The Evolution of Vietnamese Cinema: Showcasing the Success of Co-Productions at FILMART 2025

The film, Don’t Cry, Butterfly, was highlighted during a panel discussion, ‘Opportunities and Challenges of Europe-Asia Co-productions,’ which delved into the intricacies of cross-border filmmaking. The session was part of the Producers Connect program at FILMART, concluding last Thursday.

Singapore’s Momo Film Co. managing director and producer, Si En Tan, shared insights into the movie’s production, describing it as a collaborative effort between Singapore, Vietnam, Indonesia, and the Philippines. This intentional choice of co-producers from the region, Tan explained, was driven by a desire to harness a shared understanding of culture and foster trust.

“There was an immediate comprehension of the story we wanted to tell, and the spirits and myths woven into it,” Tan said, reflecting on the smooth production process.

Don’t Cry, Butterfly follows the journey of mother Tam and her daughter, Ha, who set off on a motorcycle adventure after Tam discovers her husband’s infidelity. In her attempts to change his mind, Tam consults an online shaman, unwittingly inviting a supernatural force into their home.

Poster of ‘Don’t Cry, Butterfly’

Tan elaborated on the benefits of co-production, highlighting the opportunity to harness diverse strengths and expertise from across the region. “You tap into the different strengths of what the region has to offer,” she said, “and try to push the film as far as you want it to go.”

The discussion also featured Justin Kim, head of international film production at Korea’s CJ ENM Co., Ltd., who shared his experience working with Vietnamese producer Tran Thanh on The House of No Man and Mai. Kim commended Thanh for his deep understanding of the Vietnamese market and praised his storytelling, unique style, and dialogue writing prowess.

CJ ENM brought its strengths in production, marketing, publicity, distribution, and international sales to the table, contributing to the impressive box office success of Mai in Vietnam. The following year, Mai, another collaboration with Tran Thanh, broke box office records once again.

Two main characters from the movie ‘Mai’

Navigating Opportunities and Challenges

The panel, comprising experts from Saudi Arabia, China, Brazil, South Korea, France, and Singapore, then turned their attention to the challenges of working across diverse cultures. Kim noted that even within Southeast Asia, countries like Vietnam, Indonesia, and Thailand boast distinct cultures, religions, and ways of thinking.

To navigate these differences effectively, Kim emphasized the importance of embracing an open mind and immersing oneself in the local culture before embarking on international co-productions. He shared that when working in Indonesia, he strives to think like an Indonesian, and when in Vietnam, he adopts a Vietnamese perspective.

Additionally, Kim encouraged filmmakers to thoroughly research and study the culture and audience of the country they wish to collaborate with. When approached by Korean creators interested in Southeast Asian markets, he asks them how many Vietnamese films they have watched and what efforts they have made to understand the local culture and audience.

Si En Tan (left) and Justin Kim (second from left) at the panel discussion ‘Opportunities and challenges of Europe-Asia co-productions’, held as part of the Producers Connect program during FILMART 2025 in Hong Kong from March 17 to 20, 2025. Photo: Dong Nguyen / Tuoi Tre News

In the Q&A session, when asked about the impact of co-production on the featured works, Si En Tan acknowledged that Vietnam’s lack of national film funding presents a challenge for emerging filmmakers. International collaboration, she explained, offers a solution by providing a pathway to bring their films to life.

“It would be exciting to see what Vietnam can do if the government starts supporting filmmakers, especially emerging talent,” Tan concluded, expressing her hopes for positive changes in the coming years as both art-house and commercial filmmakers gain recognition in Vietnam.

FILMART 2025, held in Hong Kong from March 17 to 20, served as a platform for international producers, distributors, sales agents, and investors to forge new connections, explore business opportunities, and showcase their latest projects. The event attracted over 7,600 global participants and featured more than 760 exhibitors from 34 countries and regions.