Actress Ho Thu Anh: “Getting into character is the most important thing—treatment comes later”

Is the finished film close to what you imagined when first reading the script?

It actually surpassed everything I’d envisioned. When I first read the script, I could only picture the general setting—I didn’t fully anticipate the scale or intricacy that would eventually appear on screen. I truly admire the team who built the film’s world; their work was extraordinary.

In terms of spirit, I believe the film has remained faithful to the script. Of course, some scenes were removed, and a few supporting characters didn’t receive the same attention they did in the original version, which is a small regret. But overall, it still captures the essence of what the story set out to express. More than that, I could feel the transformation of my fellow cast members in every scene—they gave so much of themselves, delivering performances full of emotion.

For a war film, especially in a country where the genre doesn’t receive much mainstream attention, I think it was a remarkable success. As a light-hearted aside, I remember the crew taking a few funny pictures during the poster shoot—just in case the film did well at the box office. Back then, I wasn’t sure if that day would come. But looking back now, seeing how far the film has come, I can’t help but feel a great sense of pride and happiness.

People often say that Tunnel is a “must-see” for young audiences. As a young person yourself, what’s your take on that?

I hope people come to Tunnel not just to support a film about Vietnamese history, but because they genuinely find it compelling. Once a project reaches a certain level of quality, I don’t believe it’s restricted to any one demographic. It can speak to anyone, of any age, who’s open to the message it carries.

I haven’t yet had the chance to watch the film in cinemas alongside the public, but when I joined the cinetours, I noticed how engaged the young audiences were. Some of that may be due to the storyline, but I think a lot of it comes down to the cast. Aside from Thai Hoa and Quang Tuan, the main actors are all quite young, which creates a more natural connection with viewers of the same generation.

Seeing that Tunnel can resonate so deeply with today’s youth has been a joy—and gives me even more hope for the future of Vietnamese cinema.

Ho Thu Anh,you’ve carved out quite a unique niche for yourself in the fashion world. What is it about cinema that draws you in—something fashion perhaps can’t offer?

For me, acting isn’t just a profession—it’s a personal journey. With each role, I uncover new parts of myself, often things I never imagined I was capable of.

Through these characters, I hope to continue that process of self-discovery, while also exploring new stories and perspectives. Although I’ve only worked on a handful of films, the experience has already broadened my horizons in profound ways. It’s this richness that makes me love cinema even more and want to stay with it for the long run.

You have a cinematic face and seem committed to acting as a serious pursuit, yet you appear rather selective with your roles. Is that a conscious strategy—or something else entirely?

I think it’s true that I’m quite selective. The roles I’ve taken on so far have each been distinctive and challenging in their own way. When I first began studying acting, many of my classmates already had experience—but mostly in commercial projects. I knew early on that I didn’t quite fit into that space, so I wasn’t in a rush. I didn’t feel impatient. And Tunnel made all that waiting worthwhile.

I do believe that when a role truly suits me, it’s the best choice I can make. But as an actor, I also want to challenge myself and explore different characters. Being selective doesn’t mean always saying “no”—it’s about finding a balance, keeping an open mind, and pushing my own boundaries.

What do you believe is an actor’s responsibility?

An actor’s job is to breathe life into a character—to make the audience believe that person truly exists. I’ve seen films where the characters felt so real, I actually searched for them online, wondering if they were based on real people.

That’s exactly what I hope to achieve through my own work. Even in a war film, I want viewers to leave with questions—Did this really happen?—so they’re inspired to learn more about the past, about their grandparents’ generation, about stories that may never have been told. For me, an actor isn’t just someone who recites lines. They’re someone who stirs emotion, sparks curiosity, and brings audiences closer to the heart of the story.

Even before playing Ba Huong in Tunnel, the media had already affectionately dubbed you the “Vietnamese Zhou Xun”. What are your thoughts on that comparison?

I’m deeply grateful for the kindness behind it—but honestly, when I first heard that title, I felt... a little afraid. If you’re given that kind of label, it becomes a very high bar—and it’s difficult to step out of that shadow and create your own identity.

I’ve only acted in a few films so far, so I think it’s best for everyone to just take things slow and give me time to grow (laughs). I’d much rather be known as myself, not as someone in comparison to someone else.

What do you make of the current Vietnamese film market, Ho Thu Anh? Are there many opportunities for young, discerning actors like yourself?

I would say—there aren’t many. That said, based on my own experience, I believe the acting profession in Vietnam still offers a certain fairness. I didn’t come into this industry with formal training. I found my way into acting through castings, just like everyone else. And the fact that I was chosen for roles shows that, if you're genuinely committed to the craft, there are still doors that can open.

I don’t really like to divide the industry into commercial or non-commercial categories. To me, cinema is simply art. And I do believe the market still has space for those who truly love what they do. These days, we’re seeing more films being made, more fresh faces emerging—and many young actors being entrusted with major roles. That gives me hope. I feel lucky to be working in an industry where, if you really make the effort, there’s still a place for you.

And what about actor compensation?

I’d say it’s enough—to live on, to sustain my passion, and to keep going with the work I love.

I’ve never taken on a role purely for the pay. The first thing I consider is always the character, and payment usually comes second. If I connect with the role—if I find it compelling or challenging—then I want to be involved. For me, the chance to truly inhabit a character and live inside their world is what matters most.

Not every project you take on ends up being successful, at least in terms of publicity or revenue. When you’ve invested time and energy into a film that doesn’t receive the recognition you hoped for, do you feel disappointed?

Of course, during a film’s release, if it doesn’t gain much attention, I do feel a bit down. But over time, that feeling fades. Each film has its own fate—I can’t control whether it’s a success or not. What I can control is the effort I put into it.

A film is never just one person’s work. It’s the product of a whole team. So whatever happens, the most important thing is that I gave it my all and learned something in the process. Every project is a stepping stone—it teaches me, it helps me grow—and that, to me, is worth treasuring.

As a young actor, does Ho Thu Anh keep an eye on others in your generation? What’s your view on the current wave of emerging talent?

I feel genuinely happy when I look at the young actors around me—each of them has their own distinct presence. Many are the same age as I am, and we’ve all grown up together, from a time when none of us really understood this craft. Now, many of them have achieved their own success and had the chance to take on exciting roles.

The Vietnamese film market is still relatively small. So rather than competing, I think we should focus on diversifying. The more variety—the more colours, more acting styles—the more vibrant and compelling our cinema will become. I hope to see more young actors trusted with big roles, and given the freedom to explore. That way, we can all contribute to a more creative, more diverse industry.

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