Vietnam needs time to become ‘filmmaking heaven’ like Thailand: experts

During the seminar “Co-production in Filmmaking – International Experience and Development Solutions” at the Da Nang Asian Film Festival July 2-6, experts discussed this idea as one of the challenges and advantages of various countries’ film industries.

Sirisak Koshpharashin, a representative of Thailand’s National Federation of Motion Pictures and Contents Associations, said the Thailand and Vietnam film industries share several similarities. Both countries’ natural landscapes stand out as particularly conducive backdrops for Hollywood and other international films, he stated.

However, international filmmakers often prefer Thailand due to its extensive tax incentives and robust infrastructure.

Meanwhile, when international filmmakers come to a country to shoot, they help promote the host country globally.

“Vietnam needs policies to facilitate foreign crews filming here, ideally starting next year,” said Koshpharashin.

Sirisak Koshpharashin, a representative of Thailand’s National Federation of Motion Pictures and Contents Associations, at the seminar on July 5, 2024. Photo by Bao Tai

Nguyen Trinh Hoan, a representative from film production company HKFilm, remarked that Vietnam’s film industry still needed a considerable amount of time to become a “filmmaking heaven” like Thailand.

He posited that the 2022 amendment to Vietnam’s Film Law had eased some restrictions for foreign film units shooting certain scenes in Vietnam.

For example, the law allows the crew of a film that has only a few scenes taking place in Vietnam to submit a summary of the project’s script and content of scenes in the Vietnamese language, instead of the entire script as previously ruled.

However, according to Hoan, the lack of tax rebates and incentives similar to those in neighboring countries has still rendered Vietnam not attractive enough for foreign film filmmakers yet.

Additionally, projects involving foreign investment in Vietnam face red-tape challenges, including the long time required to draft a Business Cooperation Contract (BCC). This is the legal agreement on profit sharing and product distribution that Vietnam requires. And it can take between three to five months.

Hoan spoke from experience.

He struggled with this exact same issue while producing films such as “Em La Ba Noi Cua Anh” (Sweet 20), “Co Hau Gai” (The Handmaiden), and “Yeu Di Dung So” (Kiss and Spell).

Only after establishing CJ HK Entertainment, a joint venture between CJ ENM Vietnam and HKFilm, did the need for BCC contracts diminish, resulting in shorter time periods for documentation, as establishment of joint venture companies eliminates the need for a BBC.

Hoan currently has Vietnamese film projects attracting foreign interest that could expand the local market. However, the complicated and time-consuming formalities local authorities demand make both sides reconsider the feasibility of collaboration.

“These [complications] could deter foreign producers. Can authorities look into simplifying these procedures?” Hoan queried.

A scene from the 2017 film “Kong: Skull Island,” one of a few Hollywood blockbusters filmed in Vietnam recently. Photo by Legendary Pictures

Since 2017, Thailand has implemented policies attractive to foreign filmmakers, such as a 15-20% tax rebate. By March 2023, there had been 49 international projects filming there. 33 among these projects received rebates, and 12 are in progress. Notable Hollywood films filmed in Thailand include “Fast & Furious 9” (2019), “Da 5 Bloods” (2019), “Ms. Marvel” (2022), and “The Creator” (2023).

“Alien: Romulus” premiered this August, “Jurassic World,” and the third season of “The White Lotus,” set to premiere in 2025, are three other upcoming Hollywood films also shot in Thailand.

Returns v. expenses?

Koshpharashin mentioned his persistent efforts to convince the Thai government to support the film industry.

“Think about the returns rather than the expenses,” he said. “20% tax rebate given to filmmakers can be returned through tourism.”

“When films shot in Thailand are released worldwide, audiences will be curious to visit, positively impacting the economy,” he added.

Winnie Tsang, founder and CEO of Hong Kong’s Golden Scene film company, noted that the Hong Kong government has been supporting international filmmakers for years, funding eight projects annually with US$1.1 million each without requiring repayment. This boosts film quality, attracts international filmmakers, and encourages cultural exchange and cooperation.

Directed by the Danang People’s Committee, led by the Vietnam Film Development Association (VFDA), and organized in collaboration with the Danang Department of Culture and Sports and other relevant departments, the second Danang Asian Film Festival showcased domestic and international cinematic works to the public.

During the event, Ngo Phuong Lan, the founder of the festival and former head of the Cinema Department, expressed hopes to foster connections between Vietnam, the Asia-Pacific region, and the world.

The festival features two main categories: Asian Films and Vietnamese Films. Each category has six awards, with the highest prize valued at VND115 million (US$4,525).

“Mai,” “Lat Mat 7: Mot Dieu Uoc” (Face Off 7: One Wish), and “Dao, Pho and Piano” (Peach Blossoms, Pho and Piano) competed in the Vietnamese film category. Two domestic projects that have previously won international festival awards, “Cu Li Khong Bao Gio Khoc” (Cu Li Never Cries) and “Ben Trong Vo Ken Vang” (Inside the Yellow Cocoon Shell), are among the 11 other films competing in the Asian Films category.