Vietnamese cinema at year’s end: A vibrant close, but will it leave a mark?

In interviews, Pham Ngoc Lan has resisted categorising his work as either arthouse or mainstream, believing instead that a film’s true identity lies in its reception. “Bringing a film to Vietnamese cinemas is the ultimate goal,” says the 38-year-old director.

Shot in black and white, Coolies Never Cry offers a distinct visual experience for local audiences. Rooted in themes of loss and resilience, its narrative unfolds in a landscape rich with memory and meaning, evoking a quiet nostalgia. The film’s inclusion of a disabled actor adds another layer of depth, marking it as a rarity in contemporary Vietnamese cinema. While it may not be a box-office juggernaut, the absence of competing foreign releases gives it room to make an impact. And for that, Pham Ngoc Lan’s work deserves to be championed.

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Returning to the big screen just a year after the success of Quy Cau, young director Luu Thanh Luan once again unsettles audiences with his second horror film, Linh Mieu. Set for release on 22 November, the film boasts a compelling cast, including veteran actress Hong Dao and newcomer Nguyen Thuc Thuy Tien. Given the unexpected box-office breakthrough of Quy Cau, fans are eager to see how Luan will fare this time—especially with Linh Mieu drawing inspiration from the legendary black cat tale, passed down through generations. The cast alone adds intrigue, with more star power than his previous work.

However, Linh Mieu faces a significant challenge: a direct showdown with Gladiator 2, Hollywood’s much-anticipated blockbuster. With a staggering $310 million budget and Ridley Scott at the helm, this epic sequel is one of 2024’s most formidable cinematic releases. Yet, history suggests Vietnamese audiences favour horror over grand action epics—just as Ma Da once held its own against Alien: Romulus. The outcome of this box-office clash remains to be seen.

Adding to the year-end horror lineup is Huynh Lap’s Nha Gia Tien, slated for release in December (though an official date is yet to be confirmed). Known for his online productions, Huynh Lap first ventured onto the big screen with Ai Chet Gio Tay: Phap Su Mu in 2019, a modest success relative to its budget. Five years on, he returns with another supernatural folk-horror film. One standout in the cast is Phuong My Chi—a fresh face in cinema, though well-known as a singer. With filming only beginning in June, Nha Gia Tien is set for a 2024 release, though details on its progress remain scarce.

A trio of upcoming films—Ngay Xua Co Mot Chuyen Tinh, Cong Tu Bac Lieu, and Kinh Van Hoa—leans into nostalgia, each offering a distinct take on cherished memories of youth.

Once Upon a Time There Was a Love Story marks director Trinh Dinh Le Minh’s return to romance, five years after Thua Me Con Di. With a young and charismatic cast, the film benefits from a script adapted from a novel by acclaimed writer Nguyen Nhat Anh. Scheduled for release on 1 November, its lyrical, bittersweet narrative explores the purity of first love in an era untouched by the Internet—promising a poignant cinematic experience.

Almost all of Nguyen Nhat Anh’s literary works have caused a stir when adapted for the big screen, and Ngay Xua Co Mot Chuyen Tinh appears to hold the same promise. Though relatively new to the industry, emerging talents like Ngoc Xuan and Nhat Hoang have already captured audience interest with their refined features, classic charm, and compelling screen presence—particularly through their impressive performances in casting videos.

However, Ngay Xua Co Mot Chuyen Tinh will have to contend with several strong contenders upon release. Competing against international films such as Smile 2, The Substance, and The Paradise of Thorns, it faces a challenge not only in terms of genre appeal but also in storytelling, performances, and production scale.

The romantic drama genre is not always an easy market to crack in Vietnam—but what about films rooted in folklore and legend? Since its inception two years ago, Cong Tu Bac Lieu has generated media attention, largely due to its extensive casting process. While speculation swirled around potential leads, the production team remained tight-lipped, only revealing the official cast in October this year. Alongside the film’s first poster, a teaser video introduced audiences to the setting of Nam Ky Luc Tinh and offered a glimpse of its stars, including Song Luan, Doan Thien An, and Lan Thy.

Beyond the well-known legend of Tran family’s lavish heir, little is known about the film’s narrative. However, with a well-structured production and a strong visual aesthetic, Cong Tu Bac Lieu has several elements that may draw in viewers—particularly lead actor Song Luan, who has recently gained widespread recognition thanks to his appearance on ATSH. For now, the plot remains under wraps, and audiences will have to wait until its release on 6 December to uncover more.

Closing the year’s lineup is Kaleidoscope, set for release on Christmas 2024 under the direction of Vo Thanh Hoa. Based on Nguyen Nhat Anh’s beloved novel, the story holds deep nostalgia for generations who grew up with his works. The boldest choice in this adaptation, however, lies in its casting—retaining the same actors from the original TV series two decades ago. With most now nearing their forties, audiences are curious to see how the film will handle the timeline of Kaleidoscope’s coming-of-age story.

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While the decision to lean into nostalgia will likely resonate with the 7x and 8x generations, it also comes with risks. If the film follows a retrospective structure, it may struggle in the same way The Most Beautiful Summer did earlier this year, which struggled at the box office due to its non-linear storytelling. Although the two films differ in content, a narrative that interweaves past and present throughout could alienate younger audiences.

Moreover, Christmas is a tricky release window, as it coincides with numerous entertainment events that can shift audience viewing habits. Historically, year-end releases have struggled to gain traction—Thanh Soi and Dao Doc Dac being recent examples. Whether Kaleidoscope can overcome these challenges remains to be seen.

Beyond the aforementioned releases, several other projects remain without a confirmed premiere date, including Doi Thong Hai Mo by Nhat Trung and Quan Ky Nam by Leon Quang Le. While both films have completed production, it is still uncertain whether they will make it to cinemas this year.

Meanwhile, Vietnamese cinema enthusiasts are also eager to see if Mua Tren Canh Buom—an arthouse film that garnered acclaim at the Venice Film Festival in September—might make a surprise theatrical release before the year’s end.

While Vietnam’s film industry may not yet rival those of Korea or Taiwan, it continues to evolve, expanding in both scale and artistic ambition. The diversity of projects in the pipeline suggests a growing confidence in the market, offering audiences a broader selection of homegrown stories on the big screen.

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