Vietnam’s film industry is abuzz following the Ministry of Culture, Sports and Tourism’s announcement that Red Rain, directed by Đặng Thái Huyền and produced by the People’s Army Cinema, will be Vietnam’s official submission for Best International Feature at the 98th Academy Awards (2026).

The decision, made official on September 30 via Decision No. 3479/QĐ-BVHTTDL, has stirred both hope and skepticism.

For some, the Oscars remain a distant dream - a realm Vietnam has yet to penetrate. For others, this is a valuable step toward global integration and recognition.

So - is sending Red Rain to the Oscars a lofty illusion or a grounded opportunity?

A daunting road to Hollywood

The Oscars, held annually since 1929 by the Academy of Motion Picture Arts and Sciences, is considered the pinnacle of global film awards. The Best International Feature category (formerly Best Foreign Language Film) draws entries from dozens of countries each year, yet only a few manage to capture serious attention.

To make it onto the Oscars’ shortlist, a film must not only be artistically outstanding but also benefit from a professional and well-funded promotional campaign. This often includes hiring PR teams, copyright lawyers, and international distributors - costing millions of U.S. dollars.

Vietnam has submitted films to the Oscars for years, but none have yet broken through to the shortlist.

By contrast, countries like Iran, Mexico, South Korea, Japan, and even Bhutan have achieved significant Oscar success. These nations possess strong domestic film markets, international strategies, and robust cinema industries.

That reality has led some to label Red Rain’s Oscar bid as symbolic at best, or even delusional. If the Oscars are seen as a final championship trophy, the distance is daunting. But if viewed as part of a journey - an educational and cultural exchange - the move becomes more meaningful.

Every submission is a step forward

Each time Vietnam sends a film to the Oscars, it opens a door: not just to a possible award, but to cultural dialogue. Even without a win, making it into the preliminary rounds garners international visibility.

Before Parasite’s historic Oscar sweep in 2020, South Korea had spent decades submitting films and building its cinematic infrastructure - investing in scriptwriting, production, market expansion, and talent development.

Vietnam must follow a similar path if it hopes to break into the global conversation.

Red Rain portrays the brutal 81-day battle at Quang Tri Citadel in 1972, where thousands of Vietnamese soldiers sacrificed their lives during a relentless bombardment. It’s a narrative drenched in blood, tears, and a deep yearning for peace.

Themes of war, memory, and reconciliation have long resonated with Western critics. From The Deer Hunter to Letters from Iwo Jima to Apocalypse Now, war dramas often make waves at the Oscars. If Red Rain can convey a humanistic message rather than serve as propaganda, it may strike a chord globally.

But the real challenge lies in promotion

Subtitling, post-production, and global marketing will be decisive. No matter how powerful the story, without a clear promotional strategy, it is unlikely the Academy voters will even see the film.

What we must understand: the Oscars are not just a finish line - they're an integration process. To join, Vietnam’s cinema must dare to walk the path, risk failure, and keep learning.

Each Oscar submission, even when unsuccessful, teaches valuable lessons about how global cinema operates - from story structure and editing to sound design and marketing.

Can Vietnamese cinema rise beyond its borders?

If Vietnamese filmmakers limit themselves to quick wins at the local box office, with formulaic crowd-pleasers, international breakthrough will remain a fantasy.

The question - “Is this a dream or a reality?” - is really about how we perceive cinema. If we expect Oscar wins overnight, we will be disappointed. But if we see this as training for the global stage, it’s absolutely worthwhile.

Red Rain symbolizes a long-term vision. What matters is turning that vision into action:

·        Invest in writers and directors, since great films begin with universal, humanistic scripts.

·        Build a strong domestic market, because a thriving home audience creates a foundation for global relevance.

·        Pursue international partnerships, whether in post-production, marketing, or distribution - learning from Hollywood, Korea, or Japan.

·        Secure state support, such as national cinema funds to nurture artistic projects and help films travel to international festivals.

The Oscars are not the only arena. Other festivals - Cannes, Venice, Berlin, Busan, Toronto - offer equally valuable platforms, often with even tougher standards but richer dialogues.

Dreaming of the Oscars is important. But dreaming blindly is dangerous.

Red Rain may not win a golden statue - but its nomination reflects Vietnam’s desire to be heard, to be seen, and to engage with the world’s most prestigious cinematic conversations.

Rather than asking if this is a fantasy or a reality, let us focus on sustaining this ambition - turning it into long-term investment and reform.

Only then will Vietnam’s Oscar dream no longer seem so distant.

Le Tho Binh

(This article reflects the personal opinion of the author)