From the phenomenon "Dao, Pho and Piano", thinking about bringing historical films closer to the audience...

Peach, Pho and Piano is considered an unprecedented box office phenomenon in Vietnamese cinema. After causing a stir at the National Cinema Center, the film was voluntarily released by two private units.

Bộ phim 'Đào, Phở và Piano' vẫn đang gây sốt tại các rạp chiếu.

The movie 'Peach, Pho and Piano' is still causing a fever in theaters.

Most of the audience rated this as a beautiful film. Beautiful in terms of images and staging, with a simple story, not "big and bold" but highlighting the spirit of "determination to die for the Fatherland" through the fate of small people, hidden in the bustling, glittering urban life.

In their final moments, they shine with a natural devotion to their love for the land they lived in. Their simplicity makes the audience feel the spirit of patriotism without being “manipulated”, or having to try for anything.

However, the story of State film distribution from here raises the issue of coordination between the State and the private sector in film distribution and the development of the country's cinema.

I think the story of releasing films made from the State budget to the public is always a difficult problem. In the immediate future, with Dao, Pho and Piano, perhaps the film management agencies must consider a short-term cooperation method with private distributors in the spirit of mutual benefit. Do it once, to have a basis for considering a long-term policy and gradually incorporate the principles of cooperation into the Cinema Law. The fact that films are required to reach the audience makes filmmakers have to orient, adjust their thinking, learn, and be more open-minded to have films that truly exist for the audience.

Also from this film case, there is an opinion that more historical films should be made to satisfy the young generation's desire to understand the history of the country. In fact, there have been many historical films but almost none of them have made a worthy impact. In the world, no film industry dares to claim that their films are successful, whether they are social psychological films, action films, horror films or historical films. Historical education for the younger generation should be done carefully and delicately. In the current context of low State investment in cinema, demanding many historical films is unrealistic.

Young people are not indifferent to films that exploit historical themes. The important thing is that the films need to be made seriously and have a new approach. Historical films will always be the desire of the audience and a "tough" challenge in composition.

Some experts say that we seem to have not paid enough attention to the concept of marketing a cultural product. This is a problem in the cultural industry when we only focus on making products without thinking about bringing the products to the public effectively.

Should we “untie” the mechanisms and change the mindset of funding a State cultural product in a different way? More importantly, the change must come from the way the film management system looks at the problem.

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