Vietnam’s film industry is riding a wave of unprecedented growth, with domestic productions smashing box office records and cinema attendance surging nationwide. Yet behind the headline numbers lies a pressing question is that how to sustain this momentum. While hits like Tai (Mr. Tai) of director Mai Tai Phen and Quy nhap trang 2 (The Corpse 2) of director Pom Nguyen have proven the market’s potential, even in traditionally quiet months, industry experts caution that long-term success will depend on raising film quality, diversifying genres, and expanding cinema infrastructure to reach audiences beyond major cities.
Positive shifts
In March, the Vietnamese film market extended the vibrancy of the 2026 Lunar New Year season, with Tai, directed by Mai Tai Phen, surpassing VND100 billion in box office revenue. Quy nhap trang 2, directed by Pom Nguyen, also joined the list of films exceeding the VND100 billion milestone. Notably, March has traditionally been considered a low season for cinema, but filmmakers are now increasingly leveraging it effectively.
Sharing insights on the industry, Nguyen Hoang Hai, Content Director of CJ CGV Vietnam, noted that filmmakers previously aimed to release films during major holidays such as Lunar New Year, April 30–May 1, and National Day on September 2, while avoiding off-peak months like March, June, July, and October. “For domestic filmmakers, timing is as important as the quality of the film itself. It not only helps avoid intense competition for screening slots but also increases the likelihood of strong commercial performance. However, recent trends show that off-peak periods also hold significant revenue potential,” he said.
In terms of market distribution, beyond the two largest markets such as Ho Chi Minh City and Hanoi, audience numbers are rising in the Northern and Central regions. The market in the Northern region (excluding Hanoi) now accounts for around 10 percent of total revenue, up three percentage points from 2024.
This growth is attributed to an increasing number of films featuring stories, settings, and characters that resonate with audiences in these regions. In Central Vietnam, cinema attendance has also surged, reaching levels comparable to the Southern region excluding Ho Chi Minh City.
By genre, historical films have seen a notable breakthrough, capturing approximately 23 percent of market share, surpassing drama (22 percent), comedy (18 percent), and horror (15 percent). This is an encouraging signal and aligns with broader regional trends in countries such as South Korea, Japan, and China. Following the success of films like Dia dao: Mat troi trong bong toi (Tunnels: The Sun in the Darkness) and Mua do (Red Rain), filmmakers believe that with sufficient investment and quality aligned with audience expectations, historical films will continue to gain strong support.
Ongoing challenges
Despite these positive indicators, the question of sustainable development remains a significant challenge for Vietnam’s film industry. Although the average revenue per Vietnamese film in 2025 reached VND69 billion around 70 percent of films earned less than VND50 billion with some generating under VND1 billion.
In the horror genre, while overall market share remains relatively stable at around 15 percent, average revenue per film is comparatively low, at approximately VND30 billion–VND40 billion. Nguyen Hoang Hai observed that horror films currently have the lowest success rate among genres, with only those offering truly distinctive narratives meeting audience expectations.
Vietnam’s film market is aiming to enter the global top 10 in cinema attendance. This goal appears achievable, as in 2025 the industry recorded more than 70 million ticket sales, significantly surpassing regional markets such as Thailand (36.7 million) and Malaysia (34.9 million).
However, growth potential remains constrained. The average cinema attendance per capita stands at just 0.7 visits per year, indicating substantial room for expansion. Beyond improving film quality, a major challenge lies in increasing the number of screens per million people, currently at about 12—still low compared to regional standards. Expanding cinema infrastructure in suburban and provincial areas will be crucial.
The period from 2025 to 2026 marks a phase of strong acceleration for Vietnamese cinema, with domestic films repeatedly breaking box office records. Total box office revenue reached VND5.6 trillion, with over 70 million tickets sold, which is up 24 percent and 29 percent respectively compared to 2024. Notably, revenue from Vietnamese films alone in 2025 matched the entire market’s revenue in 2018.
