Most of my films contains only static shot and one long take. The lengths of takes are vary. This film is slightly different. I shot two takes instead of the usual one, because I felt the magic is happening. It was sometime after 11am. The sunrays were almost vertical. There was not even one tree at all, to give shade and of course I left my umbrella and the sunblock in the car. I guess you all can imagine the consequences.
Post-production was a real challenge to figure it out, where should I cut the story without causing aesthetic damage. The story was built by the life itself. My main "directorial responsibility" at the location (besides the chosen visual background of the scene) is usually to make decision, when to start and stop rolling. There is usually an opening scene and a closing scene where's nothing particular happening but basically there are things require the viewer's eye and ear to do more work.
The observation is an important part of the process. There's neither mise-en-scène nor directorial instructions. Only a very pure form of the sense and sensibility, harmony between the elements, a kind of Zen.
In my films I don't use subtitle because the visual has the priority over the dialogue. It doesn't mean for example in this case the fishers dialogues are not important but not from my point of view.
Ok, that's all in a nutshell. So the next day of the shoot, on July 22nd, I read about Bela Tarr 's birthday on social media and decided to dedicate this film to him as an homage. I'm not sure he'll ever watch this film, that was not the reason I made it.
"If you look for a meaning, you'll miss everything that happens."
West Baray (The Great Reservoir) (dating back to the XI. Century) in Siem Reap, Cambodia is beneficial for people make a living from fishing, though this year the Almighty God is not so gracious to them. Fishermen and their households are among the poorest, marginalized and vulnerable people in the Khmer society.
...for a limited time the film is available on my vimeo channel here.