The Killing Fields
The killing fields is yet any other love story set at a time of struggle, most effective this time it’s no longer star-crossed romantics divided by using conflict but newshounds, colleagues who shape a rare bond against the backdrop of one of the grisliest scenes in modern records. It’s phnom penh, 1973, and journalists sydney schanberg (sam waterston) and dith pran (haing s. Ngor) are making names for themselves bagging scoops at the overspill of the vietnam conflict into cambodia, until viet cong offshoot the khmer rouge takes manipulate of cambodia and sydney flees, leaving the local pran trapped at the back of.
What follows—a scientific slaughter that claimed 1 / 4 of the cambodian population—is shockingly depicted, with the level of human cruelty and 1984-like totalitarianism on display lending the movie an unreal, nearly dystopian technological know-how fiction vibe. The solid are incredible, mainly waterston and an oscar-prevailing ngor, who in the 2nd half gives what amounts almost to a tremendous silent movie overall performance, the actor’s eyes telegraphing deep fathoms of inner ache—possibly his man or woman’s and his very own, as he recreates atrocities the likes of which he individually witnessed.