Hoang Quan, a prominent film producer and media expert, recently returned to Vietnam from the prestigious 2023 Cannes Film Festival in France. His purpose at Cannes was to engage in buying and selling activities at the renowned Marché du Film Market, one of the world’s largest film markets. In a heartfelt letter sent to Tuoi Tre Online, Quan expressed his unwavering hope for the future of the Vietnamese film market, nurtured through his interactions with international partners during the bustling summer days in the coastal city of Cannes.

Embracing Hope, Not Sadness

Although Vietnam did not have a dedicated pavilion at this year’s Cannes film market, acquiring one is no easy feat. Setting up a booth of approximately 12 square meters, albeit not the largest, costs 5,000 euros (equivalent to 126 million VND). This doesn’t include expenses for designing and printing promotional materials, as well as personnel, travel, and accommodation for the film crew. Creating a substantial pavilion that truly represents Vietnamese cinema requires significant financial resources, which cannot be solely shouldered by a single private company. It demands a collective effort and support from various parties, including governmental involvement. While this endeavor is unprecedented and will require time and the dedication of many individuals, Quan does not dwell in sadness. Instead, he sees a ray of hope. He envisions an area in Vietnam solely dedicated to conducting film business, facilitating buying and selling, importing and exporting movies, and showcasing production, post-production, and special effects services. Such an initiative would greatly benefit the Vietnamese film industry. Currently, industry players are tirelessly promoting Vietnamese films abroad while procuring high-quality foreign films for domestic screenings.

“I have come to the realization that Cannes is not the primary market for Vietnamese films, so I didn’t set lofty expectations or goals. This marks my second visit to Cannes. During my first experience, I observed and familiarized myself with the working dynamics. This time, my focus was on the buying and selling of movies. At Cannes, foreign partners expressed significant interest in Vietnamese commercial films, including horror, detective, and action genres. I also endeavored to present award-winning films such as ‘Tro Tan Ruc Ro’ and ‘Dem Toi Ruc Ro.’ After Cannes, my attention will shift to Busan, the main film market in Asia, which holds immense potential for Vietnamese films,” shares Ms. Hang Trinh, CEO of Skyline Media, who attended the Cannes 2023 film market.

A Pathway Filled with Promise

Quan remains optimistic, firmly believing that by creating mutually beneficial opportunities for the film industry, Vietnamese filmmakers can expand their horizons, engage with international buyers, and inspire foreign film producers and investors to boldly invest in the Vietnamese market. Vietnam’s film industry is currently in its developmental stage, offering numerous business opportunities. Cannes, like other major film festivals, provides a comprehensive database system and a trading platform that allows connections and collaborations even without physical meetings. Cannes employs Cinando, a website and platform where filmmakers can create accounts, update their information, and showcase the profiles of the films they bring to the market. Through this platform, Quan established countless connections with proactive partners who actively sought buying and selling opportunities. Each partner maintained contact beyond the film market, sustaining the connection established at Cannes. Quan had the chance to meet with numerous partners, honing his skills to present all the unique attributes of Vietnamese films within a brief 3 to 10-minute timeframe. Additionally, he witnessed the performances of other partners, each emanating distinct energy sources, providing valuable learning experiences. During his time at Cannes, Quan dedicated only 4 to 5 hours of sleep per day, immersing himself in work and the cinematic atmosphere. He meticulously planned his days, checking the movie showtimes in Cannes, booking tickets for films he wished to see. From early mornings to late nights, Quan tirelessly engaged in film market activities. In addition to scheduled meetings, he utilized his free time to connect with partners over coffee or meals, ensuring each encounter lasted around half an hour.

A Glimpse of Hope in the Post-Pandemic Era

After enduring two challenging years due to the pandemic, the film industry is gradually recovering, and the Cannes Film Festival is no exception. Several Vietnamese companies proudly showcased their booths at the Cannes film market, introducing Vietnamese films to international audiences, with even more expected in the future. Content from Asia garnered significant interest at this year’s film market, creating opportunities for Vietnamese films to shine. Mr. Nguyen Hoang Hai, the distribution director of CJ CGV Vietnam, who has attended Cannes on five occasions, including Cannes 2023, on the occasion of film festivals, remains confident in the potential of Vietnamese films.

Embrace the Quality of Vietnamese Films

It’s time to dispel the notion of self-deprecation when it comes to the quality of Vietnamese films. The films that Vietnamese audiences watch are those that have been officially imported, ensuring careful screening by distributors and the potential to captivate local viewers. Stepping into the international film market, I came to a realization: not all films are of exceptional quality. Out of every 100 movies I watched, only about 20% met my standards. When it comes to the horror genre that I’m particularly interested in, the selection is even more limited. This sudden revelation led me to conclude that I should not underestimate the quality of Vietnamese films. In the international market, Vietnamese films are evaluated based on factors such as budget, salaries, personnel, post-production costs, soundtrack, editing, and special effects, which may be lower compared to the global standard. Consequently, Vietnamese films are often categorized as “low-budget” productions. Nonetheless, Vietnamese filmmakers have managed to bring their films to the market, a commendable feat. Only a handful of countries have the privilege of importing films for screening in Vietnamese cinemas. The majority of films screened in Vietnam are from countries like Korea, the United States, Japan, Russia, Thailand, and Taiwan. It’s important to note that if other countries wish to sell their movies in their respective markets, they often need to lower the price, as their films have not yet gained popularity. However, Vietnamese films may find success in different markets, and pricing is determined by the laws of supply and demand.

Vietnamese Pride Shines Bright

This year, Vietnamese cinema proudly showcased Pham Thien An’s film, “Inside a Golden Cocoon,” which participated in the esteemed Directors’ Fortnight program and won the prestigious Golden Camera award. This achievement fills us with immense pride. Notably, screenings of “Inside a Golden Cocoon” at Cannes were held in large theaters, attracting substantial audiences. Additionally, during the film market at Cannes, we arranged private screenings for potential buyers. These screenings serve commercial purposes and are not open to the general public. Over the years, since the first Vietnamese films were invited to Cannes, I have witnessed a remarkable shift in attitude among Vietnamese filmmakers. When seeking films to bring back to Vietnam, I encountered partners who expressed their interest in the Vietnamese market, recognizing its immense potential. We owe a debt of gratitude to the trailblazers in the industry, such as Galaxy, CGV, Lotte, BHD, Mockingbird, and Skyline. Their years of importing films have proven to foreign partners that the Vietnamese film market is a viable business opportunity. The sight of Vietnamese actors and directors walking the red carpet at Cannes symbolizes the progress of our cinema. However, it’s important to acknowledge that the journey to the red carpet involves the collective efforts of hundreds of individuals working behind the scenes. The various activities in the industry contribute to the balanced development of Vietnamese cinema.