The Vietnam-based sales house Skyline Media has acquired worldwide sales rights to The 10th House, a new folk horror feature produced by ProductionQ. The project is slated to be introduced to potential buyers at the Cannes Film Market, where international distributors and festival programmers assess upcoming titles for theatrical, streaming and festival placement. This deal positions the film within a global sales strategy while signaling confidence in the international appeal of contemporary Vietnamese horror.
The acquisition adds momentum to an expanding commercial run for both companies, and it arrives amid growing global attention to Asian horror subgenres. The 10th House will be marketed alongside other recent successes from Vietnam, as sales teams highlight the film’s cultural specificity and genre credentials to buyers seeking original horror with export potential. The choice to debut at Cannes reflects a push to connect the title with key territories and festival programmers early in its sales lifecycle.
Creative team and origins
The project reunites director-producer collaborators Tran Huu Tan and Hoang Quan, a duo known for mining Vietnamese folklore for cinematic scares. Their approach combines rooted local material with cinematic techniques aimed at a global audience. Working with ProductionQ, they have developed a concept that leans on traditional belief and contemporary storytelling. The partnership underlines an ongoing trend in which Vietnamese filmmakers are packaging culturally specific narratives in formats that appeal to both domestic audiences and international genre buyers.
Plot premise and folkloric thread
The 10th House explores a rarely depicted strand of Vietnamese tradition: builders concealing protective or binding spells within the fabric of a dwelling. The story follows a young man who begins documenting strange occurrences in his family home after the unexplained death of his father, only to reveal a forbidden ritual that links the property to an escalating sequence of violent supernatural incidents. The film frames the house itself as a repository of ancestral practice, making the structure both setting and antagonist in a way that is central to its horror.
Understanding the folklore
The film draws on folk belief in which architecture and ritual intersect — a concept that may be unfamiliar to many international viewers but is integral to the narrative logic. By turning architectural details into carriers of occult force, the filmmakers convert everyday domestic spaces into sources of dread. This tactic allows the movie to operate on two levels: as a personal mystery about grief and loss, and as a cultural exploration of ritual practices that have historically governed how communities interact with built environments.
Commercial context and genre positioning
Skyline Media’s acquisition is part of a larger commercial pattern for Vietnamese horror that has become especially visible over the past several years. Titles such as Vietnamese Horror Story and The Soul Reaper helped establish a market trajectory: strong domestic openings, expanding international sales and festival showings, and in some cases streaming deals. Another notable title, The Sisters, achieved festival recognition and multi-territory sales as a period horror piece. Together, these films demonstrate growing buyer interest in Vietnam’s genre output.
Marketplace appetite for found footage and regional horror
Buyers at Cannes will see The 10th House in the context of sustained demand for found footage and culturally rooted Asian horror, following titles such as Taiwan’s Incantation, the Thailand–South Korea co-production The Medium, and South Korea’s Gonjiam: Haunted Asylum. The market continues to favor films that combine recognizable genre mechanics with distinctive local myths, offering distributors clear positioning and programmers festival-friendly hooks. For The 10th House, its unique folkloric premise and the track record of its creative team are likely selling points as it seeks international placements and festival slots.
