Crowded market, limited screens: The struggle of Vietnamese films

Within just a few years, the Vietnamese film market has shifted from having “just enough” films to watch to an unprecedentedly crowded race. While 55 Vietnamese films were released in 2025, that number is projected to rise to around 70-80 in 2026, meaning an average of five to six projects competing head-to-head each month.

This surge in volume has caused a noticeable phenomenon: the more films are released, the more fail at the box office. Many titles are pulled from cinemas early, while audience preferences are increasingly fragmented and unpredictable. In a market where attention is fiercely contested, the challenge of standing out, especially for independent filmmakers, has never been greater.

The power of distributors

As the number of films grows, competition is no longer limited to the quality of content and storytelling, but extends to the ability to reach audiences from the outset. In this context, distributors play a pivotal role.

According to Mr Nguyen Trong Khoa, Program Manager for Digital Film and Video at RMIT University Vietnam, film distributors have significant influence over the fate of a Vietnamese movie, especially when they are also investors.

This influence is further strengthened in a market where major distributors often own cinema chains. Companies such as CJ CGV and Galaxy Studio can effectively determine which films get seen, where, and for how long – factors that directly impact box office performance.

“For the films that they finance, this can be a clear advantage. And if strong marketing, storytelling, or visual style generate good word of mouth and repeat viewings, the chains can keep them in prime slots for longer,” Mr Khoa said.

From an economic perspective, Ms Truong Phan Kieu Anh, a Multimedia teacher in the Foundation Studies program at RMIT Vietnam, explained that this dynamic reflects the economic nature of the industry. “Filmmaking is an expensive endeavour, and investors understandably seek to minimise risk,” she said.

As a result, commercially driven projects with established stars or strong backing tend to have an advantage when it comes to distribution resources.

However, this model also creates clear disadvantages for smaller, independent, or debut projects. As Mr Khoa noted, these films “typically receive fewer screens, less favourable showtimes, and shorter runs, even if they have potential.”

It can be said that not all films enter the race on equal footing, which makes communication and marketing a crucial tool for levelling the playing field.

Release week marketing: A battle for attention

If distribution decides the opportunity to be screened, communications decide whether audiences choose a film at all.

Mr Khoa points out that the first week of release is often the battleground that determines a film’s potential success, as films vie for screen supremacy and box office revenue. Films that fail to create early momentum struggle to maintain their position in cinemas.

In this crucial window, the first line of defence for any film’s success is compelling communication and marketing assets: posters, teasers, and trailers. These must be clear enough for audiences to quickly grasp the premise, while withholding enough to spark curiosity.

Social media has become an indispensable part of this equation. With younger audiences dominating cinema attendance, positive reviews by key opinion leaders on social media platforms like YouTube, Facebook, TikTok, and Instagram are becoming increasingly important.

Offline engagement also plays a key role. Activities such as cinetour and unitour, where cast and crew interact directly with audiences, have become a staple of film launches. According to Ms Kieu Anh, distributors increasingly organise these events as part of their campaigns to generate word of mouth from audiences.

Resulting user-generated content, from fan photos and short clips to post-screening reactions, can create a ripple effect that traditional advertising struggles to replicate.

In such a competitive environment, “having a strong and fast start is key to keeping a film at the top of the box office chart, which in turn maintains buzz,” Mr Khoa emphasised.

Marketing alone is not enough

While distribution and communication are crucial in the early stages, both experts agree that they are necessary but not sufficient for long-term success.

The market increasingly reflects a “winner takes most” dynamic, where only a handful of films achieve major success while many others quickly fade away.

However, as Mr Khoa stressed, “marketing alone cannot replace the quality of the film itself.” A strong campaign may draw audiences in during the opening days, but the strength of the story will ultimately decide if the audience will sustain their interest and recommend the film to others.

This challenge is intensified by the growing segmentation of audiences, who are increasingly defined by their preferences in genre, themes, and storytelling styles. Each film must not only capture attention but also deliver on its promise once audiences leave the cinema.

Mr Khoa concluded, “after all, the best communication and marketing strategy is still a good story.”

Story: Ngoc Hoang, June Pham