Winning films are honoured at the DANAFF closing ceremony. — VNA/VNS Photo

TOKYO — The Việt Nam Film Development Association (VFDA) and Vietnamese Embassy in Japan used the Tokyo International Film Festival 2026 (TIFF 2026) to stage a seminar themed Vietnamese Cinema in a Connected Asia: Cultural Identity, Creativity and International Cooperation.

In his opening speech, Vietnamese Ambassador Phạm Quang Hiếu said cinema can add cultural and human depth to the Việt Nam-Japan Comprehensive Strategic Partnership. He pushed three tracks: workforce and creativity through exchanges, mentorship and practical training, audience access via festivals, archives, cultural venues and curated screenings; and filmmaker-business-Government links to support production, skills, intellectual property (IP) protection and co-production.

Governor of Kanagawa prefecture Kuroiwa Yuji cited the opera Princess Anio, a 400-year-old Hội An love story between Princess Anio and Japanese merchant Araki Sotaro, introduced for the 50th anniversary of Việt Nam-Japan ties. He said historical exchange can fuel art, and multi-form projects, including a musical film version, can further cultural exchange.

VFDA Chairwoman Ngô Phương Lan framed the issue as identity versus international reach: how Vietnamese cinema can keep pace globally while preserving identity and finding stories that travel with foreign audiences.

The seminar centred on two strategies of spreading Vietnamese films abroad and improving local production conditions. In the first session, director Phan Đăng Di and a Fukuoka Film Archive representative said preservation must be paired with broad presentation so international audiences can access Vietnamese cinema systematically. Alongside DANAFF’s four pillars of competition, heritage, training and industry connection, commercial distribution is a direct, feasible route.

In a notable deal, Sai Pro bought Japanese distribution rights to Bùi Thạc Chuyên’s Địa Đạo: Mặt Trời Trong Bóng Tối (Tunnel: Sun in the Dark) and proposed Việt Nam-Japan producer exchanges. That requires Việt Nam to study both Japan’s commercial and arthouse markets to target the right audience segment.

In the second session, Quảng Ninh, Hải Phòng and international experts examined local support for permits, administrative procedures and logistics. Nguyễn Thị Hạnh from Quảng Ninh and Đào Trọng Đức from Hải Phòng suggested a “two localities, one destination” model linking Hải Phòng’s port city and architectural heritage with Hạ Long Bay and other natural attractions of Quảng Ninh. The aim is a shared logistics menu, less travel time, simpler coordination and lower costs for crews.

Ruriko Sekine from the Japan Film Commission (JFC) described a network of about 400 crew support units that generates direct local revenue during shoots and drives film tourism after release via location maps and tours. Cinematographer Sven Zellner said localities should also create coherent conditions for domestic filmmakers, especially young directors seeking new forms.

For promotion in Japan, deeper ties with local organisations and partners matter for reaching Japanese and international audiences, finding distribution and developing co-production. Sharing experience in crew support mechanisms and cross-sector coordination can help Vietnamese localities refine incentives for film projects.

After the seminar, the VFDA and Vietnamese embassy in Japan held “Việt Nam Night” within TIFF 2026. The event was a highlight of Việt Nam’s Tokyo film promotion and reflected VFDA’s push to make cinema a bridge for Vietnamese culture, people and creative industry globally.

Guests watched a video on Vietnamese cinema and the Đà Nẵng Asian Film Festival (DANAFF). Footage of works, filmmakers, talent development and industry networking showed Vietnamese cinema’s momentum and showcased DANAFF as a forum for Vietnamese filmmakers to engage the region and the world. — VNA/VNS