Filmed this in 2019 forever ago. Besides the cultural context, it's really just about wondering whatever happened to that particular someone now in a different place and time.
Walls, rooms and homes hold memories.
What happens then if you've lived in a place your whole life; working, studing, learning, dreaming, growing up until your parents have grown old? In Kavich's case, it's the place that gave him life.
For Cambodians, being forcibly removed from their home will always remind them of the Khmer Rouge era and inevitably bring up old memories.
You can pack all your things, move them to your new place, keep photos of times that…
It's very surreal to have my film as an official selection of Visions du Réel film festival in this moment in time. I made this film in isolation, never thinking of its afterlife. In light of the current pandemic, I hope it raises some timely questions - How do you continue to live and work in isolation? What memories do you keep of loved ones when they're not around? As everything has changed so much, it already feels like a nostalgic film to me.
List of Influences:
This review may contain spoilers. I can handle the truth.
About two thirds into the film, a professor tells Valerie her writing is better when there's no style. Readers can understand the subject. And if there is too much style it comes down to a matter of taste.
There are several self-referential points in this film. When the kid in the movie theatre tells his dad not to fall asleep. Schanelec is aware of how the film will make her audience feel. Her style can work for or against her,…