Most of Cambodian director Rithy Panh’s family were killed in Khmer Rouge labor camps. He was lucky enough to get out and, after months in a Thai refugee camp, move to Paris where he eventually wen…
, begins with a fairytale — illustrated with Panh’s trademark dioramas of clay figurines — of an ogre coming to a village and enslaving both people and animals. The ogre of the story is gradually revealed to be a king-pin wild boar, which has a gold effigy of itself erected in the middle of the defeated kampong. Eventually, that statue will be crowned with a bristling ring of surveillance cameras. “Ideology is an ogre,” reflects the French voiceover, spoken by Rebecca Marder.
Through all this exuberant picture-scaping we keep returning to the clay world, where nothing goes well: a temple is devastated, humans are roped together and masked while the animal elite takes charge and the wild ones — those less equal than others — hide in the decimated jungle. When they are not in the village, the ruling tusked boars relax in a TV control room, also sculpted with clay, gleefully watching home movies of their own successful scorched-earth victory.
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