During
the Cambodian genocide conducted by the Communist Khmer Rouge, nobody had time
to mourn. People were too busy dying. They certainly could not stage a funeral requiem,
because most musicians were executed for their alleged decadence. Yet, according
to Buddhist theology, those who died without proper burial rituals would be
condemned to linger on as restless spirits, making them victims at least twice
over. Decades later, a large ensemble of musicians and performers will try to bring
some healing to their nation with ambitious multi-media requiem production.
Aviva Ziegler follows the development, rehearsals, and premiere of Bangsokol
in the behind-the-scenes documentary, Wandering Souls, which screens
during the 2019 Margaret Mead Film Festival, at the American Museum of Natural
History.
Forty
years after the [partial] fall Khmer Rouge, the impact of their crimes still
scars Cambodian society. Classically-trained composer Him Sophy originally
conceived Bangsokol as a synthesis of traditional Cambodian and Western
classical styles, but the nation still lacks a symphony (or even chamber)
orchestra. As a result, Him and the traditional musicians must forge partnerships
with Taiwanese and Australian ensembles.
However,
Cambodia can boast of an award-winning auteurist filmmaker with international
accolades. That would be Rithy Panh (director of the extraordinary Missing Picture), a survivor of the genocide, who will produce and design the
production triptych video backdrops. He definitely has the authority and credibility
for such a project, but his strong personality and aesthetic judgement will
cause some friction with the Western choreographer.
Wandering
Souls is
a sensitive and ultimately hopeful film that will intrigue some cineastes, just
because of the glimpses it shows of Panh’s video contributions. However, it devotes
as much or more time to the challenges of artistic collaboration than to exploring
the lingering trauma of the Killing Fields era. It is all very respectful, but
the relatively brief seventy-five minutes running time, the straightforward, unadorned
style, and “making of” vibe make us wonder if Wandering Souls could
eventually end up as an extra on a Criterion Rithy Panh BluRay release.
Of
course, that means it is competently produces and captures some commentary
worth hearing. Still, it would have been nice (and added a bit of meat to Wandering’s
bones) if Ziegler had included an extended excerpt from the production to give
viewers a more vivid taste for what it is like. Regardless, it is good that she
documented the memories and reflections of Him, Panh, and their collaborators, notably
including the Keo family of musicians. Recommended for Panh’s admirers and
anyone looking for further context on the Cambodian Genocide after watching
films like First They Killed My Father and Funan, Wandering
Souls screens tomorrow (10/19), as part of the AMNH’s Margaret Mead Film
Festival.
