There have been enough post-holocaust nuclear winter films nearly to constitute a genre, but there has never been anything quite like veteran animator Murakami's version of Raymond Briggs' cartoon book. With the help of government-issued pamphlets, an elderly British couple build a shelter and prepare for an impending nuclear attack, unaware that times and the nature of war have changed from their romantic memories of World War II, in WHEN THE WIND BLOWS (1986, 80 min). It is without doubt one of the most touching and harrowing animated films ever made.
DJ Chantal - the lady who comes from a dancers background, having woo’d audiences for over 9 years throughout Australia and on return from her recent shows in Italy, Spain and Turkey is back again in the Penh for an afternoon session with Lady Bluesabelle..
A rare jewel in the dance scene, very few Dj’s, let alone female have mastered impeccable technical turntable skills and can dance as a performer on the same night. Having toured Europe, Thailand, Cambodia and Paris regularly we cant wait for an afternoon session for her first guest spot in Latin Quarter.. beautiful music, beautiful times, beautiful woman.. this SUNDAY!
Father François Ponchaud, a member of the Foreign Missions of Paris, has worked in Cambodia – with the Christian minority, with Buddhist monks, with the poor and with refugees – since 1965. He has translated the Bible into the Khmer language and written the definitive history of the Catholic church in Cambodia. In 1977, Ponchaud wrote “Cambodia Year Zero” – the book that alerted the world to the terrible nature of the Pol Pot regime. THE CROSS AND THE BODDHI TREE (2001, 46 min) portrays his extraordinary spiritual journey.
CLOSING FILM - REFLECTION OF MAYA ROSE (104 min)
Directed by Alexandra Wedenig (USA). Winner of the Golden Lion Award at the Barcelona Film Festival in Spain.
Reality takes a turn for young and eager actress Maya Rose when she auditions for the role of Ava in a screenplay titled “The reflection and the mirror”.
It tells the story of Ava and Scott, two lovers trying to transcend time and space by means of a mirror. Maya is thrilled. The enigmatic character of Ava mesmerizes her. The bizarre audition sets off a series of strange occurrences that lure curious Maya onto a path deep into the life of Ava and a world that holds nothing familiar to her. Maya finds herself waking up in a house where doors and windows are locked and won’t open. She can feel the eerie presence of someone else in the house, a woman, a female shadow. Paranoia and desperation soon drive her to the edge of sanity and Maya loses herself between the worlds of captivation and the realm of dreams.
“To me Reflections of Maya Rose is a film that celebrates curiosity and the mysterious beauty of the unknown and the ambiguous”, says director Alexandra Wedenig.“As we grow older we tend to lose the curiosity that we used to explore the world with when we were kids. We live by set rules and schedules and our lives are pretty much planned out. We have specific ideas of who we are and what our lives should look like. And its not easy diverting from those carved out paths.”
The TuolSleng prison, S-21, located in Phnom Penh, was a microcosm of the terror, paranoia, and brutality that took place across the country under the reign of the Khmer Rouge. Even though the vast majority of the victims were Cambodian, some foreigners were also imprisoned.
In the deeply moving docu BROTHER NUMBER ONE (2011, 78 min), New Zealander Rob Hamill confronts Comrade Duch, the Khmer Rouge leader who ordered the torture and execution of Hamill’s brother Kerry at ToulSleng in 1978. Helmed by respected Kiwi documaker Annie Goldson (“Punitive Damage, 1999″), the docu will move many to tears with details of what befell Kerry and millions of others at the hands of the genocidal regime.
Cross country running and walking through fields, farms and foliage followed by Anchor beer and softies. Walkers and runners of all shapes and sizes are welcome.
$5 for expats, $3 for Khmers Fees included all bottled water, cool drinks and beer.
Meet every Sunday 2:10pm at the railway station; truck leaves at 2:30pm sharp.
You don't have to run, you can just have a leisurely walk, or run half and walk half. Whatever you like!
Running distance is approximately 8km - 10km (Walking team 4 to 5 km). Usually we have a half point for relaxing a fews minutes or u can do the half-run and half walk!
We’re always happy to see new faces!
Organized by: http://www.p2h3.com/
We play Tuesdays on the 3g fields at 8pm, Wednesdays at 4.30pm on the ISPP fields (street 380 directly across from Blue Pumpkin), and Sundays from 3.30 to sundown at Northbridge.
New players (of all experience levels and genders) are welcome on any or all of these days.
Email CraigDGerard@gmail.com to let us know you are coming!
EVERY Sunday now BBQ & JAZZ
Alan Breen - Some musicians are so talented and tuned-in they can turn up at a venue unannounced, break out their instrument and create beautiful melodies that lift the evening from the ordinary to the exceptional. Such is the talent of tenor saxophonist and flautist Alan Breen.
Every Sunday from 5 to 8pm.
Our weekly music jam session hosted by Joe Wrigley featuring performers from around Phnom Penh, and you if you so desire. It's open mic so bring an instrument, or just come enjoy the laid back vibe with happy hour for the first two hours, and plenty of tasty Mexican dishes and burgers to choose from on our menu.
Hello Sally! is an exclusive and new collection of 17 abstract paintings. These result from a long academic journey within the traditional Cambodian art of painting. In this exhibition, Em Riem is now extending his talent to the world of abstract, while still glorifying his culture and knowledge in his own and unique way.
Hello Sally! will be Em Riem’s 3rd exhibition at The Plantation. He was indeed the very first artist to exhibit at the Lotus Pond Gallery early 2012 and participated later to the collective exhibition ”40 masks - 40 artists”. Paintings are available for sale.
Originally from Kandal province, Em Riem is a Cambodian 43 years-old artist who graduated from the Royal University of Fine Arts of Phnom Penh and the Higher National School of Decorative Arts of Paris, France. Em Riem’s art includes a wide range of materials and inspirations: from rattan designed sofas to abstract aluminium sculptures, painted portraits of Khmer Rouge’s victims or eclectic acrylic paintings of the countryside. Em Riem is also one of the most famous male fashion models in Cambodia, with a unique creative and personal style.
After a quiet period of almost two years, Meas Sokhorn will exhibit a new series of paintings. Working on a background of alarming-red, Meas depicts figures on motorbikes, in cars and walking along the roads of Phnom Penh. The figures are not grounded to any fixed perspective and seem to be detached from the background—creating a loose and chaotic composition. It gives the impression that one could shake the canvas and the characters would float around and settle in new positions. But the artistic narrative unfolds in the details.
In the corner of one canvas are the words in English “LANE OWNER,” while horns emerge from the faces of pedestrians, a steering wheel and policeman caps. In another, a Chivas logo covers the road that cars drive over. The passengers carry bottles of alcohol and firearms. While another painting refers to the political rallies of the Cambodian General election of 2013.
Although the literal representation is largely traffic and alcohol, a secondary and subversive theme of class conflict and exploitation of power pervades the body of work. When discussing these themes with Meas, he refers to the congested roads of Phnom Penh as a “moving slum.” A metaphor that refers to the seeming lack of order and infrastructure despite the fact that there are rules and laws in place to govern the interactions. He says that the whole system is broken and no one is taking responsibility.
When asked why, as an artist, do you present this theme in your work, Meas replied that he has observed and been subjected to this growing problem and felt compelled to respond, “This is all I can do—I have my brush.” The stop-sign red background of the paintings serve as a warning of danger. A warning that he hopes will stimulate conversation and hopefully serve as a call to action.