233). Thus instead of merely exploring the glory of victory attained by the collective people of the country, Sandy Lives tries to capture the essence of what it was to be a Vietnamese citizen living during those times.
Therefore, the impacts that war had on personal lives of people as well as the relationship these people had with each other is deftly analysed and portrayed through Vietnamese cinemas such as the one under study here. Such films reveal the fact that wars do not end in the battlefields, but linger among the lives of both people involved in the war as well as their family members, thereby making it amply clear that “wars end at home” (246). The case of Canh and Thoa was similar, where the former starts a new life with another family up north, whereas the latter faithfully waits for her husband to return, thereby ignoring her social responsibility of giving birth to a child, but at the same time, fulfilling her moral obligation of filial piety. Therefore, it becomes clear that it is this loyalty and faithfulness of his wife that inspires Canh to not run away from his responsibilities, thereby rejecting to take the train ticket, which represents his escape from “marital commitment” to Thoa (247). Thus, this highlights the protagnoist’s belief in his marital commitment as well as reiterates the long lasting “disruptive effects” of war on the “people’e lives” (Miguel & Roland 2005, p.