There is an eerie, otherworldly beauty to the opening shot of Kavich Neang’s “White Building.” Accompanied by the pressure-cooker whine that introduces the more uncanny sections of Jean-Charles Bastion’s score, a drone camera, steady as though it were mounted on tracks in the sky, drifts over the eponymous structure, looking down. Even just the rooftop of this vast, scabbed Phnom Penh .
Seen from this angle, the building — Neang’s childhood home, which recurred in his shorts and documentaries, and of which he amassed quite a bit of footage before it was demolished in 2017 — looks like an intricately scruffy map of an abandoned continent. It’s crazy-paved in cracked concrete and crisscrossed with electrical wires, with drifts of sooty trash gathering in its corners and dirty vents staring into dangerously haphazard fuse boxes, and it is not immediately clear if anyone still lives inside. But as soon as we see it from the side,...
Seen from this angle, the building — Neang’s childhood home, which recurred in his shorts and documentaries, and of which he amassed quite a bit of footage before it was demolished in 2017 — looks like an intricately scruffy map of an abandoned continent. It’s crazy-paved in cracked concrete and crisscrossed with electrical wires, with drifts of sooty trash gathering in its corners and dirty vents staring into dangerously haphazard fuse boxes, and it is not immediately clear if anyone still lives inside. But as soon as we see it from the side,...
- 9/22/2021
- by Jessica Kiang
- Variety Film + TV
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