Revenue growth and "box office war
Projects like Tran Thanh's "Thỏ ơi" or Truong Giang's "Nhà ba tôi một phòng" not only compete in revenue but also represent two different approaches: Mass entertainment and exploiting close family stories.
Right after Tet, the market immediately "heated up" with the April 30th film season - a time considered a new "battle" of Vietnamese cinema. Unlike before when producers often avoided confrontation, this year witnessed many films being released in theaters, from comedy, psychology to horror and action.
Notably, "Blood Moon Party 8" directed by Phan Gia Nhat Linh and produced by Charlie Nguyen continues to exploit entertainment, sensational elements and a strong communication strategy. Meanwhile, "Hung" directed by Vo Thach Thao chose a more difficult direction when delving into social psychology.
The appearance of folk horror films such as "Heo 5 móng" or "Phí Phông: Quỷ máu rừng thiêng" also shows the trend of exploiting indigenous cultural materials is rising. This is considered a potential direction to help Vietnamese cinema create its own mark on the regional map.
However, this excitement also entails increasing competitive pressure. As the number of films increases, the life cycle in theaters is shortened. A film that does not create an effect from the early days will quickly be replaced. This forces filmmakers to invest more heavily in distribution and communication strategies, instead of just focusing on content.
Old problem: Scenario, ecosystem and human resources
Despite achieving significant achievements, Vietnamese cinema still faces many systemic limitations.
According to Meritorious Artist Hanh Thuy, the biggest problem currently lies not only in investment capital but also in the lack of synchronization in the industry development strategy.
Reality shows that most film projects in Vietnam are still led by the private sector, with small scale and lack of linkage. This makes the film industry unable to form a complete ecosystem - from production, distribution to human resource training.
One of the biggest bottlenecks is still the script. Although filmmaking techniques are increasingly improved, many works are still criticized for lacking depth in content and repeating old motifs.
Meritorious Artist Hanh Thuy said that to solve this problem, a comprehensive strategy is needed, including investing in screenwriting training, building a creative support fund and creating conditions for experimental projects. International cooperation is also considered a necessary direction, but should not just stop at sending personnel abroad to study, but needs to build a training model right in the country according to international standards.
In addition, technical infrastructure is also a factor that needs to be focused on. The construction of large-scale film studios, modern equipment and standard post-production systems will help improve product quality, while attracting international cooperation projects.
What are the opportunities for Vietnamese cinema?
Despite many challenges, it is undeniable that Vietnamese cinema is facing an important "fall point". The State's concern for the cultural industry, along with the increasing participation of producers, is creating a foundation for long-term development.
Major projects in 2026 such as "Ho Linh Trang Si" with the participation of Johnny Tri Nguyen or the sequel to "Detective Kien" implemented by Victor Vu show the ambition to improve the quality and scale of production.
However, to turn opportunities into reality, Vietnamese cinema needs to overcome the "safe formula" - where filmmakers repeat motifs that are easy to succeed in terms of revenue but lack creativity. Instead, it is necessary to boldly experiment with new storytelling methods, exploiting the depth of Vietnamese culture and people.
In the context of increasingly fierce competition, audiences also become more demanding. They not only seek entertainment but also desire works with artistic and emotional value. This is pressure, but also motivation for Vietnamese cinema to transform.
