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is my attempt to deal with the impossibility of making a historical film in the place where there is no history. What begins as a single narrative soon becomes fragmented, and ultimately devours itself. There are no beginning or ending points. Amser is both transfixed and moving. The four main characters in the film (played by seven actors) relate to one another spatially, as well as temporally. They drift in and out of reality and dreams, suspended at the point where art intersects life – where cinema is born. It is my intention to create in Dao Khanong the fertile time for remembering. It is also an ode to cinema, the recording machine for memory and history.
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