Self-proclaimed 'masterpieces'

2024 witnessed a new wave at the Vietnamese box office. Since the Covid-19 pandemic, the film industry seems to have regained its glory, continuously breaking box office records. However, behind these impressive numbers lies another story: the majority of films, despite reaching massive box office revenue, lacked commensurate artistic quality.

A new record has been set.

2024 marked a boom for Vietnamese cinema with many films grossing over 100 billion VND. Notably, Tran Thanh's "Mai" earned over 551 billion VND, becoming the biggest box office hit. This Vietnamese film has achieved the highest revenue in history. Additionally, Ly Hai's "Face Off 7: A Wish" also grossed over 482 billion VND, confirming its strong appeal to audiences.

Despite significant investment, the project "Prince of Bac Lieu" did not achieve the expected success.

The fact that films are grossing hundreds of billions of dong is a positive sign, but high revenue doesn't always equate to superior artistic quality. "In the current context, many producers are chasing fleeting trends, creating formulaic films: simple plots, shallow characters, and clichéd entertainment elements. Such films may be big box office successes, but they lack the power to become cultural icons or leave a lasting mark," commented lecturer Phuong Dung (University of Theatre and Film).

First, let's look at "The Prince of Bac Lieu," one of the most anticipated films of the year thanks to its extensive promotion featuring over 300 magnificent vintage costumes. However, despite the visuals and story revolving around a famous wealthy man, the film received mixed reactions. Many viewers commented that the script lacked realism, the characters lacked depth, and the storytelling style resembled that of long-running television series.

Similarly, Mai, a work supposedly touching on sensitive social issues such as gender inequality, individual aspirations within a traditional family context, and the changes of contemporary society, was criticized by audiences and critics alike for its script, acting, and even its pacing, which they felt lacked creativity and relied heavily on familiar formulas of entertainment films: “Attempts at humor failed; the film’s social themes were more like controversial literary pieces than conveying a message…”

"Face Off 7, One Wish" is another example. Although the film grossed over 482 billion VND, critics described its plot as "thin as paper," illogical, and its acting as unconvincing, showing a lack of investment in artistic quality.

The film Mai was a box office success but also missed out on a nomination for one of the year's most outstanding cultural events.

Despite grossing 127 billion VND, Ma Da was criticized for its modest quality, with a disjointed script and poor special effects, but it still raked in money thanks to its appealing horror theme.

Still self-proclaimed "masterpieces".

“Current PR strategies are nothing short of magic: transforming an average film into a ‘phenomenon’ with just a few sensational stories or behind-the-scenes scandals. Glamorous images, cleverly edited trailers, and a team of KOLs (Key Opinion Leaders) showering praise on the film lead audiences to believe they are about to see a masterpiece. But when the lights go out, all that remains is disappointment. Media is no longer a bridge between art and the audience, but has become a machine that creates illusions, pushing audiences into a vortex of conceptual manipulation,” researcher Nguyen Khoa commented.

Another flaw that widens the gap between box office revenue and film quality in Vietnam is attributed to film critics. “Instead of acting as ‘gatekeepers’ to help audiences distinguish between genuine and counterfeit films, these writers often become disguised promotional tools for producers. Their indiscriminately flattering articles and effusive praise for mediocre films not only mislead audiences but also undermine the role of art criticism. Even more sadly, some critics are driven by personal gain, turning their pens into easily marketable commodities,” added lecturer Phuong Dung.

Scene from the movie "Lật Mặt" (Face Off).

Mr. Nguyen Khoa also believes that it's time for producers and directors to look beyond short-term box office figures. A truly successful film is not just about attracting a large audience, but also about its ability to raise big questions, convey meaningful messages, and contribute to enriching the Vietnamese cultural landscape. This requires serious investment in everything from the script and acting to storytelling and a breakthrough in filmmaking thinking.

Audiences also play a significant role in shaping the quality of cinema. If audiences only consume easily digestible films, filmmakers will have no motivation to raise artistic standards.

"Vietnamese cinema needs more than just box office figures. Audiences deserve to enjoy works that not only fill the producers' pockets but also enrich cultural and emotional values," Mr. Khoa concluded.

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