In fact, this is not the first time Vietnamese cinema has exported films abroad. Previously, "Face Off 6: The Fateful Ticket" and "Face Off 7: A Wish" were also screened in many countries. "Bringing Mother Away" was released simultaneously in the US, Canada, Australia, and New Zealand.
In North America alone, this film became the highest-grossing Vietnamese film of 2025, and also ranked among the top 5 highest-grossing Vietnamese films of all time in that market. "The Ghost Bride" was released in the US, Australia, Taiwan, and then South America and Southeast Asia. "The Bride-Selling Contract" is also preparing to enter 22 countries. Despite many challenges, these numbers show that Vietnamese films have begun to gain a "passport" to cross borders.
Vietnamese music has also made its mark with bold moves. At the end of July 2025, the "Brother Says Hi" concert in Las Vegas filled a 7,000-seat auditorium for two nights, becoming the first large-scale overseas tour. Last September, diva My Linh also launched her "Hello Tour 2025 " in Yokohama (Japan), with South Korea as the next destination.
This October, Ha Anh Tuan will bring his Live Concert Sketch a Rose to the Dolby Theatre (Los Angeles) - the prestigious Oscar venue - after captivating audiences at the Esplanade Theatre (Singapore) and the Sydney Opera House (Australia) in 2024.
In the fashion industry, Vietnam's influence is becoming increasingly evident. Phan Dang Hoang was the first Vietnamese designer to launch a collection at Milan Fashion Week and has returned three more times in a row. La Pham has garnered attention at London Fashion Week, Paris Fashion Week, and most recently, New York Fashion Week 2026.
Vy Nguyen, only 24 years old, also showcased her collection at New York Fashion Week. The regular participation of young Vietnamese designers in major fashion capitals partly affirms that Vietnamese fashion identity is gradually integrating into the global flow.
However, it is also necessary to acknowledge the reality that the landscape of Vietnamese cultural exports still faces many challenges. Current successes are mostly small-scale, lacking a synchronized wave or synergistic force; there are not many works that address issues of universal significance; investment in cultural products remains cautious due to high risks, while the supporting ecosystem, from copyright and intellectual property protection to promotional infrastructure, is still lacking and weak.
As with cinema, although it has expanded to many markets, the majority of the audience remains overseas Vietnamese, and it has not yet been truly "internationalized" successfully. Looking broadly at many other cultural fields, the question of how to achieve sustainability remains a major concern. The question is, how many of the cultural projects and products exported abroad have created distinct brands, instead of just remaining "phenomena"? This is the great success story that many countries in the region, such as South Korea, China, and Japan, have painstakingly built before reaping the rewards they enjoy today.
The journey from "phenomenon" to "brand" is a long one, requiring a comprehensive solution ranging from developing supportive government policies and mobilizing participation from various social resources to building a clear development strategy, making systematic investments, having a professional creative team, and above all, maintaining identity in the context of integration.
If we liken cultural exports to a "nursery," then Vietnam has already seen seeds sprout, take root, and bear fruit. This is also an important driving force to believe that Vietnamese culture will soon have its rightful place on the international map – a brand with its own identity, values, and enduring vitality.
Source: https://www.sggp.org.vn/de-san-pham-van-hoa-lan-toa-ra-the-gioi-post816385.html
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