Review “Pol Pot”: a guide for the totalitarian

The French Cambodian director Raithi was often martyred that he was the genocide system of Khomear Rouge, who killed his family and who fled from, as a reason that he was a cinematic director. His films are not always direct at this miserable time. But when they are-as is the case with the most unforgettable achievement, the documentary film that was nominated for the Academy Award “The Missing Pictore”, which re-imagined personal memories using Diramas clay-saving one a large mosaic that is assembled by a piece of piece that connects destruction, and after repetition, and has not been completed at all.

The last of which is the historical and tense historical drama “Meeting with Pol Pot”, which was first shown at the Cannes Festival. It is not a biography, except for her imagination of a real story that occurred in conjunction with his childhood shock: he calls Khmer Al -Robe to three Western journalists to watch the declared agricultural YouTubia and meet the mysterious leader whose people referred to as “Brother No. 1.” However, this political scrap, which occurred in 1978, could not hide a harsh and violent fact of its guests, which it reveals that he was in a brilliant photography from an increasingly terrible visitor from a long -scale victim.

Irène Jacob, designed similar to the bold French correspondents Liz – is an ideal role for her captivating intelligence – similar to American journalist Elizabeth Baker who was on that trip, whose book was later on Cambodia and its experience, “When the war ended,” inspired the scenario to Pan Berry Irean. Liz joins an ideological motivated professor named Alain (Grégoire Colin), and they soon called some of their hosts in a previous school in France when they were revolutionaries and wishing them. (Alain’s character relies on the British academic Malcolm CaldWell, an invitation beside Becker.) There is also a photographer of Eagle-Eleger Paul (Cyril Gueï), who participates in Liz’s doubts and a desire to know what is already happening, especially with regard to hidden thought companies.

Through sound, speed and images, PanH is easily established by a mood of charged and extreme hospitality, and a dandruff that looks ready for cracking: from the opening of calm in a terrifying way to this small French delegation who is waiting alone on an empty sunflower to strange comprehensiveness, authoritarianism in everything that is said to them through their guide (Bunhok Limit). Life is written for their microphones and cameras and is surrounded by armed teenagers. Film filming with a square frame in the film, too, reminds us of a news path on a stage, is another hidden touch-one imagines that Panh rejects the petition as it feeds the point of view of this villain only about his good counter.

Alain is lonely to ignore misleading information and embrace this Potemkin Village as the real deal (except when his eyes appear a source of anxiety for the gathering). But the more Liz wondered at the pretext of a start -up society happily, everything gets everything. And when Paul can overcome his supervisors and explore the surrounding area – which sparked a feverish search, the recklessness that raises Hakils Liz – the film actually becomes a drama in prison, as the triple interview was filmed as a dark guard who can decide their fate.

The press was not more than now, and “meeting with Pol Pot” is a strong reminder of the value of the profession – and the underlying risks – when you face and reveal the facades. But this frightening elegant film also reflects the sensitivity of its emotional director in relation to the mass tragedy that pushes its aesthetic mood, more than that when he republished his sweetened statues manually for presentation, realism and reality.

The authority protects its wrongful actions with propaganda, but he sees such deadly lies clearly, giving them honest, thick with echoes.