Compared to recent foreign animated films, domestic films are far behind, when Conan Movie 25: Afterimage of One-Eyed Man surpassed the revenue mark of over 100 billion VND after 5 days of showing, or Doraemon left theaters after earning nearly 170 billion VND. We know that all comparisons are lame, but the fact that the balance is tilted towards foreign films has left many concerns for those who are passionate about the domestic animation industry.
Vietnamese animated films with limited resources, short production time, and young production teams... make it difficult for the products to compete with foreign works with huge budgets and reputations built over time. As a result, audience trust has not been firmly established, and many people still hesitate to buy tickets to watch Vietnamese animated films, even with familiar brands like Wolfoo, which used to "make waves" on YouTube. This situation also happened to Vietnamese films more than a decade ago, when the domestic market was still immature, forcing filmmakers to avoid competing with foreign blockbusters when released in theaters.
However, it is not really fair to judge the quality of Vietnamese animation solely based on box office revenue. Objectively, De Men, Trang Quynh Nhi or Wolfoo all show remarkable efforts in exploiting folklore materials, creating unique characters, improving techniques and conveying positive messages. The quality gap between domestic and foreign animation is gradually narrowing. These advances are the necessary foundation for Vietnamese animation to build its own identity and gradually gain a foothold in the hearts of audiences, although that path certainly requires perseverance and long-term investment.
The Vietnamese animation team has bravely stepped out of its comfort zone, exploring new opportunities and potentials. However, individual efforts are not enough without the support of both the state and the private sector, through a systematic strategy on mechanisms, budget, human resources, scripts, technology and distribution. Only when both directions move together, will the balance between domestic and foreign animation have a chance to shift, as Vietnamese cinema has persistently persuaded audiences to gradually regain the initiative on its home turf.
Source: https://www.sggp.org.vn/trao-niem-tin-cho-hoat-hinh-viet-post806754.html
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