'Protecting' Vietnamese films

Currently, Decree 131/2022/ND-CP (effective from January 1, 2023) detailing some provisions of the Cinema Law includes a clause on the percentage of screenings of Vietnamese films in cinemas nationwide. Specifically, Article 9 states: "The percentage of screenings of Vietnamese films in cinemas shall be implemented according to the following roadmap: Phase 1: From January 1, 2023 to December 31, 2025, must ensure at least 15% of the total number of screenings in the year; Phase 2: From January 1, 2026 onwards, must ensure at least 20% of the total number of screenings in the year." In particular, Vietnamese films screened in cinemas must be prioritized for screenings between 6 PM and 10 PM, which is prime time.

The percentage of screenings that are "protected" is not satisfactory for either theater owners or filmmakers.

In reality, when a Vietnamese film attracts a large audience, theaters will schedule more screenings, even for foreign blockbusters (and vice versa). For example, Ly Hai's "Face Off 6: The Fateful Ticket," released during the April 30th - May 1st holiday, received preferential treatment from theaters nationwide with over 4,600 screenings per day, lasting for almost 10 days. Vu Ngoc Dang's "The Little Girl Looking for a Husband," starring Thu Trang and Thai Hoa, also had 3,600 screenings scheduled during the same holiday period (but currently, only 900 screenings have been cut, although it still attracts viewers and grossed 65 billion VND). Meanwhile, other popular foreign films such as Ghost Station, The Ghost of Love, The Super Cat at the Museum, and Dungeon and Dragons: Honor of Thieves… only have 200-300 screenings per day, and some foreign films have even fewer screenings. When Guardians of the Galaxy Vol. 3 was released in theaters on May 5th, theaters allocated over 1,700 screenings for this Hollywood Marvel blockbuster, and slightly reduced screenings for Vietnamese films, but the number remains very high, such as The Unexpected 6: The Ticket to Destiny, which still has a total of approximately 3,200 screenings per day.

The cast and crew of the film "The Little Girl Looking for a Husband" met at the cinema.

With the regulations on the percentage of Vietnamese films screened in theaters as stipulated in the amended Cinema Law of 2022 and Decree 131/2022/ND-CP, many in the film industry and theater owners still have concerns and are not satisfied. On the theater owners' side, Mr. Nguyen Son, representative of the Cinestar chain, said: "Our theaters always want to contribute to the development of the national film industry, but business profit is also a matter of survival. The regulation requiring 20% ​​of the total screenings per year for Vietnamese films depends on the number of films released that year. Although we always support Vietnamese films, there are times when we open screenings for some Vietnamese films but there are no viewers, so we are forced to cut screenings to prioritize other films. Only in years when there are popular Vietnamese films that attract audiences can we ensure this percentage." A representative from CGV cinemas also stated: "If Vietnamese films are too bad, how can we force them to show many screenings in empty theaters with no audience? But when there are outstanding films like 'The Godfather,' 'Mrs. Nu's House,' 'Hai Phuong,' 'Flip Face 6,' etc., there's clearly no need to force it. We still arrange a packed screening schedule on various days, overshadowing other foreign films and boosting Vietnamese film revenue to a record 475 billion VND, as in the case of 'Mrs. Nu's House.

Meanwhile, many film producers and directors also disagree with the 15-20% quota for Vietnamese films in theaters, fearing that this regulation will be used as an excuse for theater owners to screen less popular films, arguing that theaters are not breaking the law by allowing 15-20% of their screenings to be shown; and filmmakers say that this level is too low for films to recoup their costs, let alone make a profit. Producer Nguyen Trinh Hoan, representing HK Film, wants to increase this percentage, analyzing: "On average, all cinemas have about 8,000 screenings per day. If we take 15-20% as a benchmark, that means Vietnamese films only have about 1,500 screenings. Currently, there are 30-40 Vietnamese films released in theaters each year, and this number could rise to 50 in the future. On average, each film is screened for only 10 days to two weeks, and if Vietnamese films are screened 2,000 times a day, the possibility of recouping the investment is almost nonexistent; it needs 3,000-4,000 screenings per day to cover the costs. Therefore, the 15-20% figure is very low, below what is needed."

A sold-out screening of the movie "Lật mặt 6" (Face Off 6).

What solutions would help make the "protection" of Vietnamese films more effective?

It is clear that the Vietnamese government and film law's regulation mandating a certain percentage of screenings for Vietnamese films in cinemas nationwide is a correct approach. This aims to help Vietnamese films gain a foothold, preventing them from being overly squeezed by the abundance of foreign films currently showing in theaters, and ensuring a minimum level of fair competition. However, the most important issue remains the need for Vietnamese directors and filmmakers to improve the quality of their films, because only good films attract audiences, and only then will the government's policy of "protecting" Vietnamese films be effective.

Currently, over 80% of the cinema market in Vietnam belongs to foreign companies such as CJ CGV (holding 51% of the market with 81 theaters and 475 screens in 30 provinces and cities), Lotte (accounting for approximately 30% of the market with over 42 theaters nationwide)..., with only a small share held by Vietnamese companies (Mega GS, BHD, and Galaxy, with 2, 10, and 19 theaters nationwide respectively) and a few state-owned theaters belonging to the state-run cinema system. Therefore, enforcing the mandatory percentage of screenings of Vietnamese films in theaters will likely depend on market dynamics; only high-quality products that meet audience needs will give Vietnamese films the desired screening slots and market presence.

However, producer KN stated: "When theater owners and film distributors hold such a large market share, they have the power to influence habits, preferences, tastes, and which films are released in Vietnam . Without appropriate and firm measures, Vietnamese films will be at a disadvantage in their own market, facing fierce competition from foreign films due to unfavorable screening schedules." In reality, many Vietnamese film production companies have argued that the unbalanced scheduling between foreign and domestic films has resulted in low attendance, being "kicked out" of theaters, and a significant drop in Vietnamese film revenue. Therefore, a policy of "protecting" domestic films remains extremely necessary for a young, developing film industry like Vietnam , alongside a strategy to change and upgrade the most basic aspects of investment in Vietnamese cinema.

Looking at other countries, we can see how their "protection" policies have created favorable conditions for the development of domestic cinema, a lesson that Vietnam can learn from. Many governments have implemented special protectionist policies with numerous incentives for the film industry. China, for example, has required cinemas to comply with policies supporting domestic films, clearly stipulating that the amount of time dedicated to showing domestic films must not be less than two-thirds of the total screening time in a cinema per year, dedicating specific periods of the year to showing only domestic films, and establishing special budgets to support filmmakers. The South Korean government has implemented quotas to provide almost absolute protection for the development of domestic cinema, including requiring a higher percentage of screenings for domestic films than imported films in cinemas, while also closely monitoring film imports. In addition to tax reductions and other support measures, and encouraging economic corporations to invest in domestic film production, South Korean cinema has achieved remarkable and commendable growth.

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