From fund chairman to film producer

It was truly a team effort to get the movie on the right track

What brought you to taking part in the making of the movie that translates in English to Tunnel: Sun in the Dark, a film centred on the war in Vietnam?

I’ve always been drawn to Vietnamese history and culture. Back in the early 1990s, when I first arrived in Vietnam, I read The Sorrow of War by Bao Ninh. It moved me deeply and planted a seed of inspiration around war stories.

I even met Bao Ninh later and proposed the idea of turning it into a film. For over a decade after that, I tried to gather the resources to make it happen. But the vision was perhaps too ambitious, and it ultimately didn’t materialise. The biggest challenge? Finding a director with the courage to take it on. There are many talented filmmakers, but this kind of subject matter intimidates even the best.

Then, more than two years ago, I met director Bui Thac Chuyen and learned about Tunnel. I thought the story was powerful and timely. Chuyen is an acclaimed director, especially known for Living in Fear. I was also fortunate to be joined by other passionate people like Nam (FPT), Hoa (Galaxy), and Trung Ha (Thien Viet Securities). Hoa in particular brought valuable expertise as the operator of the Galaxy cinema chain.

I was involved as a backer, supporting the project from behind the scenes. We didn’t interfere with the creative direction because we trusted the director and the crew. Our role was more about helping the story reach the right people in the right way. I was genuinely impressed by the professionalism, dedication, and responsibility the entire production team brought to this film.

As a financial investor, what made you step into a field like cinema, especially a historical war film as emotionally charged as Tunnel?

You might be surprised, but I’ve never believed that investment is solely about money. I’m not a professional filmmaker, but after living in Vietnam for over 30 years, I’ve come to realise that this country’s history contains stories that must be told authentically, movingly, and humanely.

Tunnel is one of the rare films that explores the psychological depth, suffering, faith, and sacrifice of the Vietnamese people during the war. This wasn’t about commercialising history. We got involved because we believed this film needed to be made.

When I was invited to join Tunnel, I instantly felt this wasn’t just a film project – it was a chance to help tell a story that Vietnam deserves to have told, and to tell it in a way that resonates. I couldn’t pass up the opportunity to share Vietnam’s story in a voice the world needs to hear.

What was it like seeing the film on the big screen for the first time, and how do you see the war as portrayed through Vietnamese cinema?

It was deeply moving, especially the scenes set inside the tunnels, where people are stripped of light, space, and even the basic signs of life, yet never lose their faith and resilience.

Before the public release, I hosted a private screening for some foreign friends, with English subtitles. Almost everyone was stunned and moved. The 128 minutes of the film reached them on a human level. They were struck by the claustrophobic setting, the courage, and the immense sacrifices made by Vietnamese fighters.

I think war is a defining component of modern Vietnamese identity. But instead of conveying it through slogans or statistics, I believe cinema can carry memory – through emotion, characters, and imagery that help people see themselves in the story. Tunnel doesn’t preach or judge, it simply tells a story. And that’s what draws the audience in.

How have audiences responded, and are there plans to bring Tunnel to international audiences?

It’s been incredibly rewarding to see so many young people go to the theatre not out of curiosity, but from a genuine desire to understand their country’s past. Many have shared heartfelt reflections after watching. I believe cinema can do what textbooks often can’t: help people not just understand, but truly feel history.

There are plans to introduce it on a wider scale. After the Vietnamese premiere, we are looking to take Tunnel to international film festivals to introduce the story abroad. But beyond just this film, we see it as an opportunity to showcase Vietnam’s filmmaking talent and to promote Vietnamese history and culture on the global stage.

Would you consider this an investment in finance, emotion, or culture?

I never expected financial returns from Tunnel, even though its success has been phenomenal. To me, it’s an investment in emotion and culture. I believe in soft power – and that culture is the foundation for mutual understanding, unity, and long-term development.

If future opportunities arise that align with this mission, I’d be glad to continue supporting projects that carry the soul of Vietnamese culture. I love Vietnam, and I truly believe culture is a lasting investment in this country’s future.

If there’s one message from Tunnel you hope Vietnamese audiences take away, what would it be?

Never forget what has built the peace you enjoy today, and cherish even the smallest values of this country. Tunnel is a film about courage, but it’s also about humanity. I hope that when people leave the theatre, they carry not just powerful images, but also a deeper reflection on history, the present, and the future. In short, Tunnel is a cinematic tribute to those who lived and fought underground, so that life could thrive above ground.