Cinematic memories create the city's identity
Since the mid-20th century, Saigon has been the cradle of modern Vietnamese cinema. From the bustling private film studios of the past to the establishment of the Liberation Film Studio (later Liberation Film Studio) in 1962, the city grew with films that left many generations in the memories of many generations. Cinema here has never been a luxury; it is a part of life, a breath of life in this city itself.
Thanks to the continuous movement, the city preserves the continuity of cinematic memories, where generations of directors, actors, and technicians always find a setting that is both familiar and inspiring to tell their stories.
Open film studio and largest market of Vietnamese cinema
If history creates the foundation, then the rhythm of life creates energy. Ho Chi Minh City possesses an urban rhythm that makes any filmmaker easily see beautiful frames in it: A deep alley with yellow lights at the end of the alley, buildings that are rising to modernity, endless lines of people, corners of the city where the old and the fast are in harmony.
Behind that beauty is a strong cinematic ecosystem: Ho Chi Minh City currently has 10 cinemas, 52 cinemas, 295 screening rooms, accounting for about 40% of the country's box office revenue and 184 professional creative spaces. Ho Chi Minh City has become a place to experiment with new trends, new tastes and new storytelling methods.
The UNESCO title comes at a time when the city is strongly opening the door for creativity, international cooperation and building a cultural urban brand.
International honor and challenges
The UNESCO title is like an invitation for the city to step onto a larger stage, but at the same time, it also puts on the city's shoulders significant responsibilities. This is the challenge that needs to be seen frankly and emphasized.
First, the filmmaking infrastructure must keep up with the development speed. A film city needs a large-scale studio, a modern post-production system, digital centers and a synchronous service chain. Supporting international film crews from procedures, licenses to logistics (all organization - operation - logistics activities) must become a professional process and much faster than at present.
Next is international competition. In the network of creative cities in cinema, there are urban areas that have built strong brands such as: Busan (Korea), Sydney (Australia)... To avoid being "grounded", the city needs to create its own identity: A storytelling style, a film development model imbued with the Saigon spirit: Young, vibrant and open.
The third challenge is to maintain a balance between trade and art. A large market means revenue pressure. But a creative city cannot just chase popular films; it needs space for independent films, documentaries, experimentals, genres that nurture cultural depth and diversify the ecosystem.
And finally, the equally important challenge is to nurture a community creative culture. The UNESCO title is not a medal for display, but a commitment to sustainable development through creativity. This requires long-term investment in film education, creative space, support programs for young artists and the preservation of cinematic heritage, things that require patience, vision and coordination between many industries.
The city of cinema is not because it has just received a new title, but because of its nature, it has always been a great source of inspiration for the art of storytelling through images. But with the UNESCO title, that light is now seen wider and further, forcing the city to move forward with a new mindset: More confident, more creative and more responsible.
