Many recent documentaries have
explored sites of genocide with a view to reclaiming a lost truth about those
events shrouded by time, state propaganda and cover-ups. Patricio Guzmán
represented this search into the past through the search of those who survived
the Pinochet regime in Chile for the remains of their murdered relatives in Nostalgia
For The Light. Joshua Oppenheimer’s acclaimed documentary The Act of Killing gave members of General Suharto’s death squads the opportunity to
recreate their crimes on film with full disclosure and full impunity. Now,
Rithy Panh, who has made a career out of documenting the crimes of the Khmer
Rouge, is attempting to recreate both his own memories and those photographs
either destroyed or never taken using a mix of clay figurines and archive
footage in The Missing Picture.
The Missing Picture is
both an essay film and an investigative documentary that tries to uncover the
true stories of the Khmer Rouge’s reign over Cambodia. ‘The missing picture’ of
the title is a term that is used to refer to a series of different images –
either those in one’s head as in memories or stories one has heard, images of
forced labour, starvation and genocide that were never taken, images that were
suppressed or destroyed by censorship and by time. It may also refer to those
images that do remain but which show untruths, such as those from Khmer Rouge
propaganda films showing happy workers tilling the fields. By using clay
figurines, Rithy Panh is able to recreate certain scenes that did occur but
were never photographed, hence revealing a truth about the Khmer Rouge regime
that had been suppressed and hidden.
The film begins with images of
old film reels, representing the toll that time takes on the attempt to
readdress the past. The reels are badly damaged and often unusable and suggest
the inability to revisit the past due to diminishing means. As the evidence
slowly erodes, Panh’s job is more important than ever and his own memories may
be the last route into the past available to him. The clay figurines were,
hence, conceived as a way of defying the loss of primary evidence. They
recreate scenes that Panh himself witnessed, making the film his most intensely
personal, particularly when Panh recreates the deaths of his parents and siblings.
The narration, though not by Panh himself, is clearly performed by a stand-in
for him, since it is given in the first person. However, the narration is not
entirely that of Panh’s story, but of Cambodia’s story under the Khmer Rouge.
It details events that Panh himself did not witness and is often broadly
historical, though it always returned to the first person after it has set the
scene.
Problematically, however, the
narration ruminates on time and memory in the vein of certain artistic essay
films. It is full of speeches about the old man seeking the memories of his
past or, perhaps, the memories of his past seeking the old man. This gives the
film a slightly unnecessary, somewhat irritating philosophical tone, which is
at odds with the much more concrete retellings of past events. Such Proustian
musings can be interesting in themselves but they feel oddly out of place in a
film that has got so many more important issues at stake. To talk about the
rush of memories in the same breath as starvation and state terror is an odd
mix, as is, to a degree, the bald, dispassionate retelling of the objective
history frequently played alongside the subjective stories of life in a Khmer
Rouge re-education camp. There is a lot of talk about the fact that the bodies
disappearing into the earth in the mass graves are, in a sense, returning from
the earth through the clay, which is fine as an idea in a film more about art
but a little too pat in a film of such seriousness and importance. It is not
that one is more unworthy of examination than the other but that the constant
shifts between these modes makes the film seem somewhat lacking in any one
purpose or perspective.
As well as this, it becomes
increasingly clear that, as thematically interesting as it is to recreate the
lost past with clay figurines, the film is lacking visually. Though inevitable
since it is a film about the loss of pictures, the clay figurines are not
particularly cinematic and they are a little repetitive. Though it does feel
unhelpful to criticise the film in this light, the fact remains that the clay
figurines were possibly the wrong medium for the message, since they are quite
inexpressive and distancing. Other forms of animation may have been more
helpful – Ari Folman’s Waltz With Bashir is a good example of a film
that attempts to recreate memories of the past without the help of primary
sources. Rithy Panh sees the recreation of his memories as an act of defiance
and he states that cinema is a powerfully effective political medium, though his
choice of animation is fairly limited, an experiment in cinematic
representation which just didn’t work.
Late in the film, Rithy Panh
offers an account of pre-Khmer Rouge Cambodia, a darker and more complex take
on the country’s past than the previous images of markets and parties. Here,
Panh seems to be readdressing his own memories of before 17 April 1975, the day
Phnom Penh fell to the communists, which were, admittedly, somewhat naïve and
middle-class. In a potted history, he tells of how the working classes had a
legitimate cause for unrest, especially after the USA dropped half a million
tons of bombs on the country. The Khmer Rouge exploited this ill feeling for
their own gain. Today, as Rithy Panh very quickly shows, the working class are
still poor. He shows some brief footage of a worker cutting away at the ground
on the side of a busy road, images reminiscent of both the false propaganda of
Khmer Rouge and of his own clay figurines at work. As a result, the film has
its own ‘missing pictures’ since it is a personal telling from a middle-class
perspective. Rithy Panh does address the fact that his memories are tailored by
his background, suggesting that there are many ‘missing pictures’ that he
himself cannot recreate, but it does give an uncomfortable sense that Panh is
falling on memory as a means to avoid the complexities of history. As a result,
The Missing Picture may be a cathartic and worthwhile attempt to reveal
the evil of the Khmer Rouge and to bring lost memories back to the surface but,
like The Act of Killing, it has a very blinkered view and it avoids or
only superficially touches on other uncomfortable and complex truths.
The Missing Picture should
be understood best as one in a number of possible truth-seeking projects, made
by a number of different people with a number of different backgrounds and
experiences. Rithy Panh may have devoted his life to uncovering the evil of the
Khmer Rouge, but this new film remains too subjective, too happy to be but a
part of the whole. It is only one step of an important, necessary process, one
that ought to be open to as many stories as exist, as many as can be found. As
sincere and harrowing as The Missing Picture is, it is too intellectual
and too limited to do full justice to its title and its themes.
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