Self-proclaimed 'masterpieces'

The year 2024 will see a new wave at the Vietnamese box office. Since the Covid-19 pandemic, the film industry seems to have regained its glory by continuously breaking revenue records. However, behind the beautiful numbers is another story: most of the films, although reaching huge revenue milestones, do not have the same artistic quality.

New record set

2024 marked the boom of Vietnamese cinema with many films earning over 100 billion VND in revenue. Notably, Tran Thanh's Mai earned over 551 billion VND, becoming Vietnamese film with the highest revenue in history. In addition, Lat Mat 7: Mot Giau Uoc by Ly Hai also reached more than 482 billion VND, affirming its strong appeal to the audience.

The movie "The Prince of Bac Lieu" received a large investment but did not achieve the expected success.

The fact that films have reached the “hundred billion” mark is a good sign, but high revenue does not always mean outstanding artistic quality. “In the current context, many producers are following temporary trends, creating formulaic films: simple plots, characters lacking depth, and stereotypical entertainment elements. Such films may win big at the box office, but they are not strong enough to become cultural icons or leave a lasting impression,” commented lecturer Phuong Dung (SKDA University).

First, let’s look at The Prince of Bac Lieu, the most anticipated film of the year thanks to its massive promotion featuring over 300 gorgeous retro costumes. However, despite the visuals and story revolving around a famous tycoon, the film received mixed reactions. Many viewers commented that the script lacked realism, the characters lacked depth, and reminded them of the storytelling style of long-running TV series.

Similarly, Mai, a work that is said to touch on sensitive social issues such as gender inequality, personal aspirations in the context of traditional families, and changes in contemporary society, but audiences and critics said that the script, acting, and even the film's pacing all lacked creativity and were somewhat reliant on the familiar formula of entertainment films: "The attempt at humor failed; the film's social themes were more like controversial pieces of writing than conveying a message"...

Flip Side 7 and One Wish are another example. Although the film earned more than 482 billion VND, critics compared the plot to be “paper-thin”, illogical and the acting to be unconvincing, showing a lack of investment in artistic quality.

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

Although Ma Da's revenue reached 127 billion VND, it was also assessed as having modest quality, with a disjointed script and poor special effects, but it still "made a fortune" thanks to its horror theme that suited the tastes of many.

Still self-proclaimed "masterpieces"

“The current PR strategy is no different from a magic trick: turning an average movie into a “phenomenon” with just a few sensational stories or behind-the-scenes scandals. Flashy images, cleverly edited trailers, along with a team of KOLs praising it, have made the audience mistakenly believe that they are about to see a masterpiece. But when the theater lights go out, all that remains is disappointment. The media is no longer a bridge between art and the audience, but has become a machine that creates illusions, pushing the audience into a spiral of concept swapping,” researcher Nguyen Khoa commented.

Another mistake that widens the gap between revenue and quality of Vietnamese films is attributed to film critics. “Instead of playing the role of “gatekeepers” to help audiences distinguish between real gold and fake gold, these writers often become disguised promotional tools for producers. Indiscriminate flattery and “winged” compliments for mediocre films not only mislead audiences but also weaken the role of art criticism. More sadly, some critics are also influenced by personal interests, turning their pens into easily bought and sold goods,” added lecturer Phuong Dung.

Mr. Nguyen Khoa also believes that it is time for producers and directors to look beyond short-term revenue figures. A truly successful film lies not only in attracting a large audience, but also in the ability to ask big questions, convey meaningful messages, and contribute to enriching the Vietnamese cultural picture. This requires serious investment from the script, acting, storytelling and the ability to innovate in filmmaking thinking.

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

“Vietnamese cinema needs more than just revenue figures. Audiences deserve to enjoy works that not only fill the producers’ pockets but also enrich their cultural and emotional values,” Mr. Khoa concluded.

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