With the editors of INTO THE NIGHT (Belgium, NETFLIX), DARK (Germany, USA, NETFLIX) and TEHRAN (Israel, Greece, Apple TV)įor TEMPO Guilds members only לחברי האיגוד בלבדīorn and raised in Brussels, Charles studied editing in the Brussels film school RITCS and graduated in 2005. It’s this emotional aloofness that makes the unfolding tragedy a horrifying experience to watch.On our first ever international TEMPO Sessions zoom panel, editor Charles Godin will discuss the art, craft, politics and technology of editing a highly acclaimed international TV.streaming series. If you look closely enough, you get a glimpse of Lianqing weeping on Guo’s shoulder. ![]() After they are turned down by an employer who tells them that their employment papers are good for nothing, all we get is a shot in the rain. There are striking images of Bangkok’s undocumented sector, consisting mainly of illegal migrants from poorer countries. Overcrowded workers’ hostels, dirty kitchens in restaurants where young migrants work for pitiful wages, government offices which run on bribes, the giant factory machinery where the couple works, and the tuckshop where they buy ice cubes and cheap instant noodles for lunch – the film portrays their life without taking sides or slipping into melodrama. He doesn’t want a work permit, and has no intention of staying in Bangkok for long unlike Lianqing, who does everything she can to get hold of a fake work permit, a decent job in the city, and soaks in the comforts that the city offers. While most of the denizens focus on conquering their dreams, what happens to the group who can’t seem to fit in, who suffer from loneliness and a lack of belongingness in the urban jungles? The film depicts the suffocating alienation that Guo faces in the new country, and how he only wants to leave as soon as he can with the girl he loves. After some persuasion, she reciprocates his feelings. Despite this difference in approach to life, he falls for her at first sight. He is an earnest simpleton. She is smart and ambitious. But while Guo’s wants to go back to Burma after saving some money, Lianqing dreams of settling down into a comfortable life in Bangkok. The couple the film is centred around, Lianqing (Wu Ke-xi) and Guo (Kai Ko), are smuggled into Bangkok by an agent in the dark of night. Both of them want to find work and earn money in Thailand. The Burma (Myanmar) the film refers to is a poverty-stricken third world country with no life prospects to offer its younger generation. But Z’s film is backed by a brilliant script and performances that make you really feel the peculiar rhythm of the drama.Ī powerful tale about illegal Burmese immigrants in Thailand, Road to Mandalay is the antithesis to Kipling’s poem of the same title, an ode to the ‘exotic east’. ![]() ![]() There are plain long-drawn shots of people travelling through Bangkok in tuk-tuks, and lengthy static shots of women sitting around a table in a crammed apartment and slurping instant noodles. Everything begins to make sense and the audience is awestruck by the gravity of what is unraveling.īurmese director Midi Z’s Road To Mandalay is such a film. ![]() And then the film sheds all this and delivers a blow. Characters that come across as plain, without bearing the look of carrying the weight of a heavy plot. Those with slow-paced initial sequences that seem mundane. There are movies that take a while to settle into.
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