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

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Review: 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.

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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.

‘Meeting with Pol Pot’

In French and Cambodian, with subtitles

Not rated

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Running time: 1 hour, 52 minutes

Playing: Opens Friday, June 20 at Laemmle Glendale

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Movie Reviews

Movie Review – Desert Warrior (2026)

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Movie Review – Desert Warrior (2026)

Desert Warrior, 2026.

Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.

SYNOPSIS:

An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.

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With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.

The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.

Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.

As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.

That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.

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Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★

Robert Kojder

https://www.youtube.com/watch?v=embed/playlist

 

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Eddie Murphy’s son and Martin Lawrence’s daughter welcome first child: ‘That baby gonna be funny!’

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Eddie Murphy’s son and Martin Lawrence’s daughter welcome first child: ‘That baby gonna be funny!’

Eddie Murphy is celebrating not just his lifetime achievement award, but also the arrival of his third granddaughter, perhaps the funniest baby alive.

Murphy’s son Eric and Martin Lawrence’s daughter Jasmin have welcomed their first child together, baby Ari Skye.

On Saturday, Murphy was honored with the 51st AFI Life Achievement Award at a gala in Hollywood and told reporters that he had recently celebrated back-to-back milestones.

“I just had my first grandson two months ago, and I had my third granddaughter two weeks ago. And I turned 65 a month ago,” he told “Entertainment Tonight” ahead of the gala. “It’s raining blessings on me.”

The ceremony celebrated his storied career across comedy and film, and featured tributes from fellow funnyman Dave Chappelle and “Shrek” co-star Mike Myers. The special will premiere May 31 on Netflix.

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The “Dr. Dolittle” star also gushed about his new grandbaby to E! News, and told the outlet that being honored for his work was “a wonderful thing” but that his legacy wasn’t his work.

“My legacy to me is my children,” he said.

Asked whether he or Lawrence offered their kids any parenting advice as they prepared to welcome Ari Skye, Murphy said he’s more of a lead-by-example kind of dad.

“You don’t give advice like that,” he told the outlet. “Your kids don’t go by your advice. Your kids go by the example you set. They watch you. Stuff you be saying, they don’t even pay that no mind. They watch and see what you do.”

In March, Jasmin and Eric posted photos from their lavish baby shower on social media. The shindig included a three-tiered pink cake, pink cocktails garnished with meringue that looked like clouds and balloons galore. “The most beautiful and special celebration for our baby girl,” the couple captioned the post. “Thank you to our parents and everyone that made this day so magical! Ari Skye Murphy, you are SO loved already!!”

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Excitement around Ari Skye’s arrival had been brewing in the media long before the couple even announced they were expecting. Murphy joked about a potential grandbaby when Jasmin and Eric were dating back in 2024, during an interview with Gayle King.

“They’re both beautiful,” he said. “They look amazing together. And it’s funny — everybody’s like, ‘That baby gonna be funny!’ Like our gene pool is just going to make this funny baby.”

Murphy agreed, saying: “If they ever get married and have a child, I’m expecting the child to be funny.”

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Movie Reviews

Movie Review: ‘Agon’ is a Somber Meditation on the Athletic Grind

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Movie Review: ‘Agon’ is a Somber Meditation on the Athletic Grind
Director: Giulio BertelliWriters: Giulio Bertelli, Pietro Caracciolo, Pietro CaraccioloStars: Yile Vianello, Alice Bellandi, Michela Cescon Synopsis: As the fictional Olympic Games of Ludoj 2024 approaches, Agon shows the stories of three athletes as they prepare and then compete in rifle shooting, fencing and judo. In his contemplative and visually rigorous film Agon, director Giulio Bertelli
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