Narrator
After The Missing Picture (Un Certain Regard winner 2013 and Oscar nominee for the Best Foreign Language Film in 2013) 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.
Sambath
Camille, a young lady who has joined a Catholic mission in Cambodia and is ready to take her vows, crosses paths along a river and the Angkor ruins with a Cambodian man, Sambath, on a regular basis.
Narrator (voice)
Победитель «Особого взгляда» Канн-2013, документальный фильм без документа: камбоджийский режиссер Ритхи Пань рассказывает о детстве, проведенном при Пол Поте в трудовом лагере, где погибли его родители и другие родственники. Хроники того времени почти не осталась (только официоз, снятый на пленку шосткинского объединения «Свема»), поэтому свидетелями обвинения становятся фигурки из пробкового дерева, при помощи которых Пань разыгрывает события почти сорокалетней давности. Потрясающий фильм об идеологии, памяти и ручейке культуры, который — сколько его ни прерывай — все равно прорвется и перетечет в будущее.
Monsieur Jo
The film centers around a young French widow and her two adolescent children attempt to carve out a meager life for themselves by farming rice fields alongside the ocean in French Indo-China in the 1930's. Their efforts are hampered each year by the presence of the sea, which invariably floods the fields with saltwater and wipes out the crops. In desperation, the mother realizes that their only hope lies in the construction of a sea wall to prevent continued flooding, but the mother must cut a swath through the local bureaucracy in an almost Sisyphean attempt to make this happen. Meanwhile, her obstinate daughter, Suzanne, draws the romantic obsessions of a well-to-do Chinese gentleman, Monsieur Jo; though he could easily provide a way out, the possibility of a romantic relationship between Jo and Suzanne could just as easily fall prey to local racial prejudices that would damage or ruin the lives of both.
