The problem of the existence of art films in theaters
After more than 10 days of showing, Quan Ky Nam - one of the best Vietnamese films of 2025, only earned more than 3.9 billion VND. The film currently has about 130 screenings, mostly at less convenient times for the audience. This is not a new situation for art films, but the effect of discussing films is spreading strongly.
The work is one of the very few Southeast Asian films currently shot entirely on 35mm plastic film - a rare choice in the digital age. The experience of images, storytelling rhythms and sophisticated cinematic language makes the film an artistic mystery worth watching on the big screen.
In recent years, a series of artworks, despite achieving international successes, have still had low revenue when released domestically. Rain on the butterfly earned 647 million VND, The Heart That Comes in an Out of proportion reached 813 million VND. Although not market-oriented, these films have been honored at major film festivals: Rain on the butterfly won two important awards at Venice Film Critic Week 2024; Quan Ky Nam won the Bang award at the Hawaii International Film Festival.
A direction for art films
The Vietnamese film market is developing rapidly, especially with the emergence of a young generation of well-trained directors and participating in international playgrounds. Art film sources are no longer as scarce as they were 10 years ago. However, the ecosystem to support these works is not yet complete.
It can be seen that Vietnamese cinema is lacking an art house theater system. Art films, especially independent films, require a long screen time, at least a few weeks to create a word-of-mouth effect. But in the current operating model, that time rarely exists.
The distribution strategy for art films has not yet been properly invested in. Many films are released at a time of "sensitivity", without strong enough media to compete. This has caused them to be quickly overwhelmed by commercial films.
It is worth mentioning that the habit of watching art films of the audience is taking shape but not big enough to create stable purchasing power. A decent film can be praised on social media, but that cannot be converted into a ticket sales.
Ho Chi Minh City is currently considered a "cinematic city", but to have this title not only exist on a slogan, it requires a lot of effort from the management agency. Specialized cinema models for art films, where the public can watch films at a reasonable cost, need to be considered for investment or support - similar to the art house model in many Asian countries.
The development of the culture of watching artistic films cannot only rely on private units. This market is small, requiring perseverance, while revenue is difficult to cover operating costs. Therefore, the role of management units from support policies, cultural space planning, and tax incentives is extremely important.
When good works have stable output and a worthy position, filmmakers will be encouraged to be creative, while the audience will have more quality options. This not only enhances social aesthetic tastes but also contributes to building a sustainable Vietnamese cinema.
The developments around Quy Nam Hotel show a positive signal: The public is no longer indifferent to art films. The sharing of "let's go watch before the film is withdrawn" shows that the connection of the film-loving community is increasing. Although the revenue has not increased sharply, the film still has the opportunity to extend the release time, something rarely seen in independent films.
However, in order for films like Quan Ky Nam to not repeat the in theaters - withdrawn - causing regret cycle, Vietnamese cinema needs a more sustainable ecosystem.
