With few exceptions, Vietnam's revolutionary cinema has received virtually no attention in English-language scholarly literature. This dearth of interest is due in part to the assumption that Vietnamese revolutionary films, many of which were war movies closely aligned with the policies of the DRV (Democratic Republic of Vietnam) government and imbued with the spirit of heroic patriotism and anti-American/anti-imperialist ideologies, are mere state-sponsored propaganda devoid of artistic values. The goal of this paper is to offer a preliminary inquiry into Vietnamese revolutionary cinema and to make a case for its historical and aesthetic significance. On the one hand, Vietnamese revolutionary films provide a rare glimpse into Vietnamese people and life from a local perspective. No less importantly, the binary opposition between propaganda and art is too simplistic and fails to recognize the creative energy that can be seen in even some of the most ideologically invested films. Vietnamese revolutionary cinema, I contend, developed novel techniques of communication and engagement as filmmakers drew on their national cultures and various cinematic traditions (socialist realism, Soviet montage, the poetic films of Dovzhenko, etc.) and creatively deployed narratives, styles, and genres to assert their ideological standpoints. Through close formal analyses, I seek to illuminate in this paper the distinct revolutionary aesthetics of Vietnamese cinema—one that shares affinities to but also moves beyond its Soviet and Chinese counterparts.