It all began with my exploration of my family’s ancestral tombs in Bac Lieu. According to family records, our ancestral vault is situated in the tranquil village of Hoa Binh, in the Bac Lieu province, near the coast of the South China Sea. My father was born there in 1930. Amid the backdrop of this Mekong Delta region, where lush mangroves meet the expansive coastline of dark soil, this small village has transformed into a bustling town also developing tourism and summer activities such as theme parks. The Chinese migration to this land began in the late seventeenth century. The Nguyễn lords extended invitations to Chinese refugees to settle in emerging towns like Mỹ Tho and Biên Hoà, establishing a lasting Chinese presence in the Mekong Delta which is still also maintaining its original khmer culture. The thin information I had was that the tombs now reside within a Cambodian or Chinese cemetery—it felt akin to searching for a needle in a haystack. In the despair of being unable to locate the graves exactly, I was also wandering through antique shops for my collection of old photographs. I unexpectedly stumbled upon a rare collection of glass negatives from a photography studio. Their dimensions, almost as big as postcards, show that they are the works of a professional photographer, requiring a large format and a heavy camera on a stand. They were protected by printed paper that revealed the studio’s name., “Yiem Young Photographie”, and 4 addresses.This studio's name became surely successful, allowing it to expand to various locations in southern Vietnam, including Cholon, Saigon, and Soc Trang (near Bac Lieu). Its reputation even extended to the establishment of a branch in Phnom Penh, Cambodia The Mekong Delta is often referred to as Vietnam's "rice bowl," contributing to the wealth of certain families and the overall prosperity of the region. This economic development then fostered the growth of photography in this region. The term "Prince of Bac Lieu," originating from this Indochina era and still in use today, reflects how the imagery of prosperity continues to resonate in people's minds. Some heritage architecture, such as old villas, is being restored to allow for public visits. Glass negatives possess the unique property of being completely flat, revealing all the layers of silver and its oxidation as intricate 3D dust particles. It seemed as though my ancestors sought to reconnect with me through these haunting images, reminiscent of the concept of memento mori photography which are post-mortem photos to commemorate those who had passed. As a photographer, I often question the essence of this medium, especially in portraiture. During the early years of photography, people held mystical and superstitious views about it. Some believed that capturing an image of a person would also capture their soul, leading to fears that photography could harm or diminish a person's spirit. For Christmas time, a comedy film titled 'Prince of Bac Lieu' was released in theaters a few weeks after my stay in Bac Lieu. To promote the film, an exhibition was held showcasing its making. Curious to find another perspective on this era and region, I explored the staging of the costumes and sets created for the film. Among the displays, a wall of countless portraits stood apart, as they were not used as props in the film itself. From still images to moving pictures, the need to establish a visual identity for these anonymous and ubiquitous faces forms the contemporary foundation of portrait photography which captures the migration of the soul, shifting from physical embodiment, such as animals, to iconic metaphors. This shift is less about preserving memory and more about engaging in an almost absurd ritual, akin to the endless toil of Sisyphus