
The Bay Area's Vietnamese food capital just got a surprising seafood specialist
A few months ago, former San Francisco Chronicle restaurant critic Soleil Ho pointed me toward Làng Ốc Việt, a food truck slinging 'Viet mariscos.' I was intrigued, since I already happened to regard San Jose as a one-of-a-kind seafood hub.
Shellfish is Làng Ốc's domain, with a particular emphasis on southern-style sea snails. Chef-owner Tuyền 'Cindy' Huỳnh is from Bạc Liêu, a coastal city in the Mekong Delta region where sea snails are in abundance. Before opening her truck last December, Huỳnh ran a sea snail stand in her hometown.
The lengthy menu can be overwhelming. Several pages are dedicated to snails ($20-$25), loosely divided by preparation style — boiled, stewed, sauteed, grilled — and sauce bases such as black pepper, butter and coconut milk. Additionally, the truck offers snail noodle dishes and charcoal-grilled items like clams or squid. There's a fair amount of customizability, with the general wisdom being: the larger the snail, the higher the cost.
I opted for the shiny grey conches stewed in a sweet butter sauce ($20) that had surprising tang. Its complex flavor comes from tamarind pulp, crispy pork belly bits, minced garlic and a heaping spoonful of butter. Grab a shell, wrestle out the snail with a toothpick and dip it in sauce before eating it. The texture is similar to squid, ranging from chewy to firm. But it works combined with all the elements. Garlic butter brings savory richness, pork lends a crisp texture and Vietnamese coriander also known as rau ram delivers robust pungency.
Pork seems to be one of Huỳnh's secret weapons. She stuffs it into snails or sneaks it into dishes like grilled scallops ($20), which arrive as six aluminum cups of smokiness, savoriness and nuttiness.
Even for Vietnamese folks, Huỳnh admits, snails can be an acquired taste. Her family members who grew up in different parts of the country, for example, didn't have much exposure to snails. My mileage with eating snails tops out at escargot.
There are countless restaurants and chefs making well-known Vietnamese dishes, but few do the work to expand the public's perception of the cuisine. This truck functions as a gateway, bringing a specific slice of the Mekong Delta to the Bay Area.
Formerly stationed at an auto parts parking lot in San Jose, the truck recently moved to a gated lot a few miles away. The setup is similar to a street food stand in Vietnam, with green plastic tables and low-to-the-ground stools. Huỳnh said three quarters of truck's clientele is Vietnamese, and looking around, that checks out.
During service, Huỳnh is in constant motion, gracefully multi-tasking outside of the truck. She tends to the charcoal grill. She stirs pots of boiling snails. But she always makes time to share belly laughs with customers.
Huỳnh is driven by passion. She came to the states five years ago and worked at a seafood shipping company. But her heart was in cooking. She worked at a few restaurants, hoping to learn the trade and eventually open her own. Her strategy changed after working on a friend's food truck. She fell in love with the model, which she claims had simpler paperwork for a newcomer to the U.S. In 2024, she launched her truck Làng Ốc Việt and tested the waters at an event in San Leandro. Late last year, she secured a space for the truck in San Jose and quickly found an audience. She's proud of what she's been able to achieve with no family support system and two kids.
Huỳnh is still settling into the new location. But with a truck open until 1 a.m., patrons can expect late-night karaoke. I can't wait to return, devour snails and share my pitchy rendition of V-Pop tunes.

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
5 hours ago
- Yahoo
Truong Minh Quy And Nicolas Graux On The Story Behind Their Locarno Title ‘Hair, Paper, Water…' & How Technological Shifts Are Affecting Filmmaking: 'The Language Of Cinema Has Changed'
Vietnamese filmmaker Truong Minh Quy became an instant arthouse favorite at Cannes in 2024 with his impressive third feature Viet and Nam. Just over a year later, Quy is back with a new project, co-directed with his frequent collaborator Nicolas Graux (Century of Smoke). Hair, Paper, Water…, or Tóc, giấy và nước…, in the original Vietnamese, debuts this evening in the Concorso Cineasti del Presente Competition at Locarno. More from Deadline Locarno Open Doors: Nigerian, Zimbabwean & Ivorian Projects Among Winners Mohammad Rasoulof On Why He Isn't In A Rush To Follow Up 'The Seed Of The Sacred Fig' & His Plans To Return To Iran - Locarno Locarno Pro Awards: 'Nina Roza' By Canadian Filmmaker Geneviève Dulude-De Celles Leads Winners Shot over three years on a vintage Bolex camera, the film is a rich portrait of an elderly, unnamed woman who, born in a cave more than 60 years ago, now lives in a village caring for her children and grandchildren. The film captures her daily life and the transmission of her fragile native language, Rục, to the younger generations, as she dreams of her deceased mother calling her home to her mountain cave. The film was produced by Thomas Hakim and Julien Graff of Petit Chaos, the company behind Payal Kapadia's groundbreaking feature debut All We Imagine As Light, alongside Julie Freres. Italian-based sales company Lights On is handling the project, which has been a significant point of intrigue at Locarno. Graux and Truong previously co-directed the short Porcupine (2023), which premiered at Rotterdam and won the jury prize for best artistic contribution at Pink Screens Film Festival. Speaking to us ahead of today's premiere, the pair discusses how their professional collaboration began, why they decided to shoot Hair, Paper, Water... using a vintage Bolex camera, and how what they described as cinema's rapidly changing relationship to techonology shaped their film. 'This discussion about technology is not purely aesthetic; it's not about which film looks digital or filmic. The language of cinema has changed,' Quy explains. Read the interview below. Locarno ends on August 16. DEADLINE: How did you two meet? NICOLAS GRAUX: We met in Brussels just before COVID. Quy was studying in France. We lived together throughout the pandemic and began showing each other our previous works and exchanging ideas. I saw The Tree House, Quy's previous documentary. He made that before Viet and Nam. The main character of that film is also the main character in Hair, Paper, Water. Quy told me that during the production of The Tree House, she had once told him that if her valley gets flooded, she would go back to her cave by boat. That image stuck in our heads, and we thought it could be another film. That's how we built the idea of this movie. TRUONG MINH QUY: At the beginning of this process, we accidentally found a Bolex camera in our room under a bed. It belonged to Nicolas's friend and had been there for a few years. We'd both shot on film before, but never on a Bolex, which is very small and limited in its capabilities. It's a very vintage camera. So when we discovered that camera and the idea of the woman traveling back to her home on water, we knew we would use the Bolex. DEADLINE: Wow, did you shoot with just one Bolex? They're quite temprimental aren't they? GRAUX: We had two Bolex cameras. With a Bolex, you only have three-minute rolls. And each time you use the crank, you can shoot for about 30 seconds maximum. QUY: It's like TikTok. GRAUX: It's primitive TikTok. On one side, you have to be careful about what you shoot because you can't redo it several times. Conversely, it also frees you because you know that the camera itself is shaping the film's language. For example, during production, I was able to react to what I was seeing around me, like filming a dog sitting next to me for 15 seconds or a hibiscus flower under the rain. These moments may not have narrative functions, but they give shape to the film. DEADLINE: The Bolex can't record sound right? How did you get around that? The film has such a vivid soundscape. QUY: We worked with three different sound recordists. There is no synchronized sound on the Bolex. And it's impossible to use a clapperboard because you only have 30 seconds to shoot, so all the sound in the film was pre-created sound on a set. DEADLINE: And when did you shoot this? How long did it take? Can you talk me through the production. Was it before Viet and Nam?GRAUX: We had two main shooting periods with a two-year gap in between. That's why, in the film, you see that suddenly the boy had grown. That's not something we planned, but we came back to the village two years later because we knew we wanted to shoot more. QUY: The first shoot was just before Viet and Nam in 2022. And we finished shooting in December 2024. DEADLINE: Did you find it easier to build the production and raise funds during the second shoot because of the success?QUY: When we started financing the film, we decided, with Thomas, Julien, and the other producers, that we didn't want it to be big. We just wanted to find enough money so we can have time. And the crew in Vietnam was very small. We had four or five people. For me, it was lucky that I decided to shoot this film before Viet and Nam. If I had to start now, I don't think I would have enough energy to do During the first shoot, we knew that we would like to do something with the language, but we weren't so sure how. It became clearer during the editing process between the first and second shoot. That's when we went back and built the film around the language. The construction of the film is actually super basic. You see something on screen, and then you hear a word to describe that thing. It's like a visual dictionary. And we like that, the relationship between image and sound. I actually spoke with the main character from our film yesterday, and she had a visitor, an archivist who had come to record the language. It's great that people are also interested in archiving her Yes, this film calls back to previous cinema traditions like silent movies, family movies, and filmmakers like Jonas Mekas. We didn't intend to create a home movie. However, one thing we noticed that had changed during the three years of production is the rapid change of technology in relation to filmmaking. People have already stopped talking to each other and now talk to computers. This discussion about technology is not purely aesthetic; it's not about which film looks digital or filmic. The language of cinema has changed. I don't care if this film is good or not. This film is instead about making a project that has something to say or holds qualities that stay with you. And there's something human in that. DEADLINE: How would you like this film to be seen by audiences. I could see it in the gallery space, for instance. GRAUX: For us, it's quite clear that it's for cinema, especially because this film brings our main character back to her cave. There is darkness in the cave, and that is a feeling that you only get in cinemas when you face the big screen. Best of Deadline Everything We Know About 'Nobody Wants This' Season 2 So Far 2025-26 Awards Season Calendar: Dates For Emmys, Oscars, Grammys & More Everything We Know About Prime Video's 'Legally Blonde' Prequel Series 'Elle' Solve the daily Crossword


San Francisco Chronicle
a day ago
- San Francisco Chronicle
Live event: Join the Chronicle and Elisa Donovan for a 30th anniversary screening of ‘Clueless'
It's hard to believe it's been three decades since Cher, Dionne, Amber and Tai were walking the halls of Bronson Alcott High School, rocking 'totally important designers' and coining a lexicon still instantly recognizable today. To celebrate the 30th anniversary of 'Clueless,' the San Francisco Chronicle is presenting a special screening of Amy Hecklering's teen comedy classic with actor, writer and San Francisco resident Elisa Donovan. Join us on September 10 at the Balboa Theater where Chronicle Arts & Culture Writer Tony Bravo will host a pre-show conversation with Donovan about her role as the fabulous and ferocious Amber, how she feels about the movie's impact on culture and her career beyond the iconic film. Donovan, who is also known for roles in 'Sabrina the Teenage Witch,' 'A Night at the Roxbury' and 'Beverly Hills 90210,' is the author of the 2021 memoir 'Wake Me When You Leave' and will sign books after the movie. Come dressed in your best '90s look or character homage for a chance to win special prizes. It'll be more fun than a val' party. Totally pause and get your tickets today!


UPI
4 days ago
- UPI
Famous birthdays for Aug. 15: Princess Anne, Tess Harper
1 of 3 | Princess Anne attends the 150th Open Championship at St Andrews on July 13, 2022. The British royal turns 75 on August 15. File Photo by Hugo Philpott/UPI | License Photo Aug. 15 (UPI) -- Those born on this date are under the sign of Leo. They include: -- French Emperor Napoleon Bonaparte in 1769 -- U.S. first lady Florence Harding in 1860 -- Musician Samuel Coleridge-Taylor in 1875 -- Actor Ethel Barrymore in 1879 -- Chef Julia Child in 1912 File Photo by Bill Hormell/UPI -- Conservative activist Phyllis Schlafly in 1924 -- Actor Mike Connors in 1925 -- Actor Jim Dale in 1935 (age 90) -- Civil rights leader Vernon Jordan Jr. in 1935 -- Actor Pat Priest in 1936 (age 89) -- Former U.S. Supreme Court Justice Stephen Breyer in 1938 (age 87) -- Journalist Linda Ellerbee in 1944 (age 81) File Photo by Jim Ruymen/UPI -- Football Hall of Fame member Gene Upshaw in 1945 -- Musician Jimmy Webb in 1946 (age 79) -- Musician Tom Johnston (Doobie Brothers) in 1948 (age 77) -- Actor Phyllis Smith in 1949 (age 76) -- Actor Tess Harper in 1950 (age 75) File Photo by Jim Ruymen/UPI -- Britain's Princess Anne in 1950 (age 75) -- Writer Stieg Larsson in 1954 -- Actor Željko Ivanek in 1957 (age 68) -- Vietnamese President Lương Cường in 1957 (age 68) -- Musician Tim Farriss (INXS) in 1957 (age 68) -- Actor Rondell Sheridan in 1958 (age 67) -- Musician Matt Johnson (The The/Marc and the Mambas) in 1961 (age 64) -- Chef Tom Colicchio in 1962 (age 63) File Photo by Christine Chew/UPI -- Actor David Zayas in 1962 (age 63) -- Philanthropist Melinda French Gates in 1964 (age 61) -- Actor Debra Messing in 1968 (age 57) -- Actor Anthony Anderson in 1970 (age 55) -- Actor Ben Affleck in 1972 (age 53) -- Actor Natasha Henstridge in 1974 (age 51) -- Ethiopian Prime Minister Abiy Ahmed in 1976 (age 49) -- International Volleyball Hall of Fame member Kerri Walsh Jennings in 1978 (age 47) File Photo by John Angelillo/UPI -- Musician Tim Foreman (Switchfoot) in 1978 (age 47) -- Actor Emily Kinney in 1985 (age 40) -- Musician Nipsey Hussle in 1985 -- Actor/musician Carlos PenaVega in 1989 (age 36) -- Musician Joe Jonas (Jonas Brothers) in 1989 (age 36) -- Actor Jennifer Lawrence in 1990 (age 35) File Photo by Jim Ruymen/UPI