Creating an ecosystem for Vietnamese cinema to break through

In recent years, Vietnamese cinema has flourished, with many works released in theaters becoming “box office phenomena”. The strong recovery of Vietnamese films not only reflects the creativity of those in the profession but also shows new prospects for the development of the cultural industry.

The film Deadly Battle in the Air recorded the effective cooperation between the People's Police Cinema and the private sector. (Photo: FILM CREW)

Compared to the previous period, Vietnamese films were often overshadowed by imported films. Now, thanks to the efforts, proactive adaptation and breakthrough of filmmakers, the accompaniment of the State and private distribution units, and the support of audiences, the domestic film market has changed dramatically. The strong recovery of Vietnamese films not only reflects the creativity of professionals but also shows new prospects in the development of the cultural industry.

Creative and Responsible Community

The success of Vietnamese films in recent times is the result of the overall efforts of the film crew, the silent but extremely important contributions of film distribution and dissemination units, and the correct policies of the Party and State.

First of all, it is necessary to acknowledge the breakthrough, constantly expanding the creative range, boldly finding new directions, and elaborate investment from script to setting, special effects, music , etc. of filmmakers as key factors creating new vitality for the country's cinema.

Films such as Dao, Pho and Piano, Dat Rung Phuong Nam, Mai, Tunnel: Sun in the Dark, Red Rain,… whether state-owned or private films show that Vietnamese cinema can completely conquer audiences both artistically and commercially.

Scene from the movie Red Rain. (Source: GALAXY)

Fortunately, the outstanding works not only meet the needs of pure entertainment, but also touch on big topics such as history, revolutionary war, national culture, with new and modern expressions, helping viewers feel the depth of the message conveyed.

Along with that are the open policies of the State, encouraging the increasingly active participation of private units in the film production, distribution and dissemination chain. Previously, the cinema system mainly focused on imported films to ensure revenue, but now large distribution units such as CGV, BHD, Galaxy, Lotte Cinema... have paid more attention to domestic films.

Instead of just passively distributing, these units have accompanied many film projects from the moment the idea was formed, then participated in giving advice on the script, discussing promotional strategies, and willingly sharing financial risks with the producer.

Thanks to that, many Vietnamese films have been released with a well-planned media plan and reasonable screening allocation, creating "box office fever". Recently, the film Death Battle in the Sky, which was released in theaters, earned more than 20 billion VND on the first day of ticket sales, marking the effective cooperation between People's Police Cinema and Galaxy Group - a private entertainment corporation.

Director Bui Trung Hai is optimistic: "I believe that in the coming time, private investors, after clearly seeing the potential of Vietnam's revolutionary war films, will be more active in participating in the production and distribution of this film genre."

Perhaps social resources are being promoted, turning the relationship between production and distribution into a positive cycle: Strong distribution leads to strong production, and vice versa, good production leads to favorable distribution. This important transformation contributes to creating a "cinema ecosystem", creating momentum for the remarkable development of Vietnamese films.

In 2024, according to Box Office Vietnam, Vietnam's total box office revenue reached nearly VND4,700 billion, the highest in box office history up to that point, and Vietnamese films reached about VND1,900 billion, accounting for 40%.

Entering 2025, this number continues to grow dramatically. In the first four months of 2025 alone, Vietnamese film revenue exceeded 1,500 billion VND.

The popularity of the movie Red Rain, which earned approximately 680 billion VND after only one month of release, makes the picture of the film industry this year even brighter.

Obviously, the need for entertainment is growing in society, and if film projects are invested seriously and enthusiastically, mobilize collective strength and promote properly, Vietnamese films are completely capable of competing equally with imported products.

In particular, it is necessary to acknowledge the warm reception of domestic films by audiences, which helps open up great potential for cinema in particular and Vietnam's cultural industry in general to develop rapidly.

Open the door to development

For the Vietnamese cinema ecosystem to truly be effective, some bottlenecks need to be further resolved. First of all, the problem of distributing and releasing films ordered by the State.

The actors of three blockbuster movies in 2025: "Red Rain", "Tunnel: The Sun in the Dark" and "Air Battle to the Death". (Thai Hoa starred in two movies)

Recently, many good quality films have been released without a suitable distribution mechanism, leading to the situation where films are only shown for a short time and then stored away, causing waste and missing the opportunity to spread value in the community.

Experience from films such as Dao, Pho and Piano or Red Rain shows that when there is close coordination between management agencies, production units and distribution systems, even State-invested films can achieve both artistic and commercial effectiveness.

Therefore, the authorities need to soon develop flexible mechanisms and policies to encourage private distributors to participate deeply in film distribution, helping to bring works closer to the public, contributing to aesthetic orientation and nurturing social spiritual life.

Director of the Cinema Department Dang Tran Cuong said: “The Decree on the distribution and dissemination of films serving political tasks is being completed; opening a new, clear, transparent legal framework with many regulations creating conditions for State-ordered films to be distributed more widely and effectively. Accordingly, mechanisms to encourage public-private cooperation and socialization of film distribution will be promoted.”

In addition, to have a sustainable cinema ecosystem, we need to look beyond the scope of cinemas. Digital technology and online platforms are opening up new distribution channels, creating opportunities for Vietnamese films to reach a wide audience.

Many films, after leaving theaters, have been released on digital platforms, continuing to extend their commercial lifecycle and increasing their international reach. This is an inevitable trend, requiring managers, producers and distributors to soon have support policies, as well as ensure copyright and intellectual property rights in the digital environment.

Resolution No. 33-NQ/TW (2014) on building and developing Vietnamese culture and people to meet the requirements of sustainable national development emphasizes the task of developing Vietnamese culture and people in the context of integration.

In the Cultural Development Strategy to 2030, the Government has identified cinema as one of the key sectors of the cultural industry. The Cinema Law (2022) stipulates: The State has policies to mobilize resources, implement measures to ensure a healthy investment and business environment, develop the cinema market, and create favorable conditions for organizations and individuals to participate in cinema activities to build a cinema industry associated with socio-economic development and international integration.

These are important foundations showing that creating an ecosystem for cinema and promoting the development of the "seventh art" industry is not only the responsibility of filmmakers and distributors, but also requires the synchronous participation of the State, businesses and the social community.

In that ecosystem, the audience continues to play a central role because the public is the ultimate measure of a work's success, and is the driving force for producers and distributors to invest more in Vietnamese films.

When audience confidence is strengthened, the market will become a solid foundation for Vietnamese cinema to grow strongly, gradually affirming its position domestically and internationally.

Accompanying Vietnamese films and cultivating the Vietnamese cinema ecosystem needs to be identified as a cultural mission, associated with social responsibility.

Because from here, we will gradually shape the habit of enjoying movies, arouse the love of cinema, nurture the national cultural identity in the minds of Vietnamese people, and make the image of Vietnam shine on the world cultural map.

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Source: https://nhandan.vn/kien-tao-he-sinh-thai-cho-dien-anh-viet-nam-but-pha-post909433.html