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

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.


Ireland will withdraw from Eurovision 2026 if Israel participates, national broadcaster announces

Ireland will withdraw from Eurovision 2026 if Israel participates, national broadcaster announces
Updated 11 September 2025

Ireland will withdraw from Eurovision 2026 if Israel participates, national broadcaster announces

Ireland will withdraw from Eurovision 2026 if Israel participates, national broadcaster announces
  • RTE cited the violence in Gaza as a key reason for its stance

LONDON: Ireland will not take part in the 2026 Eurovision Song Contest if Israel participates, national public broadcaster RTE confirmed on Thursday.

In a statement, RTE said that during the European Broadcasting Union General Assembly in July, “a number of EBU members raised concerns about the participation of Israel in the Eurovision Song Contest.”

The Irish broadcaster said that a final decision on participation would be made once the EBU reached its own conclusion.

“It is RTE’s position that Ireland will not take part in the 2026 Eurovision Song Contest if the participation of Israel goes ahead,” the statement said, adding that the broadcaster appreciated “the extensive consultation process” by the EBU and the extension of the option to withdraw without penalty until December.

RTE cited the violence in Gaza as a key reason for its stance.

“RTE feels that Ireland’s participation would be unconscionable given the ongoing and appalling loss of lives in Gaza,” it said.

The broadcaster also expressed concern over the targeted killing of journalists in Gaza, restricted access for international media, and the plight of hostages in the region.

Ireland has won Eurovision seven times, the joint most victories of any country in the competition’s history.


Regional contemporary art pioneers celebrate 20th anniversary of Dubai gallery 

Regional contemporary art pioneers celebrate 20th anniversary of Dubai gallery 
Updated 11 September 2025

Regional contemporary art pioneers celebrate 20th anniversary of Dubai gallery 

Regional contemporary art pioneers celebrate 20th anniversary of Dubai gallery 
  • Highlights from The Third Line’s exhibition ‘The Only Way Out Is Through’ in Dubai 

DUBAI: Over the two decades since its establishment in Dubai in 2005, The Third Line gallery has established itself as one of the leading supporters, promoters and exhibitors of contemporary art in the Middle East. Its upcoming exhibition, “The Only Way Out Is Through: The Twentieth Line” celebrates the gallery’s 20th anniversary with a show of selected works from the artists it represents arranged in four chronological sections. The exhibition, according to the press release, “invites visitors to time travel — through the many trajectories of contemporary art from the region over the past two decades, but also through the crises that have shadowed it — and reflect on the complexities and contradictions that make up the early 21st century.” Here, we present a few highlights from the show, which runs from Sept. 18 to Nov. 7. 

Farhad Moshiri 

‘Rodeo Cowboy’ 

This piece from the Iranian conceptual artist — who died last year — was originally part of his “Close-Up” solo exhibition, which consisted of works that employed Moshiri’s “signature technique of hand-embroidering beads to form reproductions of photographs,” the gallery states. “The imagery moves between the real and the imagined, and … continues to provide a critical commentary on the East-West dichotomy, which is ever present in the artist’s practice.” The pearl beads used to compose “Rodeo Cowboy” give the work “a dreamlike quality,” the show catalogue continues. “Much like the dot-matrix printing of … comic books — a recurring reference in pop art — Moshiri’s technique transforms the everyday image into something tactile and poetic.” And, like much of his work, it juxtaposes modern Western disposable pop culture with the ancient, and time-consuming, craftsmanship of Moshiri’s homeland. 

Farhad Moshiri's 'Rodeo Cowboy' (2018). (Supplied)

Farah Al-Qasimi 

‘Changing Room’ 

The New York-based Emirati artist and musician is best known for her colorful, vibrant photography such as this piece from 2019, which, according to The Third Line, “reflects Al-Qasimi’s exploration of Arab-American culture from within, addressing questions of home, belonging, assimilation, and cultural difference.” The show catalogue continues: “Through intimate moments that weave together Arab and Western aesthetics, Al-Qasimi examines the tension of gendered and religious norms in Arab-American culture … revealing how identity is constantly negotiated, performed, and reimagined.” 

Farah Al Qasimi's 'Changing Room' (2019). (Supplied)

Jordan Nassar 

‘By The Flux’ 

The work of this US artist, who has part-Palestinian heritage, is inspired by the ancient Palestinian embroidery craft of tatreez. He adapts its geometric patterns to examine “conflicting issues of identity and cultural participation,” according to the gallery, which adds: “Nassar’s textile works operate between representational and geometric abstraction, often including fictive landscapes of Palestine.” Nassar describes these landscapes as being “versions of Palestine as they exist in the minds of the diaspora, who have never been there and may never be able to go there. They are dreamlands and utopias that are colorful and fantastic — beautiful and romantic, but bittersweet.” 

Bady Dalloul  

‘One Man Show’ 

Collage is a key part of the French-Syrian artist’s practice, which also uses drawing and video “to explore the intersections of history, memory, and fiction,” the gallery states. “Dalloul frequently examines themes of heritage, displacement, and global migration, using poetic and subversive strategies to reflect on the construction of personal and collective memory.” This playful piece from 2024 was inspired specifically by Dubai’s Bur Dubai neighborhood, and depicts “the daily challenges and pleasures awaiting (its inhabitants), engaging in ordinary acts of raising children, staying healthy, and finding love, while staying positive.” 

Bady Dalloul's 'One Man Show' (2024). (Supplied)

Lamya Gargash 

‘Majlis Series (Light Door)’ 

This 2009 piece comes from the Emirati artist’s eponymous series of photographs focused on the rooms in Khaleeji households where people gather to socialize. “Today, the spaces reflect a blend of traditional and contemporary elements, as people decorate them according to their stylistic preferences,” the gallery states. “Exploring modernity, mortality, identity and the banal, Gargash captures the beauty of human trace and the value of the mundane through photography.” 

Lamya Gargash's 'Majlis Series (Light Door)' (2009). (Supplied)

Sarah Awad 

‘Third Eye’  

The Levantine-Arab painter told Arab News in 2022 that she does not have “a categorization” for her artistic style, and described painting as “both a joy and a gift, and also a source of tension … To make a great painting, you have to experience not knowing.” This work — created that same year — is from a series that, The Third Line states, “explores notions of space, color, and the act of looking. … While devoid of explicit narrative, the works resonate through gesture, body, and color, and are conceived as deliberately open-ended in their interpretation.” 

Sarah Awad's 'Third Eye' (2022). (Supplied)

 


Recipes for Success: Chef Claudio Cardoso offers advice and a tasty pizza recipe  

Recipes for Success: Chef Claudio Cardoso offers advice and a tasty pizza recipe  
Updated 11 September 2025

Recipes for Success: Chef Claudio Cardoso offers advice and a tasty pizza recipe  

Recipes for Success: Chef Claudio Cardoso offers advice and a tasty pizza recipe  

DUBAI: For Claudio Cardoso, director of culinary at ’s Leylaty Group, the path to becoming a chef began in childhood.  

“I come from a background of a family in hospitality,” he tells Arab News. Born in South Africa to a Mozambican mother, with Portuguese roots on both sides, Cardoso grew up immersed in the world of food.  

“My family in Portugal were pretty much in the industry. So I was always at bakeries and vineyards. My great grandmother was a chef. My grandmother was a chef and a baker,” he adds.  

Claudio Cardoso is the director of culinary at ’s Leylaty Group. (Supplied)

His earliest memories revolve around food and cooking — tasting, questioning and learning. Summers spent with his grandparents on their farms nurtured a deep connection to produce, something that still grounds his approach to cooking today. 

But, for a long time, becoming a chef didn’t seem like a viable career path. “It was more like something that you’re passionate about,” he says. “You like the ingredients… you like to eat.” That changed at 15, when his mother suggested applying to a prestigious chef school near Lisbon.  

From there, he never looked back. “I progressed into getting more in depth in terms of the science behind culinary,” he says.  

What’s your top tip for amateur chefs? 

Follow the recipe. Don’t try to cut corners or make it quicker. Good things take time to be done properly. Cooking is all about temperature and time, so patience is key.  

When you go out to eat, do you find yourself critiquing the food?  

It’s hard not to. It’s not about being critical; but it’s hard to not look out for details. When I go out, I try to make sure that I get inspired. I try to pick places that make sense for me, to think differently or to be stimulated. I’m not a person to ever make a fuss about something in a restaurant. If I notice there’s something wrong, and it’s important, I always call a person in charge and tell them, without people noticing, just for them to look out for it. But I try to relax and have a good time. When you’re in the industry yourself, you know what happens in the back. You know it’s never going to be perfect. So I try not to be a complicated guest. 

What’s the most common issue that you find in other restaurants? 

A lack of salt in some dishes. And I think in terms of service, we lost a little bit of the classic style. So sometimes you have service people that are not doing it passionately and that can have an impact on your business, because you’re not really making people feel special — and that’s the industry we’re in. 

What’s your favorite cuisine or dish to eat?  

I like experimental cuisine — things that make you wonder and stimulate your thoughts. But if I’m going out, usually I choose Japanese cuisine. I like Asian cuisine in general. But if I had to pick one, it would be Japanese cuisine — though not necessarily sushi. With Japanese food in general, it’s the way they execute simplicity to maintain the original flavors and make it still healthy.  

What’s your go-to dish if you have to cook something quickly at home? 

Pizza. It’s been my comfort food since I was a kid. When you’re sick, it makes you feel better. So it makes me feel comfortable, but I also feel very happy making it. I like to do a very good pizza. As much as it sounds simple, there’s a lot of science behind a good dough that’s properly fermented.  

What’s your favorite dish to cook?  

One dish that reminds me of my family and my country is salted cod. Portugal is very well known for salted cod. The way I like to do it is: after the cod has been washed, you place it in a tray with onions underneath. You put mashed potato around the cod. You place it in breadcrumbs, little bit of olive oil, and you bake it. That is, hands down, one of my favorite dishes to cook and to eat when I’m with family and friends. It’s my roots.  

What’s the most difficult dish for you to get right?  

The challenge is usually consistency, because products differ. You might have an orange today that doesn’t taste exactly like an orange tomorrow, even if it is from the same production. So sometimes the inconsistency of the product affects the end result. I think sauces — the consistency of flavor in certain sauces — is challenging because you just need one ingredient to change. And everyone has a different way of seasoning. Also, the way you cook has a lot to do with your mood, so inconsistency has so many different layers.  

As a head chef, what are you like? Are you a disciplinarian? Or are you more laid back? 

I try to give space for people to be autonomous. I think people shine when they are… I don’t want to say free to do whatever they want, but when they can perform without feeling that they’re being judged. I like to mentor people. It’s very easy to say something is wrong, but you gain more by saying, “Listen, this is not right, but you can adjust it by doing X, Y, and Z.” I can’t really say I’m laid back, because I do have a certain energy, but I don’t shout. You’ll rarely hear me getting upset or raising my voice. Mistakes happen. No kitchen will ever be perfect. I know lots of chefs believe that what they say is what goes. I’m very open to listen to different opinions, and definitely there is not one rule that applies to everything.  

Chef Claudio’s paper pizza recipe  

Chef Claudio’s paper pizza recipe. (Supplied)

Ingredients 

Brick base (Ultra-Thin Dough) 

2 sheets of brick pastry (feuille de brick or brik pastry) 

Olive oil, for brushing 

Tomato base 

50g sun-dried tomato paste 

2ml extra virgin olive oil 

Salt to taste 

Parmesan-oregano dust 

30 g Parmesan cheese (aged, finely grated) 

2g oregano powder 

1g garlic powder (for extra flavor) 

Garnish 

5g of caviar 

Olive oil spheres (see below) 

Olive oil spherification  

Ingredients: 

100 ml extra virgin olive oil (cold) 

2 g sodium alginate 

200 ml distilled water (for bath) 

1 g calcium chloride 

Steps: 

Prepare bath: Dissolve calcium chloride in distilled water. Chill in fridge. 

Olive oil base: Blend olive oil with sodium alginate until smooth. 

Using a pipette or syringe, drop olive oil mixture into the calcium bath. 

Let sit for 30–60 seconds until spheres form. Rinse with clean water. 

Assembly instructions 

Prepare brick base: 

Preheat oven to 180°C. 

Brush both sides of the brick pastry lightly with olive oil. 

Make tomato layer: 

Mix sun-dried tomato paste with olive oil and a pinch of salt. 

Spread a very thin layer over the brick base. 

Parmesan-oregano dust: 

Pass parmesan through a fine sieve to get a fluffy, snow-like texture. 

Mix with oregano powder and garlic powder. 

Sprinkle lightly over the tomato layer. 

Bake

Bake for three to four minutes on a flat tray with greaseproof paper. 

Garnish: 

Arrange olive oil spheres carefully using a spoon or tweezers. 

Place one to two small spoonfuls of caviar strategically for visual and flavor contrast. 


Where We Are Going Today: Over Under in Riyadh

Where We Are Going Today: Over Under in Riyadh
Updated 10 September 2025

Where We Are Going Today: Over Under in Riyadh

Where We Are Going Today: Over Under in Riyadh

RIYADH: Nestled in the heart of Via Riyadh, one of the capital’s most luxurious destinations, Over Under cafe has quickly become a popular spot for those seeking a relaxed coffee experience in an elegant setting.

With its cozy interior and plenty of seating options, it caters equally well to solo visitors looking for a quiet corner and groups seeking a casual gathering place.

The atmosphere is warm and welcoming, enhanced by the staff’s attentiveness — special mention goes to Kristel and May, whose friendliness and professionalism leave a lasting impression on guests.

Coffee is undeniably the star of the show. Over Under’s signature latte is smooth, rich and perfectly balanced, while its “coffee of the day” option offers something new for regular customers. The cafe provides a variety of plant-based milk alternatives.

The pastries deserve their own spotlight. The chocolate croissant, with its crisp layers and deep flavor, feels straight out of Paris, while the cheesecake and brownies stand out as customer favorites — indulgent without being overwhelming.

Freshly baked croissants, cinnamon rolls and honey cakes further round out the menu, making it a sweet-lover’s paradise.

Although the menu focuses mainly on drinks and desserts, light sandwiches or savory bites would make the experience even more complete. Still, the prices remain reasonable for the quality and setting, with an average spend of about SR140–160 ($37-43) per person. 

Over Under also adds charm with little extras, such as its ice-cream cart, perfect for a sweet treat on warmer days.

The cafe blends luxury with approachability. Whether it is a quick coffee, a leisurely dessert or just a moment of calm amid the buzz of Via Riyadh, the cafe offers a memorable experience in a refined yet cozy atmosphere.
 


Riyadh Fashion Week opens doors to international brands for 2025 edition

Riyadh Fashion Week opens doors to international brands for 2025 edition
Updated 10 September 2025

Riyadh Fashion Week opens doors to international brands for 2025 edition

Riyadh Fashion Week opens doors to international brands for 2025 edition

DUBAI: Riyadh Fashion Week’s 2025 edition will, for the first time, open its calendar to international brands.

Returning for its third edition from Oct. 16-21,  the six-day showcase will feature more than 25 runway shows, 10 designer presentations, a curated showroom and citywide activations.

The list of designers is yet to be revealed.

Organized by the Saudi Fashion Commission, one of 11 cultural sector commissions under ’s Ministry of Culture, the event will also spotlight homegrown designers. 

The program will feature couture, eveningwear, womenswear, menswear and streetwear.

“Riyadh Fashion Week has become a gateway for those looking to understand and participate in the future of ’s fashion industry,” said Burak Cakmak, CEO of the Saudi Fashion Commission, in a released statement. 
“By welcoming the world to Riyadh, we create a unique platform where international leaders can build meaningful connections with local buyers, media, and consumers.”

“At the same time, the event shines a global spotlight on Saudi talent, whose creativity spans from heritage rooted craftsmanship to contemporary design, reinforcing the Kingdom’s growing influence on the international fashion landscape,” he added.