During the holidays of April 30 and May 1, Avengers: Infinity War – a Hollywood blockbuster – accounted for nearly 70% of screenings in Vietnamese theaters.

This raises questions about the state’s role in regulating the film industry.

Trailer `Avengers: Infinity War`

Mr. Nguyen Phong Viet – who has worked in the distribution industry for many years – supports the application of a maximum market share ratio for a film.

The introduction of policies to protect domestic films appears in a number of countries.

Reveal: The three guys released a trailer with many action scenes

When released in Korea last weekend, Avengers: Infinity War collected 39.1 million USD (4.76 million tickets) in 5 days, accounting for 95% of Korean box office revenue.

China sets a limit on the number of foreign films allowed.

At a theater complex in Hanoi, audiences lined up to buy tickets on the evening of April 30 and most chose `Avengers: Infinity War`.

England was the first place to introduce a screen quota policy with the Motion Picture Act of 1927, stipulating that 7.5% of screened films must be British films (to combat the wave of films imported from Hollywood).

According to research by Korean film theorists – Lee Byoungkwan and Bae Hyuhn Suhck – published in Media Economics, screen quotas have long been a controversial issue.

Park Chan Wook – veteran Korean director – supports quotas and believes that this is the premise for the country’s cinema to thrive, after only a few decades it can compete with American films at home.

In 2006, director Park Chan Wook came to the Berlin Film Festival (Germany) and delivered a slogan supporting screen quotas.

Meanwhile, the US government criticized South Korea’s system for being based on the concept of free trade and viewing movies as a commodity that should be subject to fair competition.

In their study, Lee Byoungkwan and Bae Hyuhn Suhck analyzed film revenues over periods and concluded that quotas do not have a major impact on the viability of domestic cinema.

In the UK, according to the research book Quota Quickies: The Birth of the British ‘B’ Film by authors Steve Chibnall and Brian McFarlane, the screen quota policy of the 1920s backfired when a series of low-budget films