Recent & Notable Press

Total Page:16

File Type:pdf, Size:1020Kb

Recent & Notable Press RECENT & NOTABLE PRESS [email protected] Post Offce Box 1163 www.lpflmfest.org +856 (0)20 5682 8055 Luang Prabang, Lao PDR www.facebook.com/lpflmfest | Home | Spotlight | Politics & Economy | Business | Markets | Tech & Science | Viewpoints | Life & Arts | Features | Regions | Life & Arts > Arts January 1, 2018 5:20 pm JST Laos Film Festival Nurtures Big Screen Dreams Luang Prabang has no cinema, but annual event is attracting growing global attention RON GLUCKMAN, Contributing writer A jury chose Induangchanty's script for his film second feature, which has also generated an editor at the Bangkok Post newspaper and Vietnamese rock scene of the 1990s, was like a "Raising a Beast" as the winnter in the talent interest from Japan, where her 2013 debut film, the writer of many films, the panel bemoaned mixture of "Back to the Future" and "Wayne's lab competition, awarding it a mentoring "Shift," was a surprise hit. the scarcity of funding and distribution World." package provided by the non-profit Tribeca opportunities. Thai cinemas favor Hollywood Film Institute in New York. The prize includes blockbusters over local productions, panel Movies were screened back-to-back, with six help to prepare this filmmaker to attend and members said. They discussed quota systems showing per day, and viewers registering their pitch his project during the next Tribeca Film to prioritize homegrown productions, a approval afterwards. The Audience Choice Festival in New York in April. mechanism that has proved effective in Award went to "Redha," directed by Mona Riza, nurturing South Korean moviemaking. which was chosen for submission to the U.S. Laotian filmmaker Xaisongkham Induangchanty is "For me, this is really huge," said the Academy Awards from Malaysia. She also proclaimed the winner of the Talent Lab competition at the Vientiane-based filmmaker, who turned 39 participated in the panel, "Muslim Voices of Luang Prabang Film Festival as his producer Abigail Lazaro just after the festival. He is part of Lao New Southeast Asia," which was especially topical takes the microphone. (Courtesy of the Luang Prabang Wave Cinema, a production company, but like in the light of international controversy over Film Festival) many Laotian colleagues he mainly earns his the plight of Myanmar's Muslim Rohingya living working for foreign film crews, or on population. LUANG PRABANG, Laos -- Boating along a commercials. Yet making films for the silver Luang Prabang Film Festival founder and director Gabriel serene stretch of the Mekong River near the screen has always been his goal. "I've had this The directors of more than half of the 32 films festival in 2016 at Kuperman's urging. "He told Kuperman hosts a boat trip on the Mekong where the UNESCO World Heritage town of Luang idea in my head for a long time," he said of his screened were at the festival, providing a rare me, just come and see for yourself," she said. "I winners of the Talent Lab were announced. (Photo by Ron Prabang, some passengers were overcome with planned first feature, a family drama. level of interaction. All the films and events just loved it. This is such a wonderful festival." Gluckman) emotion. "I screamed," said Xaisongkham In coming months, Induangchanty will be were free of charge, and exhibitions filled the Induangchanty. "We all screamed." Tears helped to hone his proposal, then transported New York Pipedream town, including photographs of historic poured down Siege Ledesma's face. "I cried to New York for scores of meetings with film cinemas in Myanmar, with Philip Jablon, an ugly," she confided. "Really ugly." producers and investors who may be willing to The unlikely film festival in Luang Prabang, a American based in Thailand, speaking about finance the film, according to Bryce Norbitz, former kingdom of the upper Mekong, began his long-term Southeast Asia Movie Theater Their tears were an expression of joy, unrelated manager of artist programs at Tribeca Film as the pipedream of Gabriel Kuperman, a Project. Jablon has journeyed to remote to the beauty of the surrounding scenery: Both Institute. "Our goal is to help these filmmakers young New Yorker who first visited the town on corners of the region to document old were filmmakers attending the Luang Prabang succeed," Norbitz said. a backpacking trip in 2008. Charmed by the Censorship is a regional concern, including in cinemas, many under threat, shuttered or since Film Festival in mid-December, where they riverside temples, palaces and colonial estates Thailand, which has been ruled by a military demolished, and will be publishing a book participated in a competition for young dating from the French Indochina period, he government since a coup in 2014. Anocha soon. filmmakers seeking funding. On the boat trip, returned to realize his vision of an Suwichakornpong, a Thai director, said that they were announced as winners. international-quality film festival in an idyllic her film, "By The Time it Gets Dark," about a Kuperman praised the participation of but challenging setting. massacre of students in 1976, was shut down Tribeca, another sign that Southeast Asian Held annually since 2010 in this picturesque for a day by the army on the anniversary of the films are increasingly on the global map. "It's a Mekong town, the festival shows productions Besides the lack of a cinema, Luang Prabang killings. "They never explained why," she said. natural partnership for us, and I really love from across Southeast Asia, even though also struggles with electricity and Ironically, her film was Thailand's submission how they have tapped into what we are doing," Luang Prabang lacks a cinema. Movies are telecommunications. The festival must also for nomination in the best foreign film he said. He also lauded the increasing level of screened in a wooden hall at the Sofitel Luang deal with the reservations of a reticent category in the Oscars, awarded by the U.S. regional co-productions, which was a hot topic Prabang hotel, and in the open air in the main government that remains among the most Academy of Motion Picture Arts and Sciences. at the festival. square. In a town of 50,000 people, the conservative of the communist regimes in The Luang event may be the world's only major festival in a Southeast Asia. Other films included the documentaries Induangchanty plans to direct "Raising a twice-nightly screenings drew overflowing town without movie theaters. Open air viewing every night "Burma Storybook," which uses poetry to Beast" when funding is secured, but has also crowds. in the town’s main square attracted big crowds. (Courtesy of the Luang Prabang Film Festival) Yet the festival continues to shine, expanding depict Myanmar's emergence from isolation brought on board Abigail Lazaro from the The opportunities presented to filmmakers every year, as Kuperman unveils new programs after decades of military rule, and Philippines, as producer. The pair met at and film buffs was even bigger: a chance to see Ledesma's prize was in some ways even more targeted at issues important to Asian "Motherland," a whirlwind tour of the planet's another workshop earlier in Phnom Penh, top features and documentaries from around substantial -- a $10,000 award from Aurora filmmakers, with special attention always busiest maternity hospital, in the Philippines. Cambodia. Lazaro's co-producer is Southeast Asia, to network, attend panels Media Holdings, a Singapore media given to Laos. Among the programs of short There were commercial features such as Lao-American Steve Arounsack, making this featuring regional and international cinema investment company. Her planned feature, films, one focused on budding talent in Laos. "Jailbreak," a Cambodian prison film, and the the first Laotian-Philippine-American experts and nurture hopes for the big screen. "Cat Island," is set in Japan. She is free to use love story "Saving Sally," from the Philippines. production. For struggling filmmakers from poor countries, the funds as she chooses, but could work with Thailand was featured in the festival's annual Indian filmmaker Amit Dubrey previewed his such as Induangchanty, who is from Laos, the Aurora to raise additional capital toward her "country spotlight" segment, with forceful Cambodian psycho-thriller "Mind "You can see how fast things are growing in this festival can serve as an unrivaled field of budget of about $500,000. In any case, the moviemakers showing their films and Cage." "Fanatic," a slick comedy about the region," said Norbitz, who first attended the dreams. prize focuses vital attention on her proposed discussing challenges. Led by Kong Rithdee, Page 1 of 2 | Home | Spotlight | Politics & Economy | Business | Markets | Tech & Science | Viewpoints | Life & Arts | Features | Regions | Life & Arts > Arts A jury chose Induangchanty's script for his film second feature, which has also generated an editor at the Bangkok Post newspaper and Vietnamese rock scene of the 1990s, was like a "Raising a Beast" as the winnter in the talent interest from Japan, where her 2013 debut film, the writer of many films, the panel bemoaned mixture of "Back to the Future" and "Wayne's lab competition, awarding it a mentoring "Shift," was a surprise hit. the scarcity of funding and distribution World." package provided by the non-profit Tribeca opportunities. Thai cinemas favor Hollywood Film Institute in New York. The prize includes blockbusters over local productions, panel Movies were screened back-to-back, with six help to prepare this filmmaker to attend and members said. They discussed quota systems showing per day, and viewers registering their pitch his project during the next Tribeca Film to prioritize homegrown productions, a approval afterwards. The Audience Choice Festival in New York in April. mechanism that has proved effective in Award went to "Redha," directed by Mona Riza, nurturing South Korean moviemaking.
Recommended publications
  • Delegates Guide
    Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival.
    [Show full text]
  • Rithy Panh” Arranging with the Notice Numbers *Note
    Bophana Audiovisual Resource Center Archives Department Collection of “Rithy Panh” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference Cambodia : between war and peace French, Khmer 1992 Rithy Panh RPA_VI_000296 01:05:15 Bophana : a cambodian tragedy French, English, Khmer 1996 Rithy Panh RPA_VI_000297 00:59:00 Spotlights on a massacre: 10 films against 100 million antipersonnel land French, English, Khmer, Deutsch/ Allemande 1997 Rithy Panh RPA_VI_000298 00:04:47 mines 1 Archive Image Title Versions Date Collection Duration Type Reference S21: The Khmer Rouge Death Machine French, English, Khmer 2002 Rithy Panh RPA_VI_000299 01:40:52 The land of the wandering souls French, English, Khmer 1999 Rithy Panh RPA_VI_000300 01:42:41 Let the boat break its back, Let the junk French, French 2000 Rithy Panh RPA_VI_000870 01:34:06 break open The Tan's Family French, Khmer 1995 Rithy Panh RPA_VI_000871 00:31:56 [Rice People] French, English, Khmer, Deutsch/ Allemande, Italian 1994 Rithy Panh RPA_VI_001607 02:04:33 Site 2 French, English, Khmer 1989 Rithy Panh RPA_VI_001191 01:31:21 2 Archive Image Title Versions Date Collection Duration Type Reference The Burnt Theatre French, English, Khmer 2005 Rithy Panh RPA_VI_001231 01:23:20 Paper cannot wrap up embers French, English, Khmer 2006 Rithy Panh RPA_VI_001437 01:27:03 The people of Angkor French, English,
    [Show full text]
  • La Parole Filmée in Rithy Panh's the Missing Picture
    MEDIATION AND REMEDIATION: LA PAROLE FILMÉE IN RITHY PANH’S THE MISSING PICTURE (L’IMAGE MANQUANTE) Leshu Torchin The Missing Picture, where any production of memory can both preserve and veil lives. In L’image manquante (The Missing Picture, 2013), Rithy video footage, and painted clay figurines in stunningly Panh continues his exploration of the Cambodian genocide crafted—often multimedia—dioramas, the documentary in a manner that is both harrowing and lyrical, carrying on integrates Panh’s personal story with ruminations on media- the innovations he brought to his earlier films on the subject. tion, trauma, and history. Furthermore, the film reaches Combining Khmer Rouge propaganda films, contemporary beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, Film Quarterly, Vol. 68, Number 1, pp. 32–41, ISSN 0015-1386, electronic ISSN 1533-8630. and provides a testimony that is polyphonic and collective. © 2014 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through Through his deployment of clips from his earlier films, the University of California Press’s Rights and Permissions website, http://www. Panh creates a sedimented text, suggestive of a past that ucpressjournals.com/reprintinfo.asp. DOI: 10.1525/FQ.2014.68.1.32. refuses to remain passed and of the magnitude of history, 32 FALL 2014 where any production of memory can both preserve and veil Rouge leaders to trial. Kaing Guek Eav, the commander of the lives of others. the S-21 prison, who was a subject of Panh’s film Duch, le Panh begins his story with the words, “In the middle of maître des forges de l’enfer (Duch, Master of the Forges of life, childhood returns,” as a camera bobs in the crashing Hell, 2011), was sentenced in 2010.
    [Show full text]
  • Auto- Genocide in Western Museum Culture and the Missing Picture
    Photographic and cinematic appropriation of atrocity images from Cambodia: auto- genocide in Western museum culture and The Missing Picture KEITH B WAGNER University College London, United Kingdom MICHAEL A UNGER Sogang University, Seoul, republic of Korea A B S T R A C T As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).
    [Show full text]
  • Netflix Ftkmf Discussion Guide
    Page 2 ABOUT THIS GUIDE This guide is designed to assist screening organizers, teachers, and community leaders in facilitatng a pre- and post- screening discussion for First They Killed My Father, a feature flm directed by Angelina Jolie. The guide is intended for general audiences, and may also be used in high school or college courses, partcularly (but not exclusively) in Asian American Studies, ethnic studies, history, literature, politcal science, and global studies. The guide provides historical informaton about Cambodia and the contexts in which the flm’s narratves take place, details about the flm’s planning and producton, and instructonal tps and resources for teachers, presenters and facilitators. Perhaps most importantly, it outlines major themes and sample questons designed to stmulate discus- sion and refecton by audience members both in Cambodia and around the globe. A list of websites and other rele- vant resources is included at the end of the guide, for those who might want to further research the issues. It is our hope that the flm will inspire viewers to analyze and refect upon both the causes and consequences of war, and serve as a catalyst for discussion about how we might move away from confict and toward peace. This guide contains: ñ Background on Cambodia and the Khmer Rouge regime ñ Pre-screening and preparatory notes for facilitators ñ Post-screening discussion questons ñ Resources for the themes introduced in the flm TABLE OF CONTENTS Introducton ...........................................................................................................................................
    [Show full text]
  • After the MISSING Picture Nominated Film
    2014 OSCAR® AFter THE MISSING PIcTuRE NOMINATED FILM CATHERINE DUSSART PRESENTS SPECIAL SCREENING A RITHY PANH FILM EXILE n: IG c des I ph A Gr cdp, ARTE & bophAnA productIon present/présentent SPECIAL SCREENING EXILE PRESSE FRANCAISE LAuRENCE Granec : Tél. +33 6 07 49 16 49 BEtty BouSquEt : Tél. +33 6 85 95 57 61 [email protected] EXIL Tél. + 33 1 47 20 36 66 A FILM by / un FILM de 92, rue de Richelieu - 75002 Paris RITHY PANH INtERNAtIoNAL PRESS LES PIquANtES Alexandra Faussier & Fanny Garancher [email protected] Ph.: +33 1 42 00 38 86 In Cannes: +33 6 14 61 48 41/ +33 6 20 87 80 87 FrAnce-cAMbodIA/cAMbodGe - 77 MIn – coLor/couLeur – 1.78 www.lespiquantes.com INtERNAtIoNAL SALES FILMS DIStRIButIoN 5 rue Nicolas Flamel 75004 Paris, France Tel. +33 1 53 10 33 99 www.filmsdistribution.com DOWNLOAD STILLS AND MORE ON FILMSDIStRIButIoN.CoM/FILM.ASPX?ID=70035 synopsis Exile is an abandonment, a terrifying solitude. In exile, one’s self is lost, one suffers, one fades away. But it is also possible to find one’s own, in the land of words, of images, in reverie that is more than childish. It all starts with exile, and nothing is anything without it. Exile is a meditation on absence; on inner solitude, geo- graphy, politics. Exile is also an attempt at elucidation on the part of a boy who lived in Democratic Kampuchea and the man he becomes who cannot accept injustice: What kind of revolution might we wish for? A revolution for and with humanity? A revolution that lives up to humanity, with respect and understanding? Or an attempt at destruc- tion, the false purity of which has seen so many dis- ciples, be it in Asia or the West? Exile questions what’s real and the passion for what’s real, but also ideology, in all its forms: slogans, archives, songs and books.
    [Show full text]
  • The Missing Picture (L’Image Manquante)
    Strand Releasing presents THE MISSING PICTURE (L’IMAGE MANQUANTE) A film by RITHY PANH PRELIMINARY PRESS NOTES Official Selection: Cannes Film Festival Country of Origin: France/Cambodia Format: DCP/1.85/Color Sound Format: 5.1 Surround Sound Running Time: 92 minutes Genre: Drama Not Rated In French with English Subtitles National Press Contact: Jenna Martin / Marcus Hu Strand Releasing Phone: 310.836.7500 [email protected] [email protected] Please download photos from our website: http://extranet.strandreleasing.com/secure/login.aspx?username=PRESS&password=STRAND SYNOPSIS THE MISSING PICTURE explores Rithy Panh’s quest for a photograph taken between 1975 and 1979 by the Khmer Rouge when they ruled over Cambodia. Utilizing clay figures, archival footage and his narration, Panh relays the atrocities of the Khmer Rouge in an effort to uncover the truth. DIRECTOR’S BIOGRAPHY Rithy Panh was born in Phnom Penh in 1964. After his family was forced from Phnom Penh by the Khmer Rouge in 1975 and later died in a refugee camp, Rithy Panh fled to Thailand in 1979. He then ended up in Paris, where he became interested in film, and attended film school. Life under the Khmer Rouge and the legacy of that regime became the major themes of his films. Panh made his debut in 1989 with Site 2, and in the years that followed made a range of documentaries about life in Cambodia, eventually returning to the country of his birth. Since then, he has been a key figure in the documentary industry in Cambodia, and not only because of internationally recognised films such S21, The Khmer Rouge Killing Machine (2003) and Duch, Master of the Forges of Hell (2011).
    [Show full text]
  • Symbiogenetic Destruction in the Cambodian Genocide
    Genocide Studies and Prevention: An International Journal Volume 15 Issue 1 Article 7 5-28-2021 “We Planted Rice and Killed People:” Symbiogenetic Destruction in the Cambodian Genocide Andrew Woolford University of Manitoba Wanda June University of Manitoba Sereyvothny Um Independent Researcher, Phnom Penh, Cambodia Follow this and additional works at: https://scholarcommons.usf.edu/gsp Recommended Citation Woolford, Andrew; June, Wanda; and Um, Sereyvothny (2021) "“We Planted Rice and Killed People:” Symbiogenetic Destruction in the Cambodian Genocide," Genocide Studies and Prevention: An International Journal: Vol. 15: Iss. 1: 44–67. DOI: https://doi.org/10.5038/1911-9933.15.1.1805 Available at: https://scholarcommons.usf.edu/gsp/vol15/iss1/7 This Article is brought to you for free and open access by the Open Access Journals at Scholar Commons. It has been accepted for inclusion in Genocide Studies and Prevention: An International Journal by an authorized editor of Scholar Commons. For more information, please contact [email protected]. “We Planted Rice and Killed People:” Symbiogenetic Destruction in the Cambodian Genocide Acknowledgements We are grateful for interactions with Theodore Fontaine, David Courchene, Mary Courchene, Carrie Perreault, David Rundle, Daniel Highway, and other Indigenous Survivors and Elders who have helped shape our thinking. The paper has also benefited from the insight and support of Alexander Hinton, Xijuan Xia, Theresa de Langis, Chhay Visoth, Youk Chhang, Ros Sampeou, Ly Sok-Kheang, and Adam Muller.
    [Show full text]
  • (LES TOMBEAUX SANS NOMS) Création Graphiqiue : Emma Boutboul Catherine Dussart Production, ARTE France & Anupheap Production Present
    Catherine Dussart Production, ARTE France & Anupheap Production present (LES TOMBEAUX SANS NOMS) Création graphiqiue : Emma Boutboul Catherine Dussart Production, ARTE France & Anupheap Production present (LES TOMBEAUX SANS NOMS) France-Cambodia - 116 min - 1.78 INTERNATIONAL SALES 5, rue Nicolas Flamel - 75004 Paris - France Ph.: +33 1 53 10 33 99 www.playtime.group DOWNLOAD PRESS MATERIALS & STILLS : http://www.playtime.group/Film.aspx?ID=175333 SYNOPSIS After THE MISSING PICTURE (Un Certain Regard winner 2013 and Oscar nominee for the Best Foreign Language Film in 2014) and EXILE, Rithy Panh continues his personal and spiritual exploration. S21: THE KHMER ROUGE KILLING MACHINE and DUCH, MASTER OF THE FORGES OF HELL analyzed the mechanisms of the crime. GRAVES WITHOUT A NAME searches for a path to peace. When a thirteen-year-old child, who lost the greater part of his family under the Khmer Rouge, embarks on a search for their graves, whether clay or on spiritual ground, what does he find there? And above all, what is he looking for? Spectral trees? Villages defaced beyond recognition? Witnesses who are reluctant to speak? The ethereal touch of a brother or sister’s body as the night approaches? A cinematic movie that reaches well beyond the story of a country for that which is universal. SHORT SYNOPSIS After THE MISSING PICTURE and EXILE, Rithy Panh continues his personal and spiritual exploration. GRAVES WITHOUT A NAME searches for a path to peace. When a child, who lost the greater part of his family under the Khmer Rouge, embarks on a search for their graves, whether clay or on spiritual ground, what does he find there? HISTORICAL CONTEXT Phnom Penh has fallen.
    [Show full text]
  • THE MISSING PICTURE (L’Image Manquante)
    THE MISSING PICTURE (L’Image manquante) A film by Rithy Panh France, Cambodia, 2013, 96 mins Cert 12A Winner, Un Certain Regard Prize, Cannes Film Festival 2013 OPENS JANUARY 3RD 2014 FOR ALL PRESS ENQUIRIES PLEASE CONTACT Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/E‐mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – New Wave Films [email protected] 10 Margaret Street London W1W 8RL Tel: 020 3178 7095 www.newwavefilms.co.uk SYNOPSIS The film is adapted from the autobiographical sections of Rithy Panh’s book The Elimination (published in 2013 by The Clerkenwell Press), exploring the story of his family before and after the Khmer Rouge entered Phnom Penh. Pol Pot's communist regime overtook the Cambodian capital on April 17, 1975. Panh was eleven years old. Citizens were rounded up and sent to agricultural labour camps. With the ostensible purpose of eliminating class divisions, all personal effects were confiscated. Numbers replaced individuals. Torture and executions were undertaken for the slightest infraction. Hunger soon dominated. The regime was built on mass deprivation and fear. In a bold imaginative leap, this story is pictured via carved figurines (created by Sarith Mang), overlaid by narration. ‘For many years, I have been looking for a missing picture: a photograph taken between 1975 and 1979 by the Khmer Rouge, when they ruled over Cambodia...On its own, of course, an image does not prove mass murder, but it prompts us to think, to meditate, to build history. I searched for it in the archives, in old papers, in the villages of my country, in vain.
    [Show full text]
  • 1 Curriculum Vitae | Creative VIỆT LÊ Vietle
    Curriculum Vitae | Creative VIỆT LÊ vietle.net ________________________________________________________________________ EDUCATION: Ph.D. 2011. American Studies and Ethnicity Department, University of Southern California M.A. 2007. American Studies and Ethnicity, University of Southern California M.F.A. 2001. Studio Art, Graduate Emphasis in Asian American Studies University of California, Irvine B.F.A 1999. Fine Art, California State University, Fullerton Solo Exhibitions 2020 Sonic Spiritualities Vargas Museum, Philippines March 2020 2016 lovebang! February 27-Apri 23, 2016 W. Keith and Janet Kellog University Art Gallery California State University Pomona, Pomona, USA heARTbreak! October 2016 APATure Film Festival Featured Artist Koret Auditorium, San Francisco tan nÁRT cõi lòng | heARTbreak! December 26, 2015-January 3, 3016 Nhà Sàn Collective Hà Nội, Việt Nam 2015 vestige December 14, ‘13- January 14, 2015 H Gallery, Bangkok, Thailand 2012 still December 10, 2011-Feb. 4, 2012 California College of the Arts, San Francisco 2010 boy bang! November 4-28, 2010 Java Arts, Phnom Penh, Cambodia 1 2009 succeed or quit June 8- July 28, 2009 site-specific installation, Umbria, Italy 2007 what’s love got to do with it? October 2007 two-person solo exhibition with Julie Thi Underhill Creighton University Art Gallery, Omaha, NE 2004 represent June 21-July 3, 2004 site-specific installation, The Banff Centre, Canada pictures of you April 9-17, 2004 Hudson D. Walker Gallery, Provincetown, MA It’s a Fine Day March 5, 2004 solo performance, Shoshin Performance Space, NYU 2002 sweet bitter August 11, 2002 Solo performances by Việt Lê, Leo Garcia, LeVan D. Hawkins, Alex Penn. Curated by LeVan D.
    [Show full text]
  • Film Bodies, Traumatic Experience and Absence in the Cinematic Encounter with the Essay Film
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. What remains amiss? Film bodies, traumatic experience and absence in the cinematic encounter with the essay film Chia, Justin Ian Soon Hann 2017 Chia, J. I. S. H. (2017). What remains amiss? Film bodies, traumatic experience and absence in the cinematic encounter with the essay film. Master's thesis, Nanyang Technological University, Singapore. http://hdl.handle.net/10356/72464 https://doi.org/10.32657/10356/72464 Downloaded on 06 Oct 2021 00:33:36 SGT WHAT WHAT AMISS?:REMAINSFILM BODIES, TRAUMATIC EXPERIENCE AND ABSENCE IN SOUTHEAST ASIAN IN CINEMA ABSENCE AND WHAT REMAINS AMISS?: FILM BODIES, TRAUMATIC EXPERIENCE AND ABSENCE IN THE CINEMATIC ENCOUNTER CHIA SOON HANN, JUSTIN IAN WITH THE ESSAY FILM CHIA SOON HANN, JUSTIN IAN SCHOOL OF HUMANITIES AND SOCIAL SCIENCES 2017 2017 What Remains Amiss?: Film Bodies, Traumatic Experience and Absence in the Cinematic Encounter with the Essay Film Chia Soon Hann, Justin Ian School of Humanities and Social Sciences A thesis submitted to the Nanyang Technological University in fulfillment of the requirement for the degree of Master of Arts (HSS) 2017 i Abstract What Remains Amiss? addresses film bodies, traumatic experience, absence and failure in essay films that focus on tumultuous periods in Cambodian and Indonesian history. The primary texts this project analyzes are Rithy Panh’s S21: The Khmer Rouge Killing Machine (S-21, la machine de mort Khmère rouge, 2003) and Duch, Master of the Forges of Hell (Duch, le maître des forges de l'enfer, 2011), as well as Joshua Oppenheimer’s The Act of Killing (2012) and The Look of Silence (2014).
    [Show full text]