For over a decade, film piracy has shifted to the digital realm, growing alongside audience habits of online viewing. Copyright infringement has become more sophisticated, ranging from content replication and distribution with ads to operating websites that generate revenue from traffic. This causes revenue loss for producers and impacts investment in new works. In the long run, it could directly affect the creative ecosystem and the rights of content creators.

As many pirated film platforms ceased operations after the government tightened intellectual property infringement regulations, a large number of viewers migrated to legitimate services. This shift presents a growth opportunity for Vietnam's streaming market. According to statistics from the Authority of Broadcasting and Electronic Information, the OTT/VOD (over-the-top/video on demand) market currently hosts nearly 30 domestic and international platforms, with 20 businesses licensed to provide OTT television services.

However, a significant gap exists between audience demand and the capacity of legal platforms. International channels like Netflix, Apple TV+, WeTV, and iQIYI face limitations such as high prices, a lack of localized content, and many films released internationally not yet available domestically. Netflix, for instance, offers over 17,000 films and exclusive original content but comes with a high price tag of VND 220,000-260,000 per month.

The market also features many domestic platforms such as VieON, FPT Play, Galaxy Play, and VTV Go. These channels, however, face competitive pressure from international services, reliance on advertising revenue, and internet infrastructure quality.

Ngoc Nick M, a film media expert, noted that with technological advancements, viewers expect films to be updated almost instantly in the digital environment. In contrast, copyrighted services undergo multiple steps: negotiating distribution rights for each market, allocating release times, managing exploitation costs, and completing censorship procedures before content launch. The fact that some audiences pay for services yet still seek pirated sources reflects that their needs are not being met.

Many films that garnered attention at the box office or in international markets are not yet available on domestic platforms. Photo: HBO Max

According to film critic Le Hong Lam, many viewers seek works with greater artistic depth, such as American independent films, European cinema, or classic Asian films. However, the content libraries of most domestic platforms primarily revolve around commercial Korean, Chinese, or Hollywood films, with artistic and independent cinema being scarce. "Users are willing to pay a fee but will find it difficult to commit long-term if content is limited, films are updated slowly, or the connection frequently lags. From a viewer's perspective, no domestic platform currently makes me want a monthly subscription", Lam said.

Audience member Son Thach, 22 years old, from TP HCM, believes the experience on some domestic platforms is not convenient. Even with a monthly subscription, users sometimes have to pay extra to watch individual films. Those not proficient in foreign languages want quick access to newly released international works with Vietnamese subtitles. Some legal services also lack basic features like English subtitles for Asian films, making it difficult to watch with foreign friends.

On VnExpress, reader @quangvinh2015 stated that they prioritize using copyrighted streaming platforms but feel the current experience does not match the cost. This person noted that many services suffer from unstable streaming, poor translation quality, missing films, and high subscription prices. "I think if the issue of piracy is resolved, streaming platforms also need to improve their quality for customers. Viewers cannot be expected to pay a fee and not receive an experience commensurate with the money spent", the reader commented.

The interface of a pirated film website on a phone. Photo: Cat Tien

The challenge is not only in combating piracy but also in building a legal, diverse, and appealing content ecosystem. Many industry professionals believe the current period is opportune for legal platforms to improve service quality. To meet viewer demand, platforms need to understand audience behavior and tastes rather than merely chasing short-term trends. Using data to analyze viewing habits, age groups, or user communities can help select appropriate content.

According to Ngoc Nick M, when users have access to a diverse, high-quality library of Vietnamese and international films at reasonable prices, they will be more inclined to pay for copyrighted content.

In addition to acquiring foreign content, service providers need to make long-term investments in local production across various genres and plan promotions to help Vietnamese works reach audiences. The State and private funds can offer support through tax incentives, production funds, or sponsorship programs for creative projects, helping to reduce financial risks for filmmakers.

Some prominent films on the Netflix platform, from left: "Peaky Blinders: The Immortal Man", "Bridgerton 4", live-action "One Piece". Photo: Netflix

A representative from FPT Play stated that meeting all user entertainment needs is a difficult challenge for any content platform, not just in Vietnam but globally. According to the company, the primary reason stems from content fragmentation, as films, television programs, or sports tournaments are often distributed by market or platform. Therefore, no single entity can own all the content audiences desire.

Additionally, copyright fees present a challenge. If platforms aim to meet all viewing demands, operating costs would be very high, potentially leading to increased service prices and adding a burden on the majority of customers. Furthermore, legal platforms must consider current legal regulations and cultural appropriateness before making content available on their systems.

Currently, representatives of domestic platforms report continuous investment in expanding their content libraries. For example, Galaxy Play invests in genres popular with Vietnamese audiences, such as Vietnamese films, anime, and platform-produced series. Simultaneously, sharing content libraries with partners is a long-term strategy, optimizing copyright costs and expanding viewer choices. "In our view, the future of the streaming industry lies not in a race to own the most content but in the ability to create sustainable value for both audiences and the creative ecosystem", a company representative said.

A representative from TV360 stated that improving the quality of the viewing experience is one of the platform's key focuses. Thanks to Viettel's telecommunications infrastructure, videos can stream quickly, minimizing lag or reduced image quality even when using 4G/5G networks without Wi-Fi. The platform currently offers thousands of films, TV series, game shows, and entertainment programs, constantly updating new films, and simultaneously broadcasting many works from Vietnam, Korea, and China. TV360 also promotes exclusive content, will broadcast the FIFA World Cup 2026, and offers many Vietnamese films like Mua Do to audiences for free to expand access to copyrighted content.

The Vietnamese market is set to welcome HBO Max on 16/6. James Gibbons, President of Warner Bros. Discovery for Asia-Pacific, stated that expanding services in Vietnam allows more regional audiences to access the company's content library, including prominent films, HBO Originals series, exclusive Korean films, and many family-friendly programs. According to an HBO Max Vietnam representative, the platform focuses on a personalized viewing experience with a user-friendly interface, content recommendations based on viewing habits, a resume feature, offline downloads, and parental controls.

Cat Tien