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'Swimming To Cambodia' Blu-Ray Review - Jonathan Demme Captures An Electrifying Performance

'Swimming To Cambodia' Blu-Ray Review - Jonathan Demme Captures An Electrifying Performance

Noted playwright, novelist and monologuist Spalding Gray spent eight weeks in Asia as an actor in Roland Joffé's Academy Award Winning historical drama The Killing Fields, chronicling the history of the Khmer Rouge regime. In his famed one man show, Swimming to Cambodia, Gray laid bare his experiences on set and contextualizes his anecdotes with the stark history of the region.
Directed for the screen by Jonathan Demme (Stop Making Sense), rendering Gray's heartfelt, often very funny, monologue cinematic with the help of collaborators like cinematographer John Bailey (Mishima: A Life In Four Chapters), editor Carol Littleton (Beloved), and multidisciplinary artist Laurie Anderson, who is responsible for the film's evocative score. Cinématographe is proud to bring one of the great performance films, and an oft-overlooked entry in Jonathan Demme's career, to blu-ray for the first time in the world in a 2K new restoration from its original camera negative.
For thoughts on Swimming to Cambodia, please check out my thoughts on No Streaming Required:
Video Quality
This new Blu-Ray debut from Cinématographe gives Swimming to Cambodia an AVC-encoded 1080p transfer in 1.85:1 derived from a 2K restoration from the 35mm Original Camera Negative. The fact that this title has been missing on the format for so long is unfortunate, so it is greatly appreciated that the label rectified the situation. This is a gorgeous transfer that all but eliminates any blemishes to the print including any white specks, tiny cuts or other potential blemishes. The transfer maintains impeccable film grain support throughout with nothing looking unnatural and no major instances of spiking. When you consider the age of the film and the source material, it is pleasing to see the footage looking so strong. There does not appear to be any issues with compression artifacts or any other such digital anomalies. The frame shows off some fine detail in the clothing of Gray and in some of the background elements of the stage. Colors present with a nice vividness that livens up the screen. This presentation does a stellar job of giving life to the performance.
Audio Quality
This Blu-Ray comes with a DTS-HD 2.0 Master Audio mono track that captures every word spoken by Spalding Gray with the utmost clarity. These stories are balanced perfectly with the light amount of manufactured environmental effects. There is not much in the way of music featured in this movie, but anything that comes up has great clarity and fidelity. This track shows no signs of age-related wear and tear such as hissing, humming, or popping. Cinématographe delivered the goods with this remastered audio track. Optional English (SDH) subtitles are included for the feature film.
Special Features
The Limited Edition version of Swimming to Cambodia comes beautifully packaged in a hard outer slipcase that opens up to a MediaBook that includes a bound booklet featuring new essays by film critics Marya E. Gates, Chris Shields, Keith Uhlich and David M. Stewart, author of There's No Going Back: The Life and Work of Jonathan Demme, plus select archival photo reproductions. These essays delve into the film from multiple angles and provide a great analysis in a thoughtfully written style. The on-disc special features are as follows:
Audio Commentary:
Film critic Scout Tafoya provides a commentary track that in no way comments directly on the film as it plays and instead gives a thorough cradle-to-grave overview of the life of Spalding Gray.
Interview with Director Jonathan Demme:
A nearly 17-minute archival interview with the iconic filmmaker in which he discusses Spalding Gray, his reasons for wanting to direct the film, developing the style for the film, collaborating with Gray, opening up the subject, and more.
Interview with Director of The Killing Fields Roland Joffé:
A new 21-minute interview with the filmmaker who directed Gray in the film featured in
Swimming to Cambodia
in which he discusses
The Killing Fields
, how he got involved with the film, shooting in Thailand, pushing his performers, and more.
Interview with Executive Producer Ira Deutchman:
A new nearly 13-minute interview with the producer in which he discusses the murky role of a producing credit, working with Demme, the competition for the rights to film the production, distributing the film, and more.
Interview with Producer Edward Saxon:
A new nearly 14-minute interview with the associate producer in which he discusses his partnership with Jonathan Demme, his thoughts on Spalding Gray, and more.
Pure Nonfiction Podcast:
Two episodes of the podcast that interviews documentary filmmakers featuring conversations with Jonathan Demme.
Jonathan Demme's Characters (1:04:20)
Jonathan Demme and Renée Shafransky on Spalding Gray (29:08)
Theatrical Trailer (0:50)
Final Thoughts
Swimming to Cambodia is not the first movie you consider when evaluating the career of Jonathan Demme, yet it stands as a strong example of his uncanny command over the camera. The impassioned performance from Spalding Gray is captivating in its own right, but it is how it is captured by Demme that gives it a degree of execution suitable for the big screen experience. Even if you have never seen The Killing Fields, this one-man show will stir something in you with the intrigue and wit of the stories. The art of storytelling has rarely been so deftly translated to screen. Cinématographe has provided a Blu-Ray that features a spectacular A/V presentation and a great assortment of supplemental features. Recommended
Swimming to Cambodia is currently available to purchase on Blu-Ray.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Cinématographe has supplied a copy of this set free of charge for review purposes. All opinions in this review are the honest reactions of the author.

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Journalists get a guided tour of totalitarianism in ‘Meeting with Pol Pot'
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Journalists get a guided tour of totalitarianism in ‘Meeting with Pol Pot'

French Cambodian director Rithy Panh has often cited the genocidal regime of the Khmer Rouge, which killed his family and from which he escaped, as the reason he's a filmmaker. His movies aren't always directly about that wretched time. But when they are — as is his most memorable achievement, the Oscar-nominated 2013 documentary 'The Missing Picture,' which re-imagined personal memories using clay-figurine dioramas — one senses a grand mosaic being assembled piece by piece linking devastation, aftermath and remembrance, never to be finished, only further detailed. His latest is the coolly observed and tense historical drama 'Meeting With Pol Pot,' which premiered last year at Cannes. It isn't autobiographical, save its fictionalization of a true story that happened concurrent to his childhood trauma: the Khmer Rouge inviting a trio of Western journalists to witness their proclaimed agrarian utopia and interview the mysterious leader referred to by his people as 'Brother No. 1.' Yet even this political junket, which took place in 1978, couldn't hide a cruel, violent truth from its guests, the unfolding of which Panh is as adept at depicting from the viewpoint of an increasingly horrified visitor as from that of a long-scarred victim. The movie stars Irène Jacob, whose intrepid French reporter Lise — a perfect role for her captivating intelligence — is modeled after the American journalist Elizabeth Becker who was on that trip, and whose later book about Cambodia and her experience, 'When the War Was Over,' inspired the screenplay credited to Panh and Pierre Erwan Guillaume. Lise is joined by an ideologically motivated Maoist professor named Alain (Grégoire Colin), quick to enthusiastically namedrop some of their hosts as former school chums in France when they were wannabe revolutionaries. (The character of Alain is based on British academic Malcolm Caldwell, an invitee alongside Becker.) Also there is eagle-eyed photojournalist Paul (Cyril Gueï), who shares Lise's healthy skepticism and a desire to learn what's really happening, especially regarding rumors of disappeared intellectuals. With sound, pacing and images, Panh readily establishes a mood of charged, contingent hospitality, a veneer that seems ready to crack: from the unsettlingly calm opening visual of this tiny French delegation waiting alone on an empty sun-hot tarmac to the strange, authoritarian formality in everything that's said and shown to them via their guide Sung (Bunhok Lim). Life is being scripted for their microphones and cameras and flanked by armed, blank-faced teenagers. The movie's square-framed cinematography, too, reminiscent of a staged newsreel, is another subtle touch — one imagines Panh rejecting widescreen as only feeding this evil regime's view of its own righteous grandiosity. Only Alain seems eager to ignore the disinformation and embrace this Potemkin village as the real deal (except when his eyes show a gathering concern). But the more Lise questions the pretense of a happily remade society, the nervier everything gets. And when Paul manages to elude his overseers and explore the surrounding area — spurring a frantic search, the menacing tenor of which raises Lise's hackles — the movie effectively becomes a prison drama, with the trio's eventual interviewee depicted as a shadowy warden who can decide their fate. Journalism has never been more under threat than right now and 'Meeting with Pol Pot' is a potent reminder of the profession's value — and inherent dangers — when it confronts and exposes facades. But this eerily elegiac film also reflects its director's soulful sensibility regarding the mass tragedy that drives his aesthetic temperament, never more so than when he re-deploys his beloved hand-crafted clay figurines for key moments of witnessed atrocity, or threads in archival footage, as if to maintain necessary intimacy between rendering and reality. Power shields its misdeeds with propaganda, but Panh sees such murderous lies clearly, giving them an honest staging, thick with echoes.

‘KPop Demon Hunters' Directors on Meeting Fan Expectations and Championing Original, Inclusive Animation
‘KPop Demon Hunters' Directors on Meeting Fan Expectations and Championing Original, Inclusive Animation

Gizmodo

timean hour ago

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‘KPop Demon Hunters' Directors on Meeting Fan Expectations and Championing Original, Inclusive Animation

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It's their lived experience they bring, their influences, their favorite things that shaped them as artists. That allows us to make more interesting, more original films than what could've been possible 25 years ago. It's kind of happening under the hood, but it's really promising and exciting. io9: What do you hope audiences and your fellow creative colleagues in animation take away from experiencing KPop Demon Hunters wanting to share this universal story with the world? Kang: There's nothing like film that shows that no matter what language you speak, what culture you grew up in, no matter if you are a demon, a chair, or a toy doll, everybody feels the same things as human beings. Telling stories with characters that emote in a very Korean way and speak looking very Korean, I hope that audiences and filmmakers can see that we all ultimately are human and we feel and want the same things which is love and acceptance KPop Demon Hunters streams on Netflix starting June 20. 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China has millions of single men - could dating camp help them find love?
China has millions of single men - could dating camp help them find love?

Yahoo

timean hour ago

  • Yahoo

China has millions of single men - could dating camp help them find love?

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That generation are now adults, and are going to the cities themselves to try to find a wife and boost their status. Du Feng, who is based in the US, wants her film to highlight what life is like for younger generations in her home country. "In a time when gender divide is so extreme, particularly in China, it's about how we can bridge a gap and create dialogue," she tells the BBC. Hao's three clients - Li, 24, Wu, 27 and Zhou, 36 - are battling the aftermath of China's one-child policy. Set up by the government in 1980 when the population approached one billion, the policy was introduced amid fears that having too many people would affect the country's economic growth. But a traditional preference for male children led to large numbers of girls being abandoned, placed in orphanages, sex-selective abortions or even cases of female infanticide. The result is today's huge gender imbalance. China is now so concerned about its plummeting birth rate and ageing population that it ended the policy in 2016, and holds regular matchmaking events. Wu, Li and Zhou want Hao to help them find a girlfriend at the very least. He is someone they can aspire to be, having already succeeded in finding a wife, Wen, who is also a dating coach. The men let Hao give them makeovers and haircuts, while he tells them his questionable "techniques" for attracting women - both online and in person. But while everyone tries their best, not everything goes to plan. Hao constructs an online image for each man, but he stretches a few boundaries in how he describes them, and Zhou thinks it feels "fake". "I feel guilty deceiving others," he says, clearly uncomfortable with being portrayed as someone he can't match in reality. Du Feng thinks this is a wider problem. "It's a unique China story, but also it's a universal story of how in this digital landscape, we're all struggling and wrestling with the price of being fake in the digital world, and then the cost that we have to pay to be authentic and honest," she says. Hao may be one of China's "most popular dating coaches", but we see his wife question some of his methods. Undeterred, he sends his proteges out to meet women, spraying their armpits with deodorant, declaring: "It's showtime!" The men have to approach potential dates in a busy night-time shopping centre in Chongqing, one of the world's biggest cities. It's almost painful to watch as they ask women to link up via the messaging app WeChat. But it does teach them to dig into their inner confidence, which, up until now, has been hidden from view. Dr Zheng Mu, from the National University of Singapore's sociology department, tells the BBC how pressure to marry can impact single men. "In China, marriage or the ability, financially and socially, to get married as the primary breadwinner, is still largely expected from men," she says. "As a result, the difficulty of being considered marriageable can be a social stigma, indicating they're not capable and deserving of the role, which leads to great pressures and mental strains." Zhou is despondent about how much dates cost him, including paying for matchmakers, dinner and new clothes. "I only make $600 (£440) a month," he says, noting a date costs about $300. "In the end our fate is determined by society," he adds, deciding that he needs to "build up my status". Du Feng explains: "This is a generation in which a lot of these surplus men are defined as failures because of their economic status. "They're seen as the bottom of society, the working class, and so somehow getting married is another indicator that they can succeed." We learn that one way for men in China to "break social class" is to join the army, and see a big recruitment drive taking place in the film. The film notably does not explore what life is like for gay men in China. Du Feng agrees that Chines society is less accepting of gay men, while Dr Mu adds: "In China, heteronormativity largely rules. "Therefore, men are expected to marry women to fulfill the norms... to support the nuclear family and develop it into bigger families by becoming parents." Technology also features in the documentary, which explores the increasing popularity of virtual boyfriends, saying that over 10 million women in China play online dating games. We even get to see a virtual boyfriend in action - he's understanding, undemanding and undeniably handsome. One woman says real-life dating costs "time, money, emotional energy - it's so exhausting". She adds that "virtual men are different - they have great temperaments, they're just perfect". Dr Mu sees this trend as "indicative of social problems" in China, citing "long work hours, greedy work culture and competitive environment, along with entrenched gender role expectations". "Virtual boyfriends, who can behave better aligned with women's expected ideals, may be a way for them to fulfil their romantic imaginations." Du Feng adds: "The thing universally that's been mentioned is that the women with virtual boyfriends felt men in China are not emotionally stable." Her film digs into the men's backgrounds, including their often fractured relationships with their parents and families. "These men are coming from this, and there's so much negative pressure on them - how could you expect them to be stable emotionally?" Reuters reported last year that "long-term single lifestyles are gradually becoming more widespread in China". "I'm worried about how we connect with each other nowadays, especially the younger generation," Du Feng says. "Dating is just a device for us to talk about this. But I am really worried. "My film is about how we live in this epidemic of loneliness, with all of us trying to find connections with each other." So by the end of the documentary, which has many comical moments, we see it has been something of a realistic journey of self-discovery for all of the men, including Hao. "I think that it's about the warmth as they find each other, knowing that it's a collective crisis that they're all facing, and how they still find hope," Du Feng says. "For them, it's more about finding themselves and finding someone to pat their shoulders, saying, 'I see you, and there's a way you can make it'." Screen Daily's Allan Hunter says the film is "sustained by the humanity that Du Feng finds in each of the individuals we come to know and understand a little better", adding it "ultimately salutes the virtue of being true to yourself". Hao concludes: "Once you like yourself, it's easier to get girls to like you." The Dating Game is out in selected UK cinemas this autumn. Why don't Chinese women want more babies?

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