For years a rule was obeyed whereby film festivals were for movies produced by state-owned producers and film theatres were for private films. But the times are changing.

A scene from “The Rebel” by private film studio Chanh Phuong.

In the past, not very long ago, state-funded films were considered artistic with serious content, prestigious directors and famous actors. These films were often introduced at local and international film festivals if they were considered good. If not they were archived.

The audiences for these films were juries, experts and the media, not the mass market and the idea of turning a profit was a foreign concept.

In the recent past, it was agreed that private films were simple product for entertainments, with easy-to-understand content. These films were often made by young directors with the actors being models or singers, with their own fanbases.

The audiences tended to be young and the stories were simple and funny. Titles like Long-legged Girls and When a Man is Pregnant were typical titles. Success was measure by revenue.

However, changes are afoot. The lines starting to be blurred when “White Silk Dress”, a movie produced by three private studios – BHD, Anh Viet and Phuoc Sang Film – won many prizes at local and foreign film festivals.

After film, producer Phuoc Sang invested in Legend Is Alive. The revenue it took was low but it won at the Golden Kite Awards 2008. Phuoc Sang hopes to take more awards at the Vietnam Film Festival 2009, which opened on December 8.

Meanwhile, director Tran Luc of the state-owned Vietnam Feature Film made the first state-owned entertainment film in 2002 which translates as: “Who will be the first-footer this lunar New Year?”

Elsewhere Giai Phong film director Le Hoang made “Bar girls” in 2004 with state money and it earned 13 billion dong.

After the movie, the Giai Phong Studio produced “Shoot As It Rings” complete with models and sex scenes. The Vietnam Movie Association’s Film Studio recently introduced “I Want to Be Famous”, another entertaining product.

The Feature Studio No.1’s “Adrift” by Bui Thac Chuyen is the latest example of change. This movie has been advertised professionally, quite different from other state-funded films.

It seems the gap between state-funded and private films is narrowing.

Director Vinh Son commented: “I never pay attention to state-funded or private films. This concept is outmoded. I will call them generally: Vietnamese films”.

VietNamNet/Tuoi Tre