Cover Director Bui Thac Chuyen hopes “Tunnels” will open the door to more ambitious filmmaking in Vietnam.
Director Bui Thac Chuyen hopes “Tunnels” will open the door to more ambitious filmmaking in Vietnam.
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Speaking with Tatler Vietnam, director Bui Thac Chuyen said he hopes “Tunnels” will pave the way for more ambitious films.
Over more than two decades of cinematic devotion, Bui Thac Chuyen has firmly established his place through deeply personal and humanistic works that engage with pressing social realities. With Tunnels: Sun in the Dark, he turns his lens to a rarely explored yet resonant setting—Cu Chi, a rural setting that gave rise to unsung heroes and remarkable exploits during the resistance against American forces. In this exclusive for Tatler Vietnam, director Bui Thac Chuyen speaks candidly about his ten-year journey of nurturing a vision for a film honouring the nation’s day of peace.
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Tunnels: Sun in the Dark is far more than a war film—it is a striking cinematic experience that offers a fresh perspective on the resistance. While the film does not shy away from the intensity of battle, its heart lies with the ordinary men and women who lived and fought underground with quiet courage and unyielding resolve. Cu Chi emerges not only as a historical landmark of victory but as a profound emblem of unseen strength, where people quite literally found light in darkness.
The characters in Tunnels: Sun in the Dark embody remarkable resilience and fierce determination. Each scene is crafted with vivid realism, drawing viewers into the immense sacrifice and sorrow endured by earlier generations in their pursuit of national independence.
“Tunnels” chose me, but it took me 10 years to bring it to life.
Above Bui Thac Chuyen speaks about his new film, Tunnels. Photo: NVCC
Bui Thac Chuyen speaks about his new film, Tunnels. Photo: NVCC
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What inspired you to make Tunnels: Sun in the Dark?
I didn’t set out to make Tunnels—the stories found me. There has never been a film about Cu Chi, which is extraordinary considering its significance. It embodies the spirit of the Vietnamese resistance. Our people’s strategy has always been a people’s war, where citizens become the heart of the fight. In Cu Chi, everyday villagers took up arms against the most powerful military force of the time, the US. Though just on the outskirts of Saigon, Cu Chi remained unconquered for years—that’s remarkable. The people and their stories are unique, but filming them proved challenging. That’s why I say, it wasn’t a choice I made—it was made for me.
What challenges did you face while making a war film? Were there any advantages?
Everything was a challenge. But the most daunting of all was securing funding. War films demand substantial budgets, and it took a decade to raise the necessary resources. Fortunately, we found private investors who believed deeply in the project. The timing was also in our favour—with the 50th anniversary of national reunification, Tunnels felt particularly timely and meaningful.
That alignment brought with it much support—not just from investors but also the crew, various institutions, and officials. For instance, the Ministry of Defence provided pre-1970s US military equipment, while the Ho Chi Minh City Party Committee and People’s Committee facilitated essential logistics. The Cu Chi authorities granted permission to film, and we received assistance from police, fire brigades, military units, and the city’s command structure, who offered weapons, ammunition, and training for the actors. The entire cast, in turn, approached the film with remarkable commitment, all striving to deliver something exceptional for this commemorative moment.
Above With the 50th anniversary of national reunification, Tunnels is particularly timely and meaningful.
Above The entire cast approached the film with remarkable commitment, striving to deliver something exceptional for this commemorative moment.
With the 50th anniversary of national reunification, Tunnels is particularly timely and meaningful.
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Filming amid wartime scenes, with actors charging into perilous situations, must have brought many unforgettable experiences. Could you share some of the challenges the production faced, as well as any particularly memorable moments?
Many of the scenes filmed in the tunnels were extremely cramped, making movement difficult and the air stifling. Often, the actors had to repeat scenes multiple times under those tough conditions. Filming with live animals—snakes, chickens, insects, shrimps—proved especially testing for the crew. Scenes involving real weapons, live ammunition, and explosive effects during combat sequences also posed serious risks. I recall one particularly complicated scene set in a flooded tunnel. The space was so narrow, the water pump so tight, that only our heads remained above water during the shoot. Nearly the entire team had to wade through that submerged environment, pushing on in extremely harsh circumstances.
The film features seasoned names such as Thai Hoa and Cao Minh, alongside emerging talents like Hang Lamoon and Quang Tuan. How do you think they contribute to the success of the film?
It’s hard to quantify, but their roles are undeniably central to the film’s success. Authenticity in performance and the actors’ unwavering commitment carry immense weight. There is so much they had to learn and train for to fully inhabit these roles—handling firearms, using military gear, adjusting to life in the tunnels, crawling through narrow passages. Several actors even had to lose weight for the part. Their efforts went far beyond standard preparation.
No citizen can remain indifferent to their country.
Above Tunnels: a deeply human story, filled with tension and high stakes.
Tunnels: a deeply human story, filled with tension and high stakes.
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Bui Thac Chuyen, what other elements do you believe will help Tunnels: Sun in the Dark resonate with audiences?
At its core, this is a deeply human story, though filled with tension and high stakes. Few things are as dramatic as war—it’s a confrontation between life and death. One moment, you’re alive; the next, you may not be. The war depicted in Tunnels: Sun in the Dark is strikingly imbalanced. It’s a battle where the powerful confront the seemingly powerless. Yet those very people find a way to endure, even to triumph. Beyond its action and emotional intensity, the film touches on something close to us all. This peace we’ve enjoyed for fifty years did not come without cost. We should hold pride in the struggle our ancestors endured and overcame. That pride connects every Vietnamese person, just as we honour the generations before us.
Historical subjects are often seen as dry. What was your vision for approaching this one?
Tunnels: Sun in the Dark centres around a simple, everyday narrative—friendship, love, the harshness of life in the tunnels. These are lived experiences, not abstract concepts. There is nothing distant or dry about them. The film avoids exaggeration and resists the urge for slogans. Instead, it offers the rhythm of life. The crew poured tremendous effort into recreating each scene in the studio with care and realism, so that audiences can truly believe in the world they’re watching.
We should take pride in the war our ancestors fought—and won. That sense of pride lives in every Vietnamese heart, just as we hold deep respect for our parents and the generations before us.
What is the importance of films about war and national history in the 4.0 era—where new technologies emerge daily, and old values are easily cast aside?
However advanced things become, will people forget their parents and ancestors? I truly don’t believe so. We must continue to honour those who came before us, to remember their anniversaries, to understand our roots. It’s vital to recognise the life we now enjoy, and the sacrifices that made it possible. The question is how best to tell those historical stories. No matter how innovative our world becomes, nothing can replace our families, our homeland, or our nation. I’ve observed that Vietnamese people, from children to young adults, are becoming increasingly proud of their country because they live in peace. It is a stark contrast to the past, when foreign invasions meant we had to fight for our independence. I don’t think anyone can remain indifferent to that history.
Do you worry that young audiences might opt for outings or commercial films, while older viewers may not feel inclined to go to the cinema?
A film must be compelling if it is to resonate. When a film speaks of the sacrifices of our ancestors—especially around April 30th—I believe it cannot be ignored. Surely everyone will find themselves asking, “Why is this day so significant?” and “Why does it stir such deep emotion in Vietnamese hearts?” It’s a mistake to think young people don’t care. In this digital age, they’re far more aware than we often realise.
What are your hopes—and those of your team—for the film’s box office performance? Could you share what it would take to break even?
In truth, we try not to set expectations. If the audience embraces the film, that in itself gives us the opportunity to continue making historical cinema. It encourages investors to support projects with cultural and historical depth. That’s something we need in order to define our national identity. If we’re well-versed in Korean, Chinese, or Western culture—but can’t articulate our own story—that’s a great loss. Understanding who we are, where we come from, is one of the greatest values we can possess.
Should Tunnels: Sun in the Dark be well received, it will pave the way for my team and me to take on even more ambitious projects. We could explore earlier periods—the resistance wars during the Nguyen, Le, Ly, or Tran dynasties. These could become films that offer a vivid visualisation of history. In many ways, they’d be akin to cultural research, brought to life on screen.
Thanks for sharing, Director Bui Thac Chuyen!
