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PostSubject: Re: News Pics and More...   Sun Jun 04 2017, 20:02

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PostSubject: Re: News Pics and More...   Sun Jun 04 2017, 20:05

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PostSubject: Re: News Pics and More...   Sun Jun 04 2017, 20:35

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PostSubject: Re: News Pics and More...   Sun Jun 04 2017, 20:46




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PostSubject: Re: News Pics and More...   Fri Jun 23 2017, 20:53

Tommy Lee Jones To Star With Brad Pitt In Deep-Space Epic


EXCLUSIVE: Tommy Lee Jones is in final talks to star with Brad Pitt in Ad Astra, the working title of the futuristic sci-fi epic that James Gray co-wrote and will direct for New Regency. Production begins in September. Details are being kept close to the vest, but here’s what I’ve heard: In Ad Astra (which means “to the stars” in Latin), Pitt would play the slightly autistic space engineer Roy McBride. Twenty years after his father left on a one-way mission to Neptune in order to find signs of extra-terrestrial intelligence, McBride travels through the solar system to find him and understand why his mission failed.

I’ve heard Jones will play the father, and that the film has a bit of Heart Of Darkness vibe, set in deep space. Pitt firmed in the starring role last February as the World War Z sequel with his Fight Club director David Fincher took longer than expected and Paramount pulled it off the release calendar. Pitt produced and was originally expected to star in Gray’s lauded The Lost City Of Z, which premiered at the New York Film Festival and was released by Amazon Studios. Pitt was also once attached to Gray’s The Gray Man. Third time’s the charm, and Pitt now has one of the great actors working alongside him in Jones, who most recently completed the Rob Reiner-directed Shock And Awe and the Ron Shelton-directed Villa Capri.


Gray wrote the script with Ethan Gross, and RT Features financed development. Plan B is producing with Gray, RT Features’ Rodrigo Teixeira, Keep Your Head Productions’ Anthony Katagas and Mad River’s Marc Butan. RT Features’ Lourenco Sant’Anna and Sophie Mas are exec producing.




http://deadline.com/2017/06/tommy-lee-jones-brad-pitt-ad-astra-james-gray-new-regency-1202119181/

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PostSubject: Re: News Pics and More...   Fri Jun 23 2017, 20:56

Freedom and identity explored in Enfield theatre group show aims to uplift audience at prestigious concert hall

Friday, 23 June 2017 By Priya Kingsley-Adam in Local People



AN uplifting performance exploring freedom and identity is to be showcased through music, movement and song by members from Chickenshed Theatre at a prestigious concert hall.

More than 600 school children from the inclusive theatre in Chase Side, Southgate, will perform Dreams of Freedom, at the Royal Albert Hall, in London, next Monday evening (June 26) for one night only.

The show is inspired by a children’s book of the same name by human rights organisation Amnesty International who has worked in partnership on the production.

The book features quotes by inspirational figures including Nelson Mandela, Anne Frank and Malala Yousafzai - an activist who campaigns for girls to be educated worldwide, along with illustrations by renowned artists.

Ideas and thoughts based on dreams and freedom gathered from youngsters over two years of workshops will be presented throughout the show as well as 100 members from The Young Singers Choir

Hollywood actress and humanitarian Angelina Jolie will open the performance with a video message about children’s rights.

Alongside the performers, a live-drawing will be performed on stage throughout the show by Chickenshed member 9 year old Jude Holland, along with political cartoonist for The Observer, Illustrator and Amnesty ambassador Chris Riddell.

Other members taking part will include children from Great Ormond Street Hospital, the London Gypsy and Traveller Unit, as well as carers and refugee groups.

“Chickenshed is absolutely thrilled to be partnering with Amnesty to stage this powerful and moving celebration of children’s hopes for the future,” James Dunbar, creative director of the production.

“The process has involved us creating partnerships between mainstream and special schools enabling the children to explore together the themes and stories that inspired this book.

“We are delighted to have been given an opportunity to encourage children to share their own dreams in ways that they can provide inspiration for a changing world.”




http://www.enfield-today.co.uk/article.cfm?id=119422&headline=Freedom%20and%20identity%20explored%20in%20Enfield%20theatre%20group%20show%20aims%20to%20uplift%20audience%20at%20prestigious%20concert%20hall&sectionIs=news&searchyear=2017
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PostSubject: Re: News Pics and More...   Thu Jun 29 2017, 22:18




Happy 4 year anniversary to our forum!

Thanks to all members and guest for your contributions and support
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PostSubject: Re: News Pics and More...   Thu Jun 29 2017, 22:32

She acts as UNHCR Special Envoy and harnesses her global fame in Hollywood to help child refugees in war torn countries of the world.

And actress and philanthropist Angelina Jolie, 42, has spoken up at a performance by more than 600 children as part of a project between world human rights organisation Amnesty International and Chickenshed Theatre.

Held at the Royal Albert Hall on Monday night, the event saw the beauty urge schoolchildren to fight for universal human rights for children all over the world



Speaking out: Angelina Jolie, 42, has spoken up at a performance by children as part of a project between world human rights organisation Amnesty International and Chickenshed Theatre held at the Royal Albert Hall on Monday night
'Children, I need you,' she said. 'We all need you. We adults, we are a little lost these days, we want you to think that we have it all under control, that it will all be fine. And it will be,' she began.

'The UN Convention on the Rights of the Child; it’s like your secret book of laws. And if you can master it, no one can trick you, or your friends. And you can take those laws and rights and go head on with those adults who won’t listen.




She has since visited war-torn countries all over the world, such as Sudan's Darfur region and Syria, with the aim of bringing awareness of humanitarian plight to public knowledge.

The Tomb Raider star has adopted three of her six children; Maddox, Zahara and Pax were adopted from orphanages in Cambodia, Ethiopia and Vietnam respectively.

The children's performance at the Royal Albert Hall was based on Amnesty’s children’s book Dreams Of Freedom, which celebrates the words of human rights heroes such as Nelson Mandela, the Dalai Lama and Malala Yousafzai.




During the performance, children shared their own messages of freedom and solidarity starting with 'I stand with…'.

Following the recent tragedy at Grenfell Tower, many of the children changed their line to 'I stand with Grenfell' in support of all those affected.


Chickenshed is a charity that makes inspirational theatre by bringing together people from all backgrounds to produce performances that entertains, inspires, and informs both audiences and participants.






The children taking part in the performance are from London schools in the Royal Borough of Kensington and Chelsea, Hammersmith and Fulham, Westminster, Wandsworth and Enfield.

Additional schools and children’s groups have also been involved in the creation of the performance over a period of two years.

Amnesty International is the world’s largest human rights organisation with more than seven million supporters worldwide.


Read more: http://www.dailymail.co.uk/tvshowbiz/article-4640240/Angelina-Jolie-urges-children-fight-human-rights.html#ixzz4lS9KPNWN
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PostSubject: Re: News Pics and More...   Thu Jun 29 2017, 22:41

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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:20

Angelina Jolie's Six Kids Wear Yellow Flowers to NYC Premiere

Angelina Jolie walks the red carpet at the premiere of her new film First They Killed My Father on Thursday (September 14) in New York City.

The 42-year-old actress, who directed the movie, was joined by all six of her kids – Maddox, 16, Pax, 13, Zahara, 12, Shiloh, 11, and nine-year-old twins Knox and Vivienne – who wore yellow flowers pinned to their clothing.

Zahara was the unique one of the group and put the flower in her hair!

Also in attendance at the event were the film’s young stars Mun Kimhak and Sareum Srey Moch, writer Loung Ung, and producer Rithy Panh, among others.

Make sure to see photos of the full family at the premieres in Toronto and Telluride!

FYI: Angelina is wearing a Dior Haute Couture dress.

http://www.justjared.com/photo-gallery/3957199/angelina-jolies-six-kids-wear-yellow-flowers-to-nyc-premiere-06/
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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:23


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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:25

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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:28

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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:34



Shocked Maddox and Pax getting so tall now
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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:36




lovely
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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:41



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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:46


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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 20:53

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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 21:01





Cast of the "First They Killed My Father" New York Premiere on September 14, 2017 in New York City.
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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 21:12

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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 21:19

EXCLUSIVE: Angelina Jolie Gushes About Son Maddox's Work Ethic: His Notes 'Were Always Better Than Mine'


At just 16 years old, Maddox Jolie-Pitt was impressing his mom in production meetings!


ET caught up with Angelina Jolie at the New York City premiere of First They Killed My Father on Thursday, where she reacted to her son's kind comments about working together on the film -- and praised his strong work ethic.



"That's so sweet!" the 42-year-old actress-director said of Maddox, who worked as an executive producer on the film, recently calling her "fun, funny, and easy to work with" as a director.

"[Maddox] is very studios, much more than I am," she added. "When we did our notes in the production meetings, his were always better than mine. He's very studios, but he's got a wicked sense of humor and he's very fun to be with.



http://www.etonline.com/exclusive-angelina-jolie-gushes-about-son-maddoxs-work-ethic-his-notes-were-always-better-mine
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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 21:42

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PostSubject: Re: News Pics and More...   Thu Sep 14 2017, 22:21



The smallest details on the red carpet can sometimes make the biggest difference.

Thursday night was family night for Angelina Jolie who was in New York City to celebrate her new film First They Killed My Father.

The actress first arrived on the carpet where she spoke to press about the project and posed for photos in her Dior Haute Couture dress.

What got fans buzzing, however, was when Angelina's six children joined mom on the red carpet with the same accessory.

Maddox, Pax, Vivienne, Shiloh and Knox were all spotted wearing yellow flowers pinned to their clothing. As for Zahara, she chose to put the flower in her hair.


While we have yet to receive an official meaning behind the look, the floral accessory appears to be plumerias, which symbolize positivity and are used to celebrate special occasions.

Although Angelina serves as a director for the Cambodian drama First They Killed My Father, the actress recently spoke out about her desire to be in front of the camera once again.

"Right now I don't have anything to direct that I feel passionate about like this so I'll do some acting," she shared with the Hollywood Reporter. "I've taken over a year off now, because of my family situation, to take care of my kids. When I feel it's time for me to go back to work, I'll be able to go back to work. I've been needed at home. I hope [to work again] in the months to come."

And regardless of the opportunities that come her way professionally, Angelina assures fans that her children will always take priority when it comes to determining her next project.

"Everything will be around the children. I haven't worked for over a year now because they needed me home," she told People. "Everything was just stopped. I'm really sitting and talking with them because everything affects them. Every location, every type of project, I'm going to have to adjust it to however much they can handle."

First They Killed My Father hits theatres on Friday.



http://www.eonline.com/news/880261/angelina-jolie-s-six-kids-step-out-on-the-red-carpet-wearing-yellow-flowers

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PostSubject: Re: News Pics and More...   Fri Sep 15 2017, 22:51

First They Killed My Father Is a Surprising, Devastating Triumph

Angelina Jolie’s new film follows the Cambodian Civil War and the brutal Khmer Rouge regime through the eyes of a young girl.


There’s only one scene in First They Killed My Father that isn’t told through the eyes of Loung Ung (Sareum Srey Moch), the young daughter of a high-ranking Cambodian government official who was swept up in the terror of the Khmer Rouge’s campaign of genocide in 1975. It’s the opening montage, one cutting between footage of Richard Nixon insisting on American neutrality in the country and newsreels of the violence and bombing that spilled over into Cambodia’s borders during the Vietnam War. “This is not an invasion of Cambodia,” Nixon intones over images of burning jungles and burnt bodies on the streets of Phnom Penh, as the Rolling Stones song “Sympathy for the Devil” roars on the soundtrack.

Perhaps it’s a little on the nose, but it’s also the one freewheeling, stylish flourish director Angelina Jolie allows in her sober new film, an adaptation of Ung’s 2000 memoir of her childhood during the Khmer Rouge rule of Cambodia in the late 1970s that resulted in the deaths of close to 2 million people (a conservative estimate). First They Killed My Father, subtitled A Daughter of Cambodia Remembers, is a Khmer-language film focused on the atrocities Ung personally witnessed as she was torn from her childhood in Phnom Penh during the Cambodian Civil War, and its villains are mostly the unnamed soldiers and revolutionaries that torment her family. But before she delves into this individual story, Jolie takes great strain to make clear how this chaos was sewn, and that responsibility for Cambodia’s descent into violence lies far beyond its borders



To this day, very few films have been made about the brutal Khmer Rouge regime, a legacy the country is still only beginning to come to grips with. The most memorable is certainly Roland Joffé’s Oscar-winning 1984 epic The Killing Fields, but that was a film centered on the American journalist Sydney Schanberg (played by Sam Waterston) and his reporting. Jolie could be accused of bringing a similar Western perspective, though she is the adoptive mother of a Cambodian son and has done extensive charity work in the country. But the triumph of First They Killed My Father is that she avoids any white-savior pitfalls, presenting Ung’s story clearly and candidly, and wisely keeping her camera trained on Srey Moch, an astonishing young first-time actor who proves a perfect conduit for the story Jolie wants to tell.

Ung is one of seven children living in relative comfort in Phnom Penh; her father (played with extraordinary grace by Phoeung Kompheak) is a government official, and when the Khmer Rouge rebels sweep into the capital, he knows he’ll be marked as a target and spirits his family into the countryside. Jolie, who co-wrote the film with Ung, does not try to over-explain every political detail of the civil war or Pol Pot’s resulting regime (a purportedly Communist government that immediately descended into dictatorial terror). First They Killed My Father is told from a child’s-eye view, with the camera frequently focusing on Ung’s open, sweet face and then cutting to whatever nightmare she’s seeing.

Jolie’s masterstroke is that she never departs from the gaze of her young protagonist.

At two hours and 16 minutes long, the film might sound like a slog, but Jolie has no interest in drawn-out depictions of torture or execution, holding off on the sort of relentless, graphic violence she could deploy to easily drive the horror home. That’s not to say First They Killed My Father lacks gruesome imagery, but it’s usually brief and chaotic, glimpsed by Ung as she tries to flee or ignore the terror going on around her. At first, she’s living in secret with her family, who try to pose as ordinary, working-class folk to avoid the wrath of the Khmer Rouge (whose targets, aside from ethnic minorities, included anyone connected with the prior government). Later, she’s separated from them and trained as a child soldier for the ongoing civil war; Ung’s story follows her long, slow quest to reunite with her siblings.

Jolie’s masterstroke is that she never departs from the gaze of her young protagonist. There’s little sense of time passing—it could be months or years, given Ung’s inability to find any grounding in the destroyed farmland, labor camps, and military bases she’s swept through. It’s easy to understand every decision she makes to survive, even her terrifying recruitment as a soldier who lays mines in Cambodia’s dense jungle. The loss of her father (hardly a spoiler, considering the film’s title) is the film’s most profoundly restrained moment, all the more devastating for how cryptically it happens, as he does his best to hide the details of his impending fate from his children.

First They Killed My Father, which debuts on Netflix and in limited theatrical release Friday, is Jolie’s fourth film as a director and her first unambiguous triumph. Though she showed extensive visual flair in her last two movies, the war epic Unbroken and the dark, romantic drama By the Sea (a seemingly autobiographical tale that co-starred her then-husband Brad Pitt), this film matches that with a simpler, more powerful story, largely free of cliché and delivered with incredible restraint. Jolie’s clearly trying to use her brand as a Hollywood megastar to make projects with limited commercial potential and get them to the widest possible audience. But as altruistic as that effort may be, the films still have to be good to really make an impact—and First They Killed My Father is very, very good.



https://www.theatlantic.com/entertainment/archive/2017/09/first-they-killed-my-father-is-a-surprising-devastating-triumph/540018/
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PostSubject: Re: News Pics and More...   Fri Sep 15 2017, 22:59

First They Killed My Father


Father (2017)

Cast
Phoeung Kompheak as Pa
Sveng Socheata as Ma
Sareum Srey Moch as Loung

Director
Angelina Jolie

Writer (based on the book "First They Killed My Father" by)
Loung Ung

Writer
Angelina Jolie
Loung Ung

Cinematographer
Anthony Dod Mantle

Editor
Xavier Box
Patricia Rommel

Composer
Marco Beltrami


Drama, History

Rated NR

135 minutes




★★★★ | Matt Zoller Seitz

September 15, 2017


Angelina Jolie's "First They Killed My Father" is far and away her best work as a director: a rare film about a national tragedy told through the eyes and mind of a child, and as fine a war movie as has ever been made. Adapted by Jolie and co-writer Loung Ung from Ung's memoir about her family's experiences after the Khmer Rouge took over Cambodia, it stands apart from most work in this vein not just because of what it does so well, but because of what it refuses to do.


There are emotionally powerful moments, particularly near the end when you start to see some light at the end of the tunnel, but there's little in the way of canned Hollywood uplift. But every image and feeling are anchored to the point-of-view of Ung, played by the remarkable young actress Sareum Srey Moch. She was five when the Khmer Rouge captured Phnom Penh and seven when she made it out, her young mind stained by memories of hunger, brutality and sudden death. She learned skills that no child should know, like how to plant land mines, fire an AK-47, and drive a spear into a Vietnamese soldier's chest.

The movie kicks off with a prologue alluding to how American carpet bombing of Cambodia during the closing years of the war helped create a power vacuum that vicious people rushed to fill. This is related through documentary and news clips of bombers incinerating forests, U.S. troops understandably expressing little interest in or animosity toward Cambodia, then-President Richard Nixon insisting that there is no American war there, and then-Secretary of State Henry Kissinger callously promising a "final solution" in the region. The blend of languages in this section reinforces the idea that this era was a tragedy of international significance, regardless of whether people who were alive at the time paid attention.


Luong's story begins in relative peace, with the heroine and her bourgeois family, headed by a military police officer father (Phoeung Kompheak), in the capital, wondering what changes the end of the U.S. war will bring. The Khmer Rouge, a splinter of the Vietnam People's Army of North Vietnam led by future dictator Pol Pot, rolls into the city, crushing the remnants of the country's weak official government and initiating a purge that would claim millions of lives. Loung's father sees the writing on the wall and leads his wife (Sveng Socheata) and children from the city.

From that point on, "First They Killed My Father" becomes a survival story about a suddenly powerless family doing whatever it takes to get through the day. Their efforts are shadowed by the knowledge that not all of them will make it out alive, and that even outwardly unremarkable interactions could lead to the family being separated, imprisoned, brutalized or murdered. The early scenes of Luong's mother, father and siblings divesting themselves of most possessions (including some beloved dresses and toys) are all the more vivid for being underplayed. This dry-eyed reportage continues throughout the film, ratcheting up toward operatic or tragic heights only when Loung is at her most distraught.

It's impossible to properly appreciate the impact of this story without acknowledging the filmmaking's role in summoning it. More so than almost any recent American feature made at this budget level, "First They Killed My Father" creates a distinct visual vocabulary that seems to emerge organically from the story, then pursues it consistently, never breaking away without reason. With the exception of a few aerial or crane shots that provide a sense of geographical context, and some high-angled overhead shots that evoke the eye of an indifferent God, most of the film is captured with a handheld camera that communicates anxiety or dread but never tries to generate phony action-movie "excitement." Shot after shot after shot amounts to a simple record of actions: she walked over there; this person spoke to that person. They're all captured by cinematographer Anthony Dod Mantle in smartly composed but unfussy images, some in third person (with the heroine in the frame), others in first (the camera representing what Loung sees). The editing, by Xavier Box and Patricia Rommel, reconciles these perspectives in such a supple way that we seem to be outside and inside the story all at once, thinking about it even as we're feeling its impact.


Every now and then, Jolie gives us a flashback or fantasy, often focusing on the heroine's memories of a time when the family were comfortable, healthy and carefree. The color in these shots is oversaturated, aglow with yearning. When the film snaps back into present tense and rejoins Loung and her family in an agrarian work camp/"re-education" facility where the earth, sky and trees seem to have been bled of color, the loss of pigmentation stands in for the loss of hope.

In time, the reason for this meticulous style becomes clear: this is a tale recollected in tranquility from some point in the future, so of course it would switch on a dime between immediacy and detachment. When you remember trauma, you see a dark picture but also the philosophical frame you've built around it. Everything seems to be happening a long time ago but also right now.

The script mostly avoids the particulars of Cambodian-Vietnamese animosity, presenting re-education sessions filled with anti-Vietnamese invective as examples of wartime conditioning and mind control. The Khmer Rouge's constant praising of the utopian ideals of Communism is undermined by what the heroine sees: the vegetables and rice being taken from the camp workers and sent to the front lines to feed combat soldiers; the meager spoonfuls of broth that the farm slaves stir in their bowls at night; the crude pleasure that low-level flunkies take in humiliating underlings, their sadism empowered by allegiance to the state; the plump beetles that the father roasts over a fire, then serves to his starving family like chestnuts. The script is less interested in what it all meant, geopolitically speaking, than how it felt to live through it: the sense of dislocation and uncertainty, the deprivation and fear, the artillery shells tearing through treelines at night and jolting sleepers awake; the mines blasting bodies into the air and setting them down without legs.
The ace in Jolie's deck here is the knowledge that a girl as young as Loung can't comprehend the larger meaning of what's happening to her, and is therefore unlikely to expend precious emotional energy connecting cause-and-effect dots or lamenting what was lost. It's an almost entirely experiential movie. Whatever occurs automatically becomes the new normal for the heroine, and she does her best to adapt to it, even when she's stricken by grief, panic or rage. Whether Luong is hearing her mother warn her and her sisters that they can't take party dresses on the road, watching a camp worker beat a hungry child for stealing vegetables, or inspiring a group of kids to kill, skin, roast and eat a snake, the film maintains a culturally neutral attitude. It's never, "Oh, how horrible" or "Isn't that strange and different?" but simply "Here's what happened next."


This is not a "triumph of the human spirit" movie with syrupy strings and inspirational speeches. Marco Beltrami's score never appears unless it has something to add to the images. The majority of scenes play out with natural sound: marching boots, helicopters, gunshots, bombs, birds, insects, cheering crowds, whispered conversations, shrill propaganda speeches, river water flowing downstream. There are no awkwardly inserted scenes with U.N. observers, doctors or journalists, devised to justify casting American or English actors in a film that doesn't require their presence.


It's a film that recreates a bleak time and place with a journalistic eye for detail, catching fleeting, at times surreal instances of humanity amid horror—particularly when it catches kids acting like kids, playing in river water, stretching a hand up towards a military helicopter soaring overhead, becoming fixated on the soft clang-clang of a teakettle bouncing against a knee during a walk. There are many moments where somebody who has no practical reason to smile at Loung smiles at her. She smiles back because that's what kids do, even when they know the adult standing over them could kill their sister, mother or father for no reason at all.

The movie channels the hardest parts of some of the toughest great films ever made: the scenes in "Los Olvidados" and "Pixote" of slum kids playing in ruins; the gallows humor of World War II films built around kids, especially "Hope and Glory" and "Empire of the Sun"; the documentary-immediate sections of "Platoon" that showed the tedium and indignity of war: mud, rain, leeches, insomnia.


Jolie and her collaborators move through Loung's story so economically—never lingering on a scene or image longer than is necessary to make a point—that the fear and pain inherent in the material is always counterbalanced by the intellectual excitement of seeing a world re-created in detail, from the ground up. Jolie is certain to be criticized for being a rich white American directing a film about Cambodian genocide, and not without cause, but it's also obvious that she's done everything possible, short of not directing the movie, to remove herself from center stage, put the spotlight on her heroine, and keep it there. The cast is comprised of Cambodian actors whose names mean nothing internationally, and they don't speak English with a vaguely "Asian" accent, but subtitled Khmer. The opening and closing credits are presented simultaneously in Khmer and English; Khmer always comes first.


That this movie even exists is a small miracle. That it seems to have been made without compromise and largely without ego makes it even more rare.



http://www.rogerebert.com/reviews/first-they-killed-my-father-2017
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