Scars of Cambodia is a movie, a photographic work and has webdocumentary. The french partners Emilie Arfeuil, photographer, and Alexander Liebert, director, Testify History of the Khmer Rouge through the portrait of a Cambodian Who caries physical and mental scars of it.

Directed by Alexandre Liebert







SYNOPSIS

Tut is 52 years old fisherman living in Kampot. In Spite of the language barrier, He told, for the first time and Without any words, about His past DURING THE Khmer Rouge Regime, to a photographer and a director, showing the hard treatments HE Experienced in a jail HE turned fifteen the year. This shared encounter talks about the buried memory, the way it shows through gestures, glances and attitudes, the way it marks someone for deriving their life and a person. Tut's Psychological and physical trauma the bring to light the historical scars of Cambodia.

CAREER

2014 MOVIE won Best Photography Award and Best Original Film Score Award at Clermont International Short Film Festival.

2013 MOVIE selected at Festival of New Cinema Documentaries in Paris - France.

PHOTOGRAPHY PORTFOLIO selected and published in Go to Arles with your book in "The . collection "created by Chez Higgins, Photographie.com and Blurb.

PHOTOGRAPHY PORTFOLIO of finalist Talent Award # 53 Report
2012 PHOTOGRAPHY EXHIBITION at Bophana Center, Phnom Penh - Cambodia.

HISTORICAL CONTEXT

When Polpot Took control of Cambodia in 1975 He Was Determined to create a new society completely Call starting by destroying all the aspects of the form one. His communist diet Began by executing Systematically Every person Who HAD form relationships with the government, and built prisons and Forced-labor camps. Determinedly Agrarians, the Angkar set agricole population Against city-dwellers, accusé of Being contaminé by the bourgeois imperialism. WAS time immediately emptied Phnom Penh and Its population feels to the countryside to work in camps under watch. They laud the intellectuals and the elimination of reeducation adult populations by manual labor.

Led by Polpot, terrorizes the population this Dictatorship Pendant 3 years 8 months and 20 days: the Inhabitants are starved, imprisoned This, tortured, or sent to Forced Labor camps. This genocide killed 1.7 million Cambodians, Almost 21% of the population.

While today the trial of the old government is finally in progress more than 30 Years After the facts, what's going on Into the mind of the survivors?

SCARS

Cambodia still caries the tracks of this genocide and HAS to learn how to deal with, sans taboos, to reconstruct soi over it. Against this crime humanoid moral and physical scars left Hardly hidden and All which the Cambodian population HAS to live with Every Day. An omnipresence of History All which is so engraved That It Becomes the personal history of each.

Few Cambodians Who survived this period-have the desire or the courage, to speak about it. This lack of word leads to the Victims long and painfull path to the statement of past traumas, Losses, and Mournings. This burden is aggravated by the Poverty Remains All which very wide-spread in the Kingdom.

ENCOUNTER

It is one of These meetings All which marks a life. At the foot of your building, or in the coffee shop at the far end of the world. It is by luck That Emilie and Alexander puts Tut was small street of stilt houses, in the outskirts of Kampot, Cambodia. Emilie's resemblance with one of Tut's lost sisters started the encounter, the mutual curiosity, Then the return of the memory and the sudden need to Log tell. It is more than 30 years later That Tut choose to tell His story for the first time.

After two trips, entre 2012 and 2013, and more than 5 months staying in Cambodia, has a real deep intimacy and trust built soi entre Tut and the pair of artists. It is thanks to this trust That for the first time, through the memories de son past, He Revealed the horror of the Polpot diet.

A SILENT TESTIMONY

Till Their first meeting in August 2010, Tut himself HAD Decided to approach this painful subject and to entrust em, as if it WAS natural to speak to 'em about it, as if the moment HAD finally come. When They Came back one and a half year later with cameras Their, They Decided not to _him_ issue: They simply give _him_ the freedom to talk.

The language barrier has engaged communication without words All which They Will choose to keep intact in all the project: They Will not appeal to a translator, They Will not make interviews. When the words or the language create a distance, the body language Creates a live sensorial, emotional, Sometimes very rough and violent, in front of the memory's assaults. The transmission of the memory THUS Will Remain silent, through gestures and paper writing, Within the framework of year and not formal intimate encounter.

The transmission of the memory THUS Will Remain silent, through gestures and paper writing, Within the framework of year and not formal intimate encounter .
A SUBJECTIVE PORTRAIT
In Scars of Cambodia, as the History or archival documents historic Explanations, will stay of the order of the invisible. The visible Will Be the release of History All which Tut choose to share and tell, His own history, with all the subjectivity and That It contains All which is the heart of the project's subject.

Is a silent witness Among So Many others, an Individual memory All which is one of the stones That builds the History de son country. The main issue is not to inform again about the tragic History of Cambodia aim to show how Individual year deals today with the scars of this heavy past. Beyond a reflection about memory, it is intimate encounter year to the bring back the human being white out of inhumanity.

DOCUMENTARY AND ARTISTIC INTENTIONS

This project is developped in several media: Sami at the time a photographic portfolio (exhibitions, photographic book, publications), a 30min documentary movie (mixing photography and video), and has webdocumentary (coming in April 2015).

The photographer's and director's sensibilities are similar: human, more sensorial than consensual, and at the time Sami documentary and artistic. Their glances They focus on the subject Sami, the Sami event, the Sami time; They Are Particular, personal, different but.....

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