In the Life of Music

I can't watch the movie, can someone help me please??

The miracle of this film that Caylee So and Sok Vishal brought into timeless existence, is that it breaths not only life into one of the darkest experiences of humanity - but exhales love. It draws on the creative prowess of young Cambodian actors, blends seamlessly a story told in both English and Khemer, and reverberates with hope that love, like music endures... I feel the partnership of Caylee and Sok who brought such breathtaking performances from the children actors in the film, with their talented crew of editor, cowriter, sound and cinemagraphic artists, in partnership with producers and the heart and soul of the Cambodian community in America, and those in Cambodia who made this film happen - achieved a beautiful miracle. This is a priceless addition to the film record of the contribution to our human family by Cambodia and Cambodians.

In the Life of Music, directed by Caylee So and Visal Sok, is a prodigious and refreshing departure from the typical linear narrative structure that has been commonly used to tell the story of the Cambodian genocide where an estimated two million Cambodian people died from murder, starvation, and forced labor. With its non-linear storytelling and stunning cinematography, the film features the story of a Cambodian family before, during, and after the war. It highlights the inter-generational connection of pre-genocide Cambodian pop music with issues of war, resilience, displacement, and diaspora. Expelling the linear framework that dominates the majority of Cambodian memory work, In the Life of Music weaves the songs of Cambodian pop icon Sinn Sisamouth with the tragic history and complications of three generations of Cambodian experience. The comedic characters and thoughtful cinematography differentiate between three distinct time periods that are inter-woven in the film (years 1968, 1976, 2007).

This film forces the audience to consider different generations and perspectives, rather than focusing on the development and narrative of a single character. Recalling the Khmer Rouge's strict control of cultural practice, the film effectively explores the effect and politics of Democratic Kampuchea (DK) through manipulation of music, allowing the viewer to consider the evolution of a song's meaning through time.

The filmmakers' thematic projections of labor in the film explore the complex beauty, depravity, the hardship of a country deeply scarred by war. Under the Khmer Rouge Regime, hundreds of thousands of Cambodians were removed from their homes, separated from their families, stripped of their individuality, and forced into labor camps. Merciless violence and excruciating manual labor would be used by the DK as a way to destroy and control Cambodian society, which previously used community-based labor to build connection through tradition and entertainment-showing appreciation and love for one another. In the Life of Music is chock-full of subtle, yet deeply moving points of analysis for Cambodians and those that know the history of the Cambodian Genocide. This film is tailor-made for the Cambodian diasporic community yet is so well made that those who are learning about this history for the first time are able to learn and understand the film's intentions. The wonderfully constructed music and sound of the film provide an immersive experience for all audiences. This film serves as a wonderfully creative and necessary exploration into a history forgotten by the world. --Tiffany Lytle (M.A. UCLA Asian American Studies)

As a second-generation Cambodian-American, "In the Life of Music" struck a chord with me. No pun intended. Great feature films made by ethnic minorities are a rare treat. A feature film made by a Cambodian-American is even rarer, and I savored every moment of it.

I was particularly struck with Ellen Wong's performance as a Cambodian-American trying to gather up pieces of her family's history despite the English-Khmer language barrier between her and the older generation. It's an issue I identify with in my own life since many older Cambodians refugees struggle with English due to a combination of immigrating at an older age, severe trauma and hardship from war, lack of financial resources, and access to education. A lot of second-generation Cambodian-Americans, like myself, have difficulty communicating with the older generation because our Khmer language skills diminish due to overworked parents trying to make ends meet don't have much personal time for family, and/or formal language classes in Khmer aren't really available in our communities.

What ends up happening is a huge language and cultural gap between 1st generation and 2nd generation Cambodian-Americans. 1st Generation Cambodian-Americans have trouble speaking about their past history and experiences either because of language difficulty or the experience was too painful to talk about. 2nd Generation Cambodian-Americans have trouble asking and learning/understanding about those experiences.

This film, "In the Life of Music" tries to create a cultural bridge between the two generations who have trouble understanding one another through the shared experience of music. And I think the film does a great job at it since 1960s Cambodian pop music was one of the few things the older generation had and held onto in America. And it's also one of the few things 2nd Gen Cambodian-Americans can use to relate to our parents since it's often part of our childhood experience at family events or restaurants. The only other thing that remotely comes close to it would maybe be ...the Southern California donut.

Caylee So and Sok Visal achieved an incredible task of depicting a romanticized view of Cambodia pre-war, while still breaking our hearts with the dark history of the Khmer Rouge regime. The performances were endearing and heartfelt and the Sinn Sisamouth track repeating all throughout the film just tugged at my heartstrings! Great job to everyone who worked on this project! Thank you so much for telling a beautiful Cambodian love story.