Film review from Venice2019: 'The Long Walk' ('Bor Mi Vanh Chark')
, the third feature from U.S.-born female filmmaker of Laotian extraction Mattie Do, is a ghost story of sorts that moves between the past and the present. Like the director’s previous films, , it combines genre elements with an exploration of the world of spirits, of society in Laos in general and the differences between the city and the countryside.
A kind-looking man with a face sculpted by age lives in the near future in the Laotian countryside, where most of the technological advances haven’t really penetrated. An exception is a kind of Apple Watch that can be used for payments and for being located by the authorities at all times and that’s actually inserted under the skin of the forearm.
The screenplay, by Do’s regular scripter, Christopher Sean Larsen, certainly doesn’t help in this regard and neither does the director’s tendency to leave too much unsaid in the mise-en-scene and editing. Ghost stories — and especially those aimed at arthouse audiences — might benefit from a little ambiguity and a certain poetic strangeness. But it is a problem when the story becomes nearly impossible to follow for long stretches of time.
Unlike the work of a filmmaker like Palme d’or winner Apichatpong Weerasethakul , from neighboring Thailand, who is a master at exploiting and even stretching the metaphorical potential of ghosts and spectral presences, the screenplay and mise-en-scene here don’t offer enough for the viewer to hang on to until the narrative mists start to clear and the thematic undercurrents snap in to place.
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