(1979) John Pilger vividly reveals the brutality and murderous political ambitions of the Pol Pot / Khmer Rouge totalitarian regime which bought genocide and despair to the people of Cambodia while neighboring countries, including Australia, shamefully ignored the immense human suffering and unspeakable crimes that bloodied this once beautiful country.

为了庆祝中柬建交六十周年，央视纪录频道计划推出四集纪录片《魅力柬埔寨》，每集25分钟。该片将讲述当代柬埔寨的历史和地理，当代柬埔寨人的生活以及他们与中国人千丝万缕的联系。

"A Cambodian Spring" is an intimate and unique portrait of three people caught up in the chaotic and often violent development that is shaping modern-day Cambodia. Shot over six years, the film charts the growing wave of land-rights protests that led to the 'Cambodian spring' and the tragic events that followed. This film is about the complexities - both political and personal, of fighting for what you believe in.

柬埔寨首都金边有一处开发区名为钻石岛，这边购物中心、酒店、高级住宅林立，似乎象征着柬埔寨的美好未来。空地上，两个少年交换着前晚的梦。一人梦想穿越时空前往 2099 年，一人刚拿到美国签证，准备告别女友，走向未知。这是《迷梦钻石岛》导演周戴维首部在柬埔寨拍摄的作品。

柬埔寨首都金边有一处开发区名为钻石岛，这边购物中心、酒店、高级住宅林立，似乎象征着柬埔寨的美好未来。空地上，两个少年交换着前晚的梦。一人梦想穿越时空前往 2099 年，一人刚拿到美国签证，准备告别女友，走向未知。这是《迷梦钻石岛》导演周戴维首部在柬埔寨拍摄的作品。

《睦邻·柬埔寨》由云南广播电视台与柬埔寨国家电视台联合出品，全片共4集，分为《丝路明珠》《生命家园》《生息之地》《一起成长》四个篇章，每集30分钟，分别呈现了柬埔寨的人文风光、生物多样性、传统生活以及现代发展历程。

Back in Cambodia after 7 years, she is still holding a camera. Following the gap between what she experienced this time, she was dragged into somewhat reality, sensed a definite attitude of words and images, the undoing and limitation of the medium, and how she and her memories were shaped since don‘t know timelessly when. Meanwhile, new experiences that happened during the process of rebuilding keep going. What truth can be kept by a camera? A person connects to the other one making the memory alive. 　　Flash, Track is the second film of her three “regional photo” series practices. In a limited time, bringing a camera into a place, every experience and encounter contemplates and reflects her heart and image essence, while what was been recorded stands its own life, and all of these become something to keep for herself, the people, and the place.

Back in Cambodia after 7 years, she is still holding a camera. Following the gap between what she experienced this time, she was dragged into somewhat reality, sensed a definite attitude of words and images, the undoing and limitation of the medium, and how she and her memories were shaped since don‘t know timelessly when. Meanwhile, new experiences that happened during the process of rebuilding keep going. What truth can be kept by a camera? A person connects to the other one making the memory alive. 　　Flash, Track is the second film of her three “regional photo” series practices. In a limited time, bringing a camera into a place, every experience and encounter contemplates and reflects her heart and image essence, while what was been recorded stands its own life, and all of these become something to keep for herself, the people, and the place.

希腊CULT导演Nikos Nikolaidis的最后一部作品！ 　　1.a metaphorical translation of nowadays truths 　　First, I must say that this is not a typical Hollywood spoon feeding or mainstream product. The Zero Years is a controversial, extreme, unusual, outrageous, mysterious, absurd, daring, exotic, erotic and political film which belongs to a trilogy the director has named "The Shape of the Coming Nightmare". 　　I had the pleasure of discovering this gem at the Chicago International Film Festival. It challenged many of the viewers at the screening but the presence of it's lead actress Vicky Harris (she's American ?!!) fortunately clarified many of the questions that arose during an extended question/answer session after the screening. 　　The correct interpretation of the directors messages seemed dependent of the previous films of the trilogy and even more so, as Harris explained, each one of his films is only a piece of the greater canvas of this directors work. Unfortunately, only one of his previous films has been released in the United States. The rest can be found on DVD, but without subtitles. 　　Yes, the audience had mixed reactions because this IS a provocative film. These types of films are not created to be loved or hated and the director obviously was not aiming for some specific reaction. He was just pouring out his very personal beliefs without caring about opinion. Opinions are boring and we have so much of it in our world, which, by the way, is full of critics. What one thinks of a movie is irrelevant! The question should be: Did it reach your subconscious or not. Did it make you think? and these questions by the way, cannot really be answered at the time you see a film like this because there is no way you can have a concept about what it has done to you yet. If you let this film affect you - you will find it will go into your deepest-darkest part, as it did ours, and THAT is the beauty of this film. 　　It features four lead females. Four a-typical characters who's ensemble acting is so intense that you cannot resist entering "their world" which is one of: off-beat dialog, original yet ambiguous story lines, surprising plot resolutions and brave themes of sexual and political nature. And although these types of movies are usually not performance based, most of the performances in this movie will rock your mind. Harris has a film presence that is almost hypnotic. Her performance is uniquely balanced between intellectual choices and truthful emotions. She effortlessly touches you through and through (and her presence at the festival was a double verification of her talent, as one could see that in real life, she bore no resemblance to her character). Kitseli as "the leader" is fantastic! and moments coming from Maro were strong too. Christina completes the group yet seems a bit theatrical at times. As an ensemble they are all fabulous! 　　Four sterilized women working in a State-run brothel, after the decline of the "new World Order" (which the director believes is NOT in the future-it is NOW). We all see the connection yet some called it a violent film. Well, violence is a part in every mans-every day life, and on many levels. Yet no matter what we say, the movie screen is at it's bloody est when we are talking about violation of the mind and soul. Such is the case of these characters. Living in a society of repression ("They tore out our wombs and implanted fear")... "Sterilized by the State"... 　　This film is just a strong metaphorical translation of everyday truths. Yet, not for everyone to accept. 　　2.Four women, barren, under surveillance and continuous toxic control, are serving their term in a government run brothel 　　Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-film events. This is particularly evident in "THE ZERO YEARS" – Beyond the obvious and the implied (global dictatorship, etc.) there is a discreet and penetrating psychological analysis and observation. As we know at the end of "THE ZERO YEARS" we clearly perceive that because of the deadlock and the lack of solutions its heroines choose hell over the free open world which (however) has been invalidated. It is both a conscious and an automated choice. The women are overcome by "institutionalism". Hell is fine because we know it and it is better than a supposedly free world, which, in any event, is wholly controlled and totally not free. "I love my bonds and my torment; they are better than the unknown horror of the outside." The "noir spoke" to us many times about impassioned heroes and their bonds, characters who are terrified of the free open fields. N.N. goes beyond this film-noir convention and reaches further to approach existential philosophy (particularly that of Camus). A micro-prison inside an enormous one. Whatever we choose we are trapped and what we demand is not to get OUT but to free everything, to tear down all the barbed wire. "THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap. ALEXIS DERMETZOGLOU

希腊CULT导演Nikos Nikolaidis的最后一部作品！ 　　1.a metaphorical translation of nowadays truths 　　First, I must say that this is not a typical Hollywood spoon feeding or mainstream product. The Zero Years is a controversial, extreme, unusual, outrageous, mysterious, absurd, daring, exotic, erotic and political film which belongs to a trilogy the director has named "The Shape of the Coming Nightmare". 　　I had the pleasure of discovering this gem at the Chicago International Film Festival. It challenged many of the viewers at the screening but the presence of it's lead actress Vicky Harris (she's American ?!!) fortunately clarified many of the questions that arose during an extended question/answer session after the screening. 　　The correct interpretation of the directors messages seemed dependent of the previous films of the trilogy and even more so, as Harris explained, each one of his films is only a piece of the greater canvas of this directors work. Unfortunately, only one of his previous films has been released in the United States. The rest can be found on DVD, but without subtitles. 　　Yes, the audience had mixed reactions because this IS a provocative film. These types of films are not created to be loved or hated and the director obviously was not aiming for some specific reaction. He was just pouring out his very personal beliefs without caring about opinion. Opinions are boring and we have so much of it in our world, which, by the way, is full of critics. What one thinks of a movie is irrelevant! The question should be: Did it reach your subconscious or not. Did it make you think? and these questions by the way, cannot really be answered at the time you see a film like this because there is no way you can have a concept about what it has done to you yet. If you let this film affect you - you will find it will go into your deepest-darkest part, as it did ours, and THAT is the beauty of this film. 　　It features four lead females. Four a-typical characters who's ensemble acting is so intense that you cannot resist entering "their world" which is one of: off-beat dialog, original yet ambiguous story lines, surprising plot resolutions and brave themes of sexual and political nature. And although these types of movies are usually not performance based, most of the performances in this movie will rock your mind. Harris has a film presence that is almost hypnotic. Her performance is uniquely balanced between intellectual choices and truthful emotions. She effortlessly touches you through and through (and her presence at the festival was a double verification of her talent, as one could see that in real life, she bore no resemblance to her character). Kitseli as "the leader" is fantastic! and moments coming from Maro were strong too. Christina completes the group yet seems a bit theatrical at times. As an ensemble they are all fabulous! 　　Four sterilized women working in a State-run brothel, after the decline of the "new World Order" (which the director believes is NOT in the future-it is NOW). We all see the connection yet some called it a violent film. Well, violence is a part in every mans-every day life, and on many levels. Yet no matter what we say, the movie screen is at it's bloody est when we are talking about violation of the mind and soul. Such is the case of these characters. Living in a society of repression ("They tore out our wombs and implanted fear")... "Sterilized by the State"... 　　This film is just a strong metaphorical translation of everyday truths. Yet, not for everyone to accept. 　　2.Four women, barren, under surveillance and continuous toxic control, are serving their term in a government run brothel 　　Beyond his narrative genius N.N.'s evolution turns his creations into significant (and) extra-film events. This is particularly evident in "THE ZERO YEARS" – Beyond the obvious and the implied (global dictatorship, etc.) there is a discreet and penetrating psychological analysis and observation. As we know at the end of "THE ZERO YEARS" we clearly perceive that because of the deadlock and the lack of solutions its heroines choose hell over the free open world which (however) has been invalidated. It is both a conscious and an automated choice. The women are overcome by "institutionalism". Hell is fine because we know it and it is better than a supposedly free world, which, in any event, is wholly controlled and totally not free. "I love my bonds and my torment; they are better than the unknown horror of the outside." The "noir spoke" to us many times about impassioned heroes and their bonds, characters who are terrified of the free open fields. N.N. goes beyond this film-noir convention and reaches further to approach existential philosophy (particularly that of Camus). A micro-prison inside an enormous one. Whatever we choose we are trapped and what we demand is not to get OUT but to free everything, to tear down all the barbed wire. "THE ZERO YEARS" is a chronology of the end of civilization and of urban institutions. Everything is illusion; everything is utopia and a trap. ALEXIS DERMETZOGLOU