{"id":11226,"date":"2025-10-27T21:01:51","date_gmt":"2025-10-27T14:01:51","guid":{"rendered":"https:\/\/hochiminhcityfilm.com\/?p=11226"},"modified":"2025-10-28T15:52:54","modified_gmt":"2025-10-28T08:52:54","slug":"tu-mua-do-den-nghich-ly-phong-ve-dien-anh-viet-can-gi-de-phat-trien-ben-vung","status":"publish","type":"post","link":"https:\/\/hochiminhcityfilm.com\/en\/tin-tuc-moi-nhat\/tu-mua-do-den-nghich-ly-phong-ve-dien-anh-viet-can-gi-de-phat-trien-ben-vung\/","title":{"rendered":"From \u201cRed Rain\u201d to the Box Office Paradox: What Does Vietnamese Cinema Need for Sustainable Development?"},"content":{"rendered":"
\n

At the scientific seminar titled \u201cDeveloping the Art Market in Vietnam: Current Situation and Solutions,\u201d experts pointed out the paradox of Vietnamese cinema \u2014 record-breaking revenues but uneven distribution. To achieve sustainable development, the industry needs long-term policies and strategic investment.<\/p>\n<\/div>\n

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On October 25, in Hanoi, the Vietnam Institute of Culture, Arts, Sports and Tourism organized the scientific seminar \u201cDeveloping the Art Market in Vietnam: Current Situation and Solutions.\u201d<\/p>\n

The event attracted a large number of experts, policymakers, researchers, artists, entrepreneurs, and lecturers from universities and research institutes.<\/p>\n

\"\"<\/p>\n

Overview of the scientific seminar \u201cDeveloping the Art Market in Vietnam: Current Situation and Solutions.\u201d (Photo: Organizing Committee).<\/em><\/p>\n

In her opening remarks at the seminar, Associate Professor Dr. \u0110\u1ed7 Th\u1ecb Thanh Th\u1ee7y, Head of the Department of Cultural Studies, Vietnam National Institute of Culture, Arts, Sports and Tourism, stated that in recent years, Vietnam\u2019s art market has gradually taken shape and developed. Artistic products and services have become increasingly diverse in both content and form, meeting the varied demands of the public while beginning to make inroads into international markets.<\/p>\n

However, she emphasized that this development remains in its early stages, facing numerous bottlenecks and limitations in terms of institutions, management mechanisms, infrastructure, resources, and the degree of connectivity within the art ecosystem.<\/p>\n

Therefore, it is essential for the State to continue refining the institutional and policy framework, enhancing the quality and effectiveness of management, and ensuring the synchronization among various components and market structures.<\/p>\n

These efforts aim toward building a professional, healthy, and sustainable Vietnamese art market, fostering interconnection throughout the production chain, creating a cohesive ecosystem among stakeholders, and enhancing the multidimensional value and influence of Vietnamese art in the context of a market economy, international integration, and the digital era.<\/p>\n

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Associate Professor Dr. \u0110\u1ed7 Th\u1ecb Thanh Th\u1ee7y, Head of the Department of Cultural Studies, Vietnam National Institute of Culture, Arts, Sports and Tourism, chaired the seminar. (Photo: Organizing Committee)<\/em><\/p>\n

At the seminar, delegates presented theoretical and practical foundations, international experiences, and applicable lessons for Vietnam in the fields of cinema, fine arts, and live music programs and events.<\/p>\n

The Paradox of Vietnamese Cinema<\/h2>\n

Presenting his paper at the seminar, film critic L\u00ea H\u1ed3ng L\u00e2m shared that in the first half of 2025, the domestic box office generated VND 3.017 trillion, an increase of nearly VND 270 billion compared to the same period last year.<\/p>\n

During this period, around 130 films were released in theaters, including 19 Vietnamese films, spanning genres such as horror, drama, romance, family, animation, and action.<\/p>\n

Although Vietnamese films accounted for less than one-sixth of the total releases, they earned VND 1.8 trillion (approximately USD 72 million), representing 67% of the market share. Notably, eight out of the ten highest-grossing films in the first half of 2025 were domestic productions.<\/p>\n

As of October, 13 Vietnamese films have surpassed the VND 100 billion revenue mark, five of which rank among the most successful Vietnamese films of all time.<\/p>\n

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Photo: Organizing Committee \u2013 Film critic and journalist L\u00ea H\u1ed3ng L\u00e2m<\/em><\/p>\n

According to Mr. L\u00e2m, this is an unprecedented milestone in recent years, and he predicts that by the end of the year, total box office revenue could reach VND 6 trillion, compared to VND 4.7 trillion in 2024.<\/p>\n

He also noted that 2025 marks a remarkable year for Vietnamese cinema, with three war-themed or history-inspired films achieving record-breaking box office success:<\/p>\n

\u201c\u0110\u1ecba \u0111\u1ea1o: M\u1eb7t tr\u1eddi trong b\u00f3ng t\u1ed1i\u201d (The Tunnels: The Sun in the Darkness) \u2013 directed by B\u00f9i Th\u1ea1c Chuy\u00ean, earning over VND 172 billion; \u201cM\u01b0a \u0111\u1ecf\u201d (Red Rain) \u2013 directed by \u0110\u1eb7ng Th\u00e1i Huy\u1ec1n, with nearly VND 714 billion; \u201cT\u1eed chi\u1ebfn tr\u00ean kh\u00f4ng\u201d (Dogfight) \u2013 directed by H\u00e0m Tr\u1ea7n, grossing almost VND 248 billion.<\/p>\n

Mr. L\u00e2m observed that these figures demonstrate the strong potential of the domestic film market, predicting that it still has 5\u201310 years of robust growth ahead.<\/p>\n

However, he also pointed out that many other films only achieve moderate revenues, earning just a few hundred million dong, despite significant production budgets.<\/p>\n

\u201cThis situation reflects an unbalanced development,\u201d he remarked. \u201cThe average production cost for a Vietnamese film ranges from VND 15\u201320 billion, while large-scale productions like \u2018Red Rain\u2019 can reach nearly VND 100 billion. Yet, the revenue gap between films remains enormous.\u201d<\/p>\n

To sustain the momentum of Vietnamese cinema, Mr. L\u00e2m proposed three key recommendations:<\/p>\n

First, building on the success of \u201cThe Tunnels: The Sun in the Darkness\u201d, \u201cRed Rain\u201d, and \u201cDogfight\u201d, state-owned film studios should seize this opportunity. The cultural authorities should also introduce new investment policies to capitalize on this \u201cgolden moment\u201d for the growth of Vietnamese cinema.<\/p>\n

In addition, Mr. Lam believes that international co-production remains an effective solution for Vietnamese cinema.<\/p>\n

Second, international co-productions remain an effective strategy. \u201cSeveral Vietnam\u2013Korea co-productions, such as \u2018Mang m\u1eb9 \u0111i b\u1ecf\u2019 (Leaving Mom Behind), have achieved encouraging success,\u201d he said<\/p>\n

\u201cVietnam benefits from Korea\u2019s advanced filmmaking technology and global network, while Korea gains access to a rapidly growing market and skilled local talent \u2014 a mutually beneficial model.\u201d<\/p>\n

Lastly, Mr. L\u00e2m noted that Vietnamese cinema typically lags behind Chinese and Korean cinema by 10\u201320 years. Therefore, Vietnam should adopt forward-thinking policies that \u201canticipate trends and stay ahead of the curve\u201d \u2014 learning from the practical lessons of neighboring film industries to retain and expand audiences.<\/p>\n

What Can Be Done to Ensure the Sustainable Development of Vietnam\u2019s Film Industry?<\/b><\/h2>\n

Mr. \u0110\u1ed7 Qu\u1ed1c Vi\u1ec7t, Deputy Director General of the Department of Cinema (under the Ministry of Culture, Sports and Tourism), shared the same viewpoint as film critic L\u00ea H\u1ed3ng L\u00e2m, stating that Vietnamese cinema is experiencing unbalanced growth due to significant disparities in box office revenues.<\/p>\n

Expanding on this observation, Mr. Vi\u1ec7t assessed that the current development of Vietnamese cinema still does not match its full potential.<\/p>\n

At present, the market is largely concentrated in major urban areas, while art films and children\u2019s films receive insufficient attention. Moreover, copyright infringement remains complex, and human resources have yet to meet the demands of international integration \u2014 all within a context of fierce competition from foreign films and cross-border OTT platforms.<\/p>\n

Looking ahead, Mr. Vi\u1ec7t expressed optimism that Vietnamese cinema will continue to expand its market scale through the revival of cinema theaters, the expansion of digital platforms, and the growing demand for entertainment as Vietnam moves toward a high-income economy.<\/p>\n

He emphasized that diversifying film production \u2014 from commercial blockbusters and independent films to international co-productions \u2014 will help preserve national identity while fostering global integration. The digital transformation, utilizing AI, VFX, and VR\/AR technologies, will open new creative spaces, transforming film production, distribution, and exhibition models.<\/p>\n

The film industry has the potential to become a pillar of Vietnam\u2019s cultural industries, contributing not only to economic growth but also to national image-building and cultural diplomacy.<\/p>\n

However, for Vietnam\u2019s film market to develop sustainably, achieve global integration, and yet retain its cultural identity, Mr. Vi\u1ec7t stressed that it is essential to implement a comprehensive and coordinated set of solutions.<\/p>\n

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Photo: Organizing Committee \u2013 Mr. \u0110\u1ed7 Qu\u1ed1c Vi\u1ec7t, Deputy Director General of the Department of Cinema, delivering remarks at the seminar<\/em><\/div>\n<\/figure>\n
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Based on the current situation, Deputy Director General of the Department of Cinema, Mr. \u0110\u1ed7 Qu\u1ed1c Vi\u1ec7t, proposed eight specific solutions to foster the sustainable development of Vietnam\u2019s film industry.<\/p>\n

First and foremost, he emphasized the importance of raising public awareness to develop the film market. This can be achieved through legal education and civic responsibility campaigns, using easy-to-understand materials, seminars, short courses, or collaboration with media and press agencies.<\/p>\n

In addition, digital communication campaigns should be implemented \u2014 such as building official management websites to provide information on legal streaming platforms, lists of approved films, and interactive channels connecting businesses and audiences.<\/p>\n

Mr. Vi\u1ec7t highlighted the need to improve the legal framework and formulate management policies that are aligned with the new realities of the industry.<\/p>\n

In particular, the 2022 Law on Cinema requires more detailed guiding documents on online film distribution, OTT content regulation, and copyright infringement handling mechanisms. He also suggested introducing incentive policies for film producers and enterprises, such as tax rebates for productions filmed in Vietnam.<\/p>\n

There are incentive policies for businesses and film producers, as well as tax refund policies for film production and filming using locations in Vietnam\u2026<\/p>\n

At the same time, he proposed the completion and implementation of the National Film Development Support Fund, to operate as a state financial fund outside the national budget, aimed at promoting the sustainable growth of the film industry.<\/p>\n

Another critical solution is to strengthen copyright protection. Technologies such as blockchain and digital watermarking should be utilized to verify ownership and prevent piracy, while strict enforcement must be applied against illegal streaming websites. Parallelly, it is essential to raise public awareness about respecting intellectual property and valuing creative works.<\/p>\n

Mr. Vi\u1ec7t also underscored the importance of developing film infrastructure and market accessibility. He suggested investment policies to encourage the construction of cinemas and theater complexes in mountainous and rural areas, rather than only in major cities. This would both expand the market and enhance cultural accessibility for the broader population.<\/p>\n

Furthermore, investment in modern film studios and the application of advanced technologies \u2014 such as virtual reality (VR) and immersive surround sound systems \u2014 can help leverage the interdisciplinary nature of the arts while promoting the growth of online film distribution platforms.<\/p>\n

He also emphasized the importance of investment policies, social resource mobilization, and film workforce development.<\/p>\n

To realize this, Mr. Vi\u1ec7t proposed that specialized film training institutions, such as the University of Theatre and Cinema in Hanoi and Ho Chi Minh City, should innovate their training models, update curricula to meet international standards, and modernize teaching and practice facilities.<\/p>\n

In addition, international cooperation in education and training, upskilling in new technologies, and the development of professional management personnel for the film industry were cited as practical and essential measures for the future.<\/p>\n

In addition, Mr. \u0110\u1ed7 Qu\u1ed1c Vi\u1ec7t proposed the development of a comprehensive database system and data analytics framework for the film industry.<\/p>\n

To ensure the sustainable growth of Vietnam\u2019s cinema market, Mr. Vi\u1ec7t emphasized the need to build a national communication strategy and film branding initiative, while simultaneously enhancing international cooperation.<\/p>\n

\u201cVietnamese cinema needs to be positioned not only as an art form but also as a cultural industry and a creative economy sector \u2014 contributing to cultural development, economic growth, and the effective promotion of the national image,\u201d said Deputy Director General of the Department of Cinema, Mr. \u0110\u1ed7 Qu\u1ed1c Vi\u1ec7t.<\/p>\n

Author: Dung Nguy\u1ec5n<\/p>\n

Source: From \u201cRed Rain\u201d to the Box Office Paradox: What Does Vietnamese Cinema Need for Sustainable Development?<\/p>\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

T\u1ea1i H\u1ed9i th\u1ea3o \u201cPh\u00e1t tri\u1ec3n th\u1ecb tr\u01b0\u1eddng ngh\u1ec7 thu\u1eadt \u1edf Vi\u1ec7t Nam: Th\u1ef1c tr\u1ea1ng v\u00e0 gi\u1ea3i ph\u00e1p\u201d, c\u00e1c chuy\u00ean gia ch\u1ec9 ra ngh\u1ecbch l\u00fd c\u1ee7a \u0111i\u1ec7n \u1ea3nh Vi\u1ec7t l\u00e0 doanh thu k\u1ef7 l\u1ee5c nh\u01b0ng kh\u00f4ng \u0111\u1ed3ng \u0111\u1ec1u. \u0110\u1ec3 ph\u00e1t tri\u1ec3n b\u1ec1n v\u1eefng, ng\u00e0nh c\u1ea7n ch\u00ednh s\u00e1ch d\u00e0i h\u1ea1n, \u0111\u1ea7u t\u01b0 chi\u1ebfn l\u01b0\u1ee3c. 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