Vietnam's box office booms in 2025, horror films dominate the screen

At the third Da Nang Asian Film Festival (DANAFF III), currently underway in the central coastal city of Da Nang, a South Korean producer offered a pointed observation: Vietnamese cinema, he said, is leaning too heavily on horror and horror-comedy hybrids.

The comment reflects a growing concern in the industry, even as box office figures show remarkable growth. 

According to Box Office Vietnam, domestic ticket sales have reached VND3.017 trillion (US$115.2 million) so far this year — an increase of nearly VND270 billion ($10.3 million) over the same period in 2024. 

Vietnamese films accounted for more than VND2.2 trillion ($84 million) of that total.

Of the 17 Vietnamese feature films released in the first half of the year, nine are either full-fledged horror titles or include horror elements. 

While some stand out creatively — such as Detective Kien: The Headless Horror, a genre-blending hit that mixes thriller, mystery, the supernatural, and horror — others risk becoming indistinguishable in a saturated market.

Industry observers note that horror films are not inherently problematic, but the lack of genre diversity limits audience choice.

Upcoming titles show the trend is far from over. 

Vietnamese horror films slated for release in the second half of 2025 include The Bride, Betting with Ghost 2: The Diamond War, Nha ma xo, Heo nam mong, and Hoang tu quy.

Despite concerns, the local film industry is seeing record-breaking revenues.

The top five Vietnamese films this year have each surpassed VND200 billion ($7.6 million) in ticket sales. 

Topping the list is comedy The 4 Rascals, which earned VND332 billion ($12.7 million), followed by Detective Kien: The Headless Horror with VND249 billion ($9.5 million), The Ancestral Home with VND242 billion ($9.2 million), Face Off 8 with VND232 billion ($8.8 million), and Money Kisses with VND211 billion ($8 million).

Still, the narrow range of genres on offer remains a sticking point for critics and filmmakers alike.

Aside from horror, only a handful of films are exploring other territory. 

Leaving Mom and Cuc vang cua ngoai touch on family dramas, while The Last Wish — a rare coming-of-age story — stands alone as one of the few youth-focused narratives to make it to Vietnamese screens this year.

The trend has also affected imports. 

Vietnamese cinemas have seen an influx of horror films from across Asia, Europe and North America — reflecting audience demand, but further crowding out other genres.

Even the titles themselves are beginning to blur. 

Critics note that many locally produced horror films now carry similar names or share keywords, making them hard to distinguish — and at times, even echoing titles from earlier Vietnamese productions.

Back in Da Nang, the DANAFF III festival, running from June 29 to July 5, aims to encourage broader storytelling and support emerging talent. 

The event features competitive screenings, masterclasses, and a film project market designed to promote collaboration between filmmakers from Vietnam and across Asia.

Organized by the Vietnam Film Development Association and the Da Nang Department of Culture and Sports, with support from both local and international partners, the festival offers a rare space for reflection on the future of Vietnamese cinema — and what stories it chooses to tell.