In 2002, after the significant success of the movie entitled Blood Letter by Victor Vu located in Ninh Binh province, in Vietnam, we can see the bloom of commercial films shot in the famous places of this country, and a trend of “movies as tourism promotion,” such as Story of Pao (2006), Beautiful in Every Centimeter (2009), The Floating Lives (2010), I will come back (2013), Yellow flowers on green grass (2015), Father and Son, The Girl from Yesterday (2017), 100 days of sunshine (2018), Sunset Promise (2019), etc. Many domestic critics and audiences also positively responded to this movement and expressed their pride when the national scenic spots are spectacularly introduced to the international spectators. The Ministry of Culture, Sports and Tourism have opened a nationwide public campaign to prop up this series of films. However, behind the eye-catching frames, the picturesque landscapes, the smooth cinematography, whether those films accompany the ecological discourse of preserving the indigenous natural landscape or not, that is another complicated problem to be challenged in this essay. Since then, I will consider the effects of socialist nationalism and the mass production of capitalism on cinema and popular culture, how they affect the environmental consciousness of the masses, how they give the viewers a firm belief in the indestructible and sustainable beauty of the national landscapes. Also, I incorporate the actual examination of the environmental status of these tourist sites after the above movies released.