[2] Her Vietnamese heritage as well as years of her life spent in West Africa, Japan, and the United States have informed Trinh's work, particularly her focus on cultural politics.

[6] Trinh's work in literary theory focuses on the themes of transcultural interactions, transitions, the production and perception of difference, and the intersection of technology and colonization.

[8] Lovecidal: Walking With the Disappeared, Trinh's book published in July of 2016, is a meditation on the global state of endless war from U.S. military intervention in Iraq and Afghanistan to China's annexation of Tibet to racial violence in the United States and focuses on people's resistance to militarism and surveillance as well as social media's capacity to inform and mobilize.

Part I, "The Traveling Source", explores notions of home, migration, and belonging through an embodied experience of history, context, and hybridity.

Part II, "Boundary Event: Between Refuse and Refuge", focuses on the politics of representation, multiple ways of knowing, and the possibilities that emerge through performance and other forms of creativity.

Part III, "No End in Sight", illustrates the reproduction of systems of power and oppression, along with possibilities that enable their disruption, including creativity, storytelling, and learning.

When the Moon Waxes Red: Representation, Gender and Cultural Politics[11] challenges feminist resistance to expand its terms to a multiply-marginalized subject to disrupt existing patriarchal ideology.

However, she also conceptualizes an interstitial space in which feminists of color can produce theory and criticism that question traditional gender and race politics.

In Woman, Native, Other: Writing Postcoloniality and Feminism[12] Trinh focuses her work on oral tradition; asserting a people's theory that is more inclusive.

Woman, Native, Other attempts to show how binary oppositions work to support patriarchal hegemonic ideology and how to approach it differently to avoid that.

The film is a montage of images from Senegal and includes no narration other than occasional statements by Trinh that never assign meaning to the scenes.

The layering of images and sounds touch on themes Trinh addresses in earlier work on the multiplicity of identity and the politics of representation.

The film's balance between omission and depiction and its play with colors and rhythm suggest interpretive shifts in contemporary Chinese culture and politics.

The film tells the story of Vietnamese immigrant Kieu, a freelance writer who is struggling between the conflicting demands of a new life in America, the family she left behind, and her own ambitions.

Trinh explains her interest in digital production as a matter of engagement with speed and new ways of seeing: "the question is not so much to produce a new image as to provoke, to facilitate, and to solicit a new seeing.

Forgetting Vietnam, is a lyrical essay that combines myths, performance, images of contemporary Vietnamese life, and explorations of cultural memory.

[31] Building off the elements that form the Vietnamese term "country" as existing between land and water, Forgetting Vietnam explores how local inhabitants, immigrants, and veterans understand and remember.