The local film industry has reached an impasse, as several “blockbusters” released this year have been devastating box office failures. Filmmakers and producers question how to win back local audiences and improve the industry.

The most catastrophic of recent failed films were “Bui doi Cho Lon” (Gangsters in the melting pot of Cho Lon) and “Lua Phat” (Once upon a time in Vietnam), both directed by Vietnamese expats.

Charlie Nguyen’s “Bui doi Cho Lon”, invested with VND16 billion (US$755,000), is banned from screening for containing overly gory and violent content.

Dustin Nguyen’s “Lua Phat”, which cost over VND30 billion (US$1.42 million) and was heavily promoted, was expected to be a local hit and earn US$3-4 million. However, its release fell far short of expectations and the fantasy action film earned a meager one third of its whopping cost.

“Duong dua” (The racetrack), which received critical acclaim, also failed disappointingly at the box office.

The prevalent failures have tremendously discouraged and frustrated local and expat directors. Overseas director Nguyen Duc Minh, whose film “Cham” (Touch) was quite a success last year, returned home expectantly to get ready for his new film project “Ky nu mau va tinh yeu xanh”. Despite having a good script, the project appears to be indefinitely delayed as Minh has returned to the US.

BHD, the producer of “Lua Phat”, has also suspended their film project “Quyen” after nearly finishing the casting and scouting locations in Germany.

Although Hollywood blockbusters such as “The Lone Ranger” “After Earth” and “White House Down” also earned less than half their cost in the US market, their producers can sell film copyright on the international market after its release at cinemas.

However, this isn’t the case for Vietnamese films, as the local market is too small and there’s little possibility that filmmakers can market their films globally. Films’ local flops deal a devastating blow to their directors and producers. More than a few private film companies go bankrupt after their first films fall flat.

The temporary way out

Private film companies have become more cautious and hesitant to produce artistic films or those with questionable box office success possibility. They have already begun or are looking at projects of less-costly genres that will give them an immediate return on their capital.

Thus, they are now focusing on sloppily-made comedy films released during Tet holiday, and films depicting or casting showbiz idols targeted at teens. Even experienced, talented directors like Charlie Nguyen, Victor Vu and Ham Tran have now diverted their attention to romantic comedies or thrillers, believing them to be fail-proof.

Two films by new directors Thien Do and Ham Tran have seen box office success. Do’s “Tien chua” (Funny money) and Tran’s “Am muu giay got nhon” (How to fight in six inch heels) earn VND5 billion (US$235,850) and VND9 billion ($424,528) respectively in revenue after eight days of public screening.

“Am muu giay got nhon”, by an overseas director, has drawn local viewers, especially youth, and adds new flavors to the local industry with its Hollywood rom-com chick-flick formula.

This film earned about the same as “Scandal” around the same time last year, which recently won the highest prize at 18th Vietnam Film Festival. This also proves that the country’s film academy pays attention to unartistic films that target the general population. 

After the screening ban on “Bui doi Cho Lon”, Charlie Nguyen is now looking to release his comedy film “Teo em”, which is expected to become the country’s “Lost in Thailand.” He’s also working on the sequel to his comedy “De Mai tinh” (Fool for Love).

Other directors are following the trend, with several more comedy films to be finished and screened by the year’s end.

“We have to take a lot of risks when making films in Vietnam. In my opinion, the three genres that can survive on the local market are comedy, thriller, and martial arts films. Among them, comedies are the safest,” said Bich Lien, director of Song Vang Film Co.

“Though comedy films are a financially safe choice, we’re still planning to produce films in other genres such as thrillers, action, and films that focus on family and relationships. We have always aimed for a balance between audiences’ unpredictable, ever-changing tastes--which is a great challenge—our intentions, and the artists’ creativity,” said Ngo Thi Bich Hien, director of Ho Chi Minh City-based BHD Co.

She added that although “Lua Phat” wasn’t successful at local cinemas as expected, the film has been sold to more than 20 countries, including America and Canada, which is unprecedented for local films. 

Although last year the Hollywood Reporter considered Vietnam one of the countries with the highest development rates in film earnings and new cinemas continue to pop up around the country, the market remains untapped, as local blockbusters earn a mere $2-3million each.

Short films: a new playground

Over recent years, the boom of the Internet and hi-tech tools like the Ipad and Iphone have made short film production considerably easier among local youths. Several organizations like TPD, YxineFF, or 48g short film competitions have provided tremendous assistance and training to these young, amateur filmmakers.

These short films, which bear the hallmarks of youth in their perception of the world and unique creativity, have breathed fresh breath into the local film industry. However, most young filmmakers have yet to produce large-screen films.

Some have disappeared altogether, perhaps because young directors tend to become discouraged when their first films aren’t allowed to be shown or are screened on a limited scale. Those who have been more successful continue to make short films and a few have gone on to create TV dramas.

Phan Dang Di is one of the few short filmmakers who has matured into a successful independent filmmaker. His film “Bi, dung so” (Bi, don’t get afraid), took home six prizes at international film festivals.

“Young directors should have more opportunities to make films, as most directors in both state-owned and private companies are now in their 40s or 50s. The films made by these directors can hardly appeal to people in their 20s, who make up the majority of local cinemagoers, as there are unbridged generation gaps and noted differences in world perspectives,” Di said.

Despite the revival in the local film industry in the 1990s, Di stressed that he hasn’t seen any long-term, well-invested strategy for young filmmakers till now.