A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam

A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam
Pulitzer Prize-winning photographer Nick Ut, center, flanked by Kim Phuc, left, holds the “Napalm Girl”, his Pulitzer Prize winning photo, as they wait to meet with Pope Francis during the weekly general audience in St. Peter‘s Square at The Vatican, May 11, 2022. (AP)
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Updated 27 January 2025
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A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam

A Sundance documentary called ‘The Stringer’ disputes who took AP’s ‘napalm girl’ photo in Vietnam
  • Before having seen the film, the AP conducted its own investigation over six months and concluded it had “no reason to believe anyone other than Ut took the photo”

PARK CITY, Utah: After a half-century of public silence, a freelance photographer from Vietnam has asserted he took one of the most renowned and impactful photos of the 20th century — the image of a naked girl fleeing a napalm attack in South Vietnam that has long been credited to a staff photographer from The Associated Press.
Nguyen Thanh Nghe claimed authorship of the Pulitzer Prize-winning “napalm girl” photograph in the new documentary “The Stringer” and on the sidelines of its premiere Saturday night at the Sundance Film Festival in Park City, Utah.
The AP conducted its own investigation and said it has no reason to conclude that no one other than the long-credited photographer, Nick Ut, made the picture. The news agency said it was “surprised and disappointed” that filmmakers portrayed it as having reviewed the film’s materials and being dismissive. The AP said it saw the film for the first time at Sundance.
Nghe joined the filmmakers for the post-screening Q&A where he said, through a translator, “I took the photo.” The audience cheered enthusiastically. He did not say why he waited so long to make the claim.
The AP said it would review the material but wants to speak to contributors who signed non-disclosure materials for the filmmakers, including Nghe. “We cannot state more clearly that The Associated Press is only interested in the facts and a truthful history of this iconic photo.”
Investigating an image captured in the fog of war
Nguyen says he took the iconic photo of Kim Phuc on June 8, 1972. Nghe said he went to the town of Trang Bang that day as a driver for an NBC news crew and captured the image of Phuc running down the street, crying and naked with arms outstretched. He said he sold his image to the AP for $20, and they gave him a print of the photo that his wife later destroyed.
Representatives for the AP, who saw the film for the first time Saturday at the premiere, are contesting the film’s implication that the company reviewed their findings and dismissed them.
“As recently as December, we reiterated our request to see the filmmakers’ full materials and they did not respond, nor did they include AP’s full response in the film,” Lauren Easton, an AP spokesperson, said Sunday. “We were surprised and disappointed that the film portrayed AP as having reviewed the film’s materials and being dismissive of the allegations, which is completely false.”
The film’s investigation was led by husband-and-wife team of Gary Knight, founder of the VII Foundation, and producer Fiona Turner. Bao Nguyen, a Vietnamese American filmmaker, directed.
“I’m not a journalist by any stretch of the imagination,” Nguyen said. “I had a healthy skepticism, as I think anyone would, going against a 53-year-old truth. ... But as a storyteller and a filmmaker, I thought it was my both or my responsibility and my privilege to be able to uplift the story of individuals like Nghe.”
AP investigated independently
Before having seen the film, the AP conducted its own investigation over six months and concluded it had “no reason to believe anyone other than Ut took the photo.” Now, the AP is calling on the filmmakers to lift the non-disclosure agreements they placed on their subjects to allow the company to investigate more fully.
“AP stands ready to review any and all evidence and new information about this photo,” Easton said.
Knight and Turner met with AP in London last June about the allegations. According to the AP, filmmakers requested the news organization sign a non-disclosure agreement before they provided their evidence. AP would not. The film suggests that evidence was presented to the AP, which the AP says is not true.
A primary source in the film is Carl Robinson, then an AP photo editor in Saigon, who was overruled in his judgment not to use the picture by Horst Faas, AP’s Saigon chief of photos. Robinson says in the film that Faas instructed him to “make it staff” and credit Ut for the photo. Both Faas and Yuichi “Jackson” Ishizaki, who developed the film, are dead. Robinson, 81, was dismissed by the AP in 1978.
On Saturday, a Sundance Institute moderator asked why he wanted to come forward with the allegations now. “I didn’t want to die before this story came out,” Robinson told the audience after the screening. “I wanted to find (Nghe) and say sorry.”
A variety of witnesses interviewed by AP, including renowned correspondents such as Fox Butterfield and Peter Arnett and the photo’s subject herself, Phuc, say they are certain Ut took the photo.
The documentary included forensics of the scene
Robinson was one such person the AP attempted to speak to during their investigation but “were told we could only do so under conditions” that they said would have prevented them from “taking swift action if necessary.”
The film’s investigation took over two years. The journalists enlisted a French forensics team, INDEX, to help determine the likelihood of whether Ut had been in a position to take the photo. The forensics team concluded that it was highly unlikely that Ut could have done it.
Ut’s attorney, James Hornstein, had this to say Sunday after the premiere: “In due course, we will proceed to right this wrong in a courtroom where Nick Ut’s reputation will be vindicated.”
Knight referenced AP’s investigation Saturday, telling the audience that the company’s statement is available online. “They said they’re open always to examining the truth. And I think it was a very reasonable thing to say,” Knight said. “Our story is here and it’s here for you all to see.”
He added: “Things happen in the field in the heat of the moment. ... We’re all stronger if we examine ourselves, ask tough questions, and we’re open and honest about what goes on in our profession. Now more than ever, I would argue.”
“The Stringer” does not yet have distribution plans.


Jennifer Lopez turns heads at F1 Saudi Arabian Grand Prix 

Jennifer Lopez turns heads at F1 Saudi Arabian Grand Prix 
Updated 20 April 2025
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Jennifer Lopez turns heads at F1 Saudi Arabian Grand Prix 

Jennifer Lopez turns heads at F1 Saudi Arabian Grand Prix 

JEDDAH: US superstar Jennifer Lopez turned heads at the F1 Saudi Arabian Grand Prix in Jeddah ahead of her after-race performance.

The “Kiss of the Spider Woman” actress and singer made an appearance at the final practice on Saturday in a pink catsuit with a zipper down the front.

She performed on stage on Saturday night with a string of her most famous hits as part of an after-race concert lineup including Usher, Major Lazer, Peggy Gou and PartyNextDoor, alongside Arab stars such as Marwan Pablo, Tul8te, Hisham Abbas, Mostafa Amar and Hamid El-Shaeri.

Jennifer Lopez performed in Jeddah on Saturday night. (Supplied)

Widely regarded as one of the world’s most influential entertainers, Lopez has made her mark across music, film and television. She remains the only female artist to simultaneously top both the US box office and music charts, with over $3 billion in global box office earnings, more than 80 million records sold and billions of streams and views across her music catalogue.


Japan’s Koji Yamamura brings expertise to Saudi Film Festival masterclass

Japan’s Koji Yamamura brings expertise to Saudi Film Festival masterclass
Updated 20 April 2025
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Japan’s Koji Yamamura brings expertise to Saudi Film Festival masterclass

Japan’s Koji Yamamura brings expertise to Saudi Film Festival masterclass

DHAHRAN: Animation lovers attending the 11th Saudi Film Festival this week were treated to a masterclass by Oscar-nominated Japanese director Koji Yamamura.

Yamamura gave a masterclass titled “Giving Shape to Invisible Light” on Saturday.

While the Saudi Film Festival typically focuses on local and regional cinema, it also offers audiences a chance to engage with global voices. This year, Japan holds a special place in the lineup, with the festival running until April 23.

Masterclass attendees watched as Yamamura explained his process and shared several of his shorts, which he dissected, offering guidance and insight into his creative approach.

Yamamura, regarded as one of Japan’s most successful animation filmmakers, began creating films at just 13 years old. After six painstaking years and thousands of drawings, his 10-minute 2002 film “Mt. Head” earned him an Oscar nomination in the Best Short Film category.

The story follows a man who eats cherry pits to avoid waste, only to have a cherry tree sprout from his head. What begins as a nuisance quickly escalates into chaos as strangers flock to picnic and swim atop his head.

Narrated in the traditional rakugo style — with a single voice and sparse instrumentation — the work blends classical storytelling with modern themes. Beneath the dark humor lies a critique of isolationism, environmental degradation, and the illusion of control. The more the man tries to resist change, the more disorder he invites, leading to a haunting end.

Yamamura explained that many of his works were inspired by traditional tales that are over 150 years-old—stories where the beginning and end are already known — so the creative challenge lies in how he fills the space.

His work moves fluidly between absurdity and clarity, often occupying a Kafkaesque space that encourages the viewer to dive in until the narrative fully takes hold.

After the masterclass, he sat down to answer questions by moderator Naoures Rouissi of the Arab Film Festival Zurich, and the audience was invited to take part in a Q&A portion.

Abdulrahman Al-Qarzaee, a fluent Japanese speaker who is Saudi, translated.

“I’m very interested in Arabic culture. It is my first time in Saudi Arabia — I would like to sketch it. I think the landscape is very different from Japan,” Yamamura told Arab News after the session.

When Arab News asked if he might create a new work inspired by his visit to the Kingdom, he didn’t hesitate.

“Probably, yeah. This is a very special and different experience for me,” he concluded with a smile.


Saudi comedy film ‘Ambulance’ to get sequel

Saudi comedy film ‘Ambulance’ to get sequel
Updated 19 April 2025
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Saudi comedy film ‘Ambulance’ to get sequel

Saudi comedy film ‘Ambulance’ to get sequel

DUBAI: A sequel is already in the works for “Esaaf” (“Ambulance”), the new comedy starring Saudi actor and stand-up comedian Ibrahim Al-Hajjaj and directed by British filmmaker Colin Teague.

The film premiered on Tuesday, making history as the first Arabic-language movie to be released by Imax. 

The plot revolves around two Saudi paramedics who discover a briefcase containing holding SR2 million (around $533,300) and find themselves caught up in a dangerous kidnapping scheme.

The movie is written by Alberto Lopez and produced by Al-Hajjaj’s House of Comedy, Saudi producer Talal Anazi’s Black Light Operations and former MBC Studios chief Peter Smith in tandem with Saudi Media Company. 

The film marks Al-Hajjaj’s first major release since “Sattar,” the 2023 wrestling film which grossed over $30 million, primarily from Saudi audiences.


Princess Rajwa, Prince Hussein visit historic site in Jordan

Princess Rajwa, Prince Hussein visit historic site in Jordan
Updated 19 April 2025
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Princess Rajwa, Prince Hussein visit historic site in Jordan

Princess Rajwa, Prince Hussein visit historic site in Jordan

DUBAI: Princess Rajwa Al-Hussein of Jordan opted for a relaxed look this week when she visited the archaeological site of Umm Qais with her husband, Crown Prince Hussein bin Abdullah.

Rajwa, who is of Saudi origin, wore beige Atelier canvas straight-leg cargo pants by Jacquemus, paired with a black fitted top and matching Prada re-edition 2005 nylon bag. She completed her look with Gentle Monster’s Musee 01 sunglasses.

The crown prince also kept it casual in a plain white T-shirt, olive green cargo shorts and sunglasses.

Bin Abdullah took to Instagram to share a heartwarming photo with his wife taken during their visit.

“There is nothing like spring in the north of Jordan,” read the caption.

The couple also made headlines this week as their eight-month-old daughter, Princess Iman bint Al-Hussein, marked a significant milestone when she accompanied them to the Kingdom of Bahrain on her first official overseas visit.

The young princess was received by Bahrain’s King Hamad bin Isa Al-Khalifa at Al-Sakhir Palace. (Instagram)

The young princess was received by Bahrain’s King Hamad bin Isa Al-Khalifa at Al-Sakhir Palace.

Princess Rajwa opted for a white-and-blue ensemble from London-based fashion label Erdem for the occasion. This included a floral midi pencil skirt and a draped short-sleeved top. She completed the look with white lace slingback pumps from Manolo Blahnik and a Jacquemus shoulder bag.

Last month, Crown Prince Hussein took to Instagram to mark Mother’s Day with a heartfelt tribute to his mother, Queen Rania, and Princess Rajwa.

In the first of two images, Queen Rania is holding her granddaughter, Princess Iman, as the crown prince watches on.

In the second image, Princess Rajwa, dressed in a plain white t-shirt, is seen holding her daughter.

“To my beloved mother and my loving wife, your presence fills our lives with joy, and your love is the true meaning of giving. Happy Mother’s Day,” he wrote.

The royal couple welcomed Iman in August last year.

They are also active in their humanitarian efforts. During Ramadan, they visited the Children’s Museum Jordan to attend an iftar event with orphans.

They spent time with the children, playing games, sharing a meal and engaging in conversation. The couple also posed for photos with the young attendees.


At Art Dubai, Pakistani artists find the space missing at home

At Art Dubai, Pakistani artists find the space missing at home
Updated 19 April 2025
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At Art Dubai, Pakistani artists find the space missing at home

At Art Dubai, Pakistani artists find the space missing at home
  • The Middle East’s leading art fair draws galleries and collectors from around the world
  • Pakistani artists say global interest is rising in their work, bringing international recognition

KARACHI: Pakistani artists have been receiving increasing international recognition, but many still grapple with limited opportunities and visibility at home, a participant at a major Gulf art fair said this week.
Her comments coincided with Art Dubai 2025, the Middle East’s leading contemporary art fair, where 10 Pakistani artists are exhibiting their work this year.
The event, running since 2007, draws galleries and collectors from across the globe and has become a vital platform for people with creative abilities in places like Pakistan.
“It’s wonderful that we as artists who have been invisible because of the greater struggles of [our] country are visible through this platform in the Gulf,” said Faiza Butt, a London-based Pakistani artist currently attending the fair, told Arab News over the phone.

Artist Faiza Butt poses against the backdrop of her artwork ‘The Male Figure’ during the Art Dubai 2025 preview at Madinat Jumeirah in Dubai on April 17, 2025. (Photo courtesy: Handout/Grosvenor Gallery)

“It’s really a matter of pride that despite all the odds, Pakistani artists continue to appear, and work and make themselves visible, especially female artists.”
Butt maintained Pakistani artists are shaped by the country’s complex realities, adding that is what gives their work its depth.
“Our social and political struggles really feed the artists’ imagination,” she said. “Art doesn’t come from a happy place. So one of the reasons our artists are so strong is because our country has gone through a great deal of strife.”
She also credited the country’s mature art education institutions, such as the National College of Arts in Lahore and the Indus Valley School of Arts in Karachi, for nurturing generations of artists despite systemic challenges.

Artwork ‘The Male Figure’ by Pakistani artists Anwar Saeed and Faiza Butt on display by Grosvenor Gallery during the Art Dubai 2025 at Madinat Jumeirah in Dubai. (Photo courtesy: Handout/Grosvenor Gallery)

Karachi-based visual artist Sana Arjumand, who is also exhibiting at the fair, echoed similar views.
“There is now more and more interest coming into Pakistani art because we are really making very good art,” she said.
“Because of so many different experiences here [in Pakistan], we have that informed kind of making of art. It’s more vibrant and alive. It stands out as well — that is why more and more interest is coming here.”
Arjumand, who studied painting at NCA, said her early work focused on self-reflection but has since evolved to include themes of Sufism, mysticism and human interconnectedness with nature.
Her new work, presented at the fair, explores the idea that human behavior mirrors elements in the natural world.
“It’s for everyone,” she said. “It has a storyline that anybody can relate to.”
A total of ten Pakistani artists, including one posthumously, are featured in the fair’s Contemporary Art section. Among them is the late Sadequain, whose pioneering calligraphy and figurative works helped define Pakistan’s post-Partition art movement and continue to influence generations of artists.

Sana Arjumand’s painting ‘The Perfect Mirror’ on display by Aicon Gallery at Booth E5 as they set up for the Art Dubai 2025 preview at Madinat Jumeirah in Dubai on April 16, 2025. (Photo courtesy: Handout/Sana Arjumand Studio)

Also exhibiting are Rasheed Araeen, a Karachi-born conceptualist known internationally for his contributions to British minimalist and postcolonial art, and Imran Qureshi, whose fusion of classical Mughal miniature techniques with contemporary themes has earned him acclaim worldwide.
Other featured names include Anwar Saeed, celebrated for his explorations of identity and sexuality, and Shezad Dawood, a London-based multidisciplinary artist with Pakistani and Indian heritage.
Butt is being represented by Grosvenor Gallery in London, which is exhibiting her work alongside that of Anwar Saeed under a shared curatorial concept focused on representations of the male form.
“The female figure is represented enough in the arts,” said Butt. “Anwar and I both discuss the male form but with our own unique politics based on our unique ethnography. But we are both Pakistanis, and there are overlaps in our concerns.”
She will also deliver a talk on behalf of Saeed, reflecting on his practice and political engagement through art.
Despite global attention, Butt stressed that Pakistan lacks the institutional and financial infrastructure to support a thriving art scene.
“Art is a very priced project, and Pakistan cannot afford having art fairs or a very established art market,” she said. “Pakistani artists get absorbed by galleries from other countries.”
She described Art Dubai as a great opportunity for artists in her country.
“Dubai is a very stable financial hub of the Gulf region,” she continued. “It has welcomed a great deal of migration from India and Pakistan. You get a diverse audience. It’s a beautiful coming together, in a positive way, of ideas, culture and exchange of thought.”