At the debut of the Sundance documentary “The Stringer” earlier this year, many spectators were convinced that the iconic Pulitzer Prize-winning photograph from 1972, famously known as “The Terror of War,” has been incorrectly credited. Since then, debate over the true photographer of the Vietnam War image, commonly referred to as “Napalm Girl,” has escalated, despite neither the film’s release nor a distributor being confirmed yet. This image, which poignantly depicted the human toll of war and significantly fueled the anti-war movement, remains a subject of intense discussion.
The photograph was snapped following an assault by napalm in the South Vietnamese hamlet of Trảng Bàn. At that time, a group of journalists, camera operators, and photographers were stationed along a road, where they captured the sight of a nine-year-old girl named Phan Thi Kim Phuc escaping the attack, unclothed. The documentary employs historical footage, eyewitness accounts, forensic reenactments, and other methods to determine the true photographer behind the image.
For the very first time, in an unique conversation with The Hollywood Reporter, the movie’s director, Bao Nguyen, speaks out about the debate sparked following the eventful evening of the film’s debut.
The movie presents compelling evidence suggesting that the individual initially given credit for the iconic 1972 photo, Nick Út, a young Vietnamese AP staffer at the time, may not have been the actual photographer. Instead, it appears that Nguyễn Thành Nghệ, a freelance photographer who was largely overlooked by mainstream sources for half a century, might be the one who took it.
In the realm of photojournalism, the revelation was just as startling as finding out that Woodward and Bernstein hadn’t personally investigated the Watergate tales which ultimately resulted in President Richard Nixon’s resignation.
Those who attended the Sundance premiere of “The Stringer” on January 25th were taken aback to discover later that Nghệ, the photographer himself, was present among the audience. Despite his frail appearance, he stood tall with dignity, and in Vietnamese-tinged English, he humbly declared, “I took the picture.
Nyguen’s movie details the journey of investigative reporters Gary Knight, Fiona Turner, Terri Lichstein, and Lê Văn, who traced the source of the photo amidst the haze of conflict and history.
Theresa Linden from THR admires the structured subtlety of “The Stringer,” saying it’s reminiscent of works by Conrad or Dostoyevsky.
Despite facing either silence or derision from various journalism sectors, The Stringer has been a subject of extensive defense on public and private social media platforms by its supporters. On May 6th, the Associated Press finalized their comprehensive examination into the attribution of the photo, concluding that Út had the opportunity to take it. The AP subsequently decided to attribute the photo to him, indicating they will continue to do so in the future.
15 days afterwards, on May 16th, the prominent Amsterdam-based organization World Press Photo arrived at an alternate judgment, finding it plausible that either Nghệ or another photographer captured the image. Consequently, they chose to temporarily withdraw credit from Út.
James Hornstein, the attorney representing Uta, criticized World Press Photo’s decision as “regrettable and unacceptable” and suggested that it showcases how far the organization has strayed from its professional standards. Uta, who is now 74 years old, enjoyed a distinguished career in photojournalism and received numerous accolades for her groundbreaking work titled “The Terror of War“.
Following the latest updates, Nguyen assures us that the movie, having undergone additional changes since Sundance, will definitely see the light of day this year. He was taken aback by the positive response that “The Stringer” has garnered within the journalism circle.
This conversation took place on the same day that the World Press Report came out, and certain parts have been shortened and made clearer for easier understanding.
***
You’ve been busy.
Bao Nguyen: Honestly, I don’t ever want to be the center of the story.
Why does the World Press Report matter?
World Press stands out as one of the prominent figures in photojournalism and their investigations are self-governing, unlike AP. It appears that AP conducted an internal review focusing on a previous employee. To clarify, I’m not a journalist by any means, but…
Well, that’s not true, but OK.
As for myself, I’m approaching reality from my perspective, whereas Gary Knight, one of our movie’s key figures, is actively chasing truth. There’s a subtle difference there.
World Press consulted external experts and forensic scientists to reach their conclusion. Notably, they’ve never before altered or revoked credit for a photographer in their 70-year existence, which is quite remarkable. I commend World Press for their actions and the transformation from their initial response at Sundance to their subsequent investigation. They are meticulous in their work, and essentially corroborated the findings of the forensics presented in our film.
World Press Photo’s executive director, Joumana El Zein Khoury, penned two articles about The Stringer. In these pieces, she admits that her initial instinct after the Sundance screening was to make a swift decision regarding the photo’s authorship. However, she decided it was more appropriate for the organization to carry out a comprehensive and thoughtful investigation instead.
Upon Nghệ’s arrival at the screening, I found myself questioning why such an outstanding performance didn’t elicit a grander applause. Has the amount of opposition you’ve encountered taken you by surprise?
We were overjoyed that Nghệ could join us, despite his weakened condition (as he is in his late 80s). Speaking with him personally made it a deeply moving experience for everyone involved, including the family. Nghệ’s clear confirmation during the Q&A session, “I took the photo,” was more significant than any standing ovation to me. The unique aspect of this documentary was that we were not only surprising the audience but also Nghệ himself. They had no idea he would be there, and I believe it made for a very impactful moment. I wouldn’t trade that experience for anything. Regarding the controversy over who took the photo, we understood that we didn’t need to rely on institutions that have defined legacy and historical records for years. It wasn’t about waiting for their approval or recognition as a filmmaker. Instead, it was all about Nghệ – giving him the platform to share his truth, his story, and his unique perspective on an event that took place 53 years ago.
To a degree, it’s not entirely their business to share the story. In essence, their opinion or words might not significantly impact the situation.
As a filmmaker, I often pondered over the challenge of hearing a narrative that’s been shared privately for so long, yet the storyteller lacked the platform or confidence to share it widely and effectively.
Have you been surprised at the reception among journalists?
It’s fascinating to see people forming opinions about something they haven’t experienced, even among journalists. I hail from a town close to Washington D.C., and my childhood aspiration was to become a journalist. For a while, I contributed to the NYU newspaper. However, I soon discovered that I struggle with deadlines, which led me to recognize that journalism wasn’t the right path for me. I lacked the drive to chase stories and break news swiftly. Instead, filmmaking seems to align better with my contemplative approach to life and storytelling. It’s quite unexpected to encounter so many respected journalists who became upset when we questioned whether Nick Út was the one who took that iconic photograph.
It has consistently struck me that journalists are on a quest for truth, even though they aren’t always the ultimate judges of it. The act of questioning, however, is an essential aspect of journalism, and this observation left me both intrigued and puzzled – especially when people who hadn’t seen the movie made assumptions about authorship. It’s understandable that those who strongly believed Nick was the author are often close associates or acquaintances of his, having developed trust over time. I endeavor to comprehend their viewpoint with empathy and understanding. However, the response from many journalists in this field left me taken aback.
Besides what’s typically covered in news reports, the movie shows that Nghệ was likely the most skilled photographer present on that day. If one were to choose someone capable of capturing such an image, he would certainly be a strong contender.
Upon discovering how the movie was produced, it significantly strengthened my conviction that Nghệ was indeed the photographer.
Is there any doubt in your mind who took it?
I rarely make absolute statements, but I am confident that it was Nghệ who took the picture.
What are your thoughts on Nick Út’s legal representative challenging the documentation and journalistic procedures used in the case?
I’ve avoided getting involved in those discussions and arguments. I believe there are flaws in the AP report, such as the assertion that everyone who survived that day was interviewed for the report. However, Trần Văn Thân – the NBC sound technician featured in the film who was part of the group of journalists potentially capturing the photograph – was never interviewed by the AP. He is one of the living witnesses to that event. From a filmmaker’s perspective, it’s intriguing because he was not just listening but observing as well, which makes him an invaluable member of the team. He claimed to have seen Nghệ taking the photograph. It seems odd to me that the AP didn’t interview him, especially since he is one (or perhaps the only) surviving Vietnamese witness other than Nghệ who could verify that the photograph was taken by him. The film itself explores the theme of silencing Vietnamese voices in the retelling of this story.
Asked to comment specifically on whether the AP’s investigation was done without bias and why Thân was not interviewed, Patrick Maks, the Director of Media Relations and Corporate Communications for The Associated Press, forwarded the statement issued with the release of the investigation. The statement says, in part: “AP’s extensive visual analysis, interviews with witnesses and examination of all available photos taken on June 8, 1972, show it is possible Ut took this picture. None of this material proves anyone else did. Our investigation has raised significant questions, which are outlined in the report, that we may never be able to answer. Fifty years have passed, many of the people involved are dead and technology has limitations. Maks also asked that links to the AP report, and an interactive feature be included in this article.
What kind of impact have Ut’s journalist friends’ confrontations and potential lawsuits had on finding suitable distribution channels for their work?
The film we’re working on is still in active discussions for global distribution, which makes it more significant and relatable worldwide. The discourse surrounding the movie encourages viewers to form their own opinions, fostering a deeper engagement. Rather than providing a clear-cut solution, this approach allows for a more intricate dialogue. I haven’t been directly involved in the distribution talks, but I believe the debate is propelling the film into wider discussions. Interestingly, I’ve received numerous requests to view the movie from various parts of the globe. Intriguingly, a film I made previously called Greatest Night in Pop, which focused on the recording of “We Are the World,” also had an unexpected global impact. However, the reach of this new film, The Stringer, surpasses that of my earlier work many times over.
When might people be able to see it?
We are currently working on global distribution deals for our film, and we anticipate it will be screened globally this year due to its significance in sharing Nghệ’s compelling narrative. For me personally, I am determined that the world will see Nghệ’s story this year because it holds great importance. Today, we received a message from Nghệ’s daughter informing us that he learned about the news through World Press. Though his health is fragile, she mentioned that he had a small improvement today. This news means a lot to me as someone responsible for preserving his tale, providing a glimmer of hope.
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2025-05-23 22:37