Theatrical movie imports see both opportunities and challenges

Importing movies for theatrical release presents both significant opportunities and considerable challenges.

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The appearance of many film importers has also contributed to making the market more vibrant

Imported movies are consistently drawing significant audiences in Vietnamese theaters upon release. Furthermore, the growing presence of diverse film importers has roused the market.

Thai film My Dear Bear has recently premiered in Vietnamese cinemas, marking the fourth title imported and distributed by Khang Media in collaboration with CGV. This follows their previous releases such as Tre Trau Khong Dua Dau (Can’t kid young people), Rider - Giao hang cho ma (Rider - Delivering goods to ghosts) and Yeu Vi Tien, Dien Vi Tinh (Love for Money, Madness for Love).

Khang Media’s representative, Director and Meritorious Artist Vu Thanh Vinh, remarked that the sharp rise in theater attendance highlights the strong potential of Vietnam’s domestic cinema market. He revealed that at the recent Hong Kong International Film and Television Fair, numerous international partners expressed interest in bringing their films to Vietnam, with some even offering preferential pricing.

Meanwhile, producer Hang Trinh, CEO of Skyline Media—a film production and distribution company—noted that the imported film sector is currently enjoying several advantages. According to the female CEO of Skyline Media, the censorship process has become more flexible with many horror films that previously struggled to gain theatrical approval now reaching audiences with greater ease.

In addition, the emergence of numerous film importers has played a significant role in enhancing the vibrancy of the market. Meritorious Artist Vu Thanh Vinh asserts that opportunities are consistently available, even for newcomers in the industry. He emphasizes that in the realm of business, achieving the highest sales revenue is not a prerequisite for profitability; rather, it also hinges on the cost of acquiring films.

According to director Nguyen Huu Tuan, representative of the unit that just imported the animated film Lac troi (Flow), audience’s tastes always have a big shift between generations and geographical regions, understanding this will determine the film purchasing strategy. Many units prioritize looking for films with content suitable for new tastes, unique scripts, close to regional culture or possessing a loyal audience.

Profit and loss

In evaluating the imported film market, which presents numerous opportunities alongside significant challenges, producer Hang Trinh analyzed it from two perspectives. Initially, the importation of blockbuster films has traditionally been viewed as a reliable strategy; however, this approach appears to be losing its effectiveness. Recently, several domestic blockbusters, including Snow White and Mickey 17, have under-performed at the box office.

As reported by Box Office Vietnam, Mickey 17 generated over VND4 billion (US$155,520) in ticket sales. Given the film's popularity, the acquisition cost—though not explicitly stated—was likely substantial, resulting in significant losses for the importer.

Additionally, companies that operate extensive theater chains have a competitive edge when acquiring films from major studios. The growing number of domestic and international firms entering the market for theatrical film acquisitions is driving up copyright prices for specific genres and countries, intensifying competition.

Marketing and promotional budgets are also on the rise. Currently, the primary models for importing films include outright purchase, deposit-based acquisition, and revenue-sharing agreements. Under the deposit model, the importer pays an upfront amount to secure distribution rights. If the film underperforms, the deposit is lost; however, if it succeeds, profits—after expenses—are shared with the studio based on a predetermined percentage.

The price of film imports varies significantly, ranging from a few thousand US dollars to several hundred thousand US dollars. In certain instances, this cost can even reach millions of US dollars, influenced by the film's reputation and brand.

According to Meritorious Artist Vu Thanh Vinh, many films have strong competition between Vietnamese importers, causing the selling price to increase 3-4 times compared to the original price.

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