible choices that create a vicious cycle of mistakes. This very realism evokes not only outrage in the audience but also glimpses glimpses of real-life stories.
But the element that made the film controversial was Nhu Trang, played by Ngan Hoa. The "mistress" character was portrayed with clear ulterior motives: exploiting the man's vulnerability and the trust of the kind-hearted woman, Mai, who was also her benefactor, to intrude into another family. On film forums and social media, many opinions expressed outrage at this "shameless," morally bankrupt character. Some even said this was one of the most frustrating villainous roles on television. Many comments showed viewers feeling "angry on behalf of the wife," "wanting to turn off the TV because it's so irritating," but still unable to stop watching out of curiosity about what would happen next.
"Hey Mai, fight for me! Do you need your girlfriends in the movie, Mai? In a minute, that woman will be completely destroyed"; "I've just gathered my neighbors and everyone on Facebook to help you beat up that woman, Mai"; "I'm so fed up with Mai, I'm waiting for the day she rises up, I'm so angry watching this"; "Why don't you let me play a supporting role, beat up that husband for you, I'm so angry"; "If Mai still chooses to forgive and forget that man in the end, then Mai, you're in for a bad time"... many comments from viewers, expressing their indignation on behalf of the female lead, Le Phuong.
This reaction explains the special appeal of "The Ghost of Happiness ." The film strikes a chord with viewers by reflecting a reality: many seemingly perfect marriages actually harbor underlying cracks. The one-sided sacrifice of the wife, the irresponsibility of the husband, and the ambitions of the "third party" are not unfamiliar stories, but rather familiar facets of modern society.
However, the way the film escalates the drama has provoked a negative reaction from viewers. Many plot points are constructed in a way that "exaggerates" emotions, constantly building up conflict and creating a suffocating atmosphere. As a result, viewers fall into a state of "watching out of frustration," meaning the more frustrated they become, the harder it is to look away.
Source: Thanh Nein Newspaper