Early in “Irradiated,” a powerful but troublesome documentary howl of despair from Cambodian director Rithy Panh, the narration describes an act that must be familiar to anyone similarl…
, the narration describes an act that must be familiar to anyone similarly transfixed by history. Referring to the black and white archival war footage that marches in triplicate across a screen that’s divided into three panels, the narrator speaks of “searching the eyes of the soldiers… but finding nothing there.
Additionally, there are Panh’s artistic flourishes: a dancer in the Japanese Buto tradition, painted head to toe in white, turns literally ghostly when superimposed on the archival footage. And, less evocatively, edging sometimes into the slightly precious pathos that has arguably marred Panh’s filmmaking before, there are newly shot inserts of sentimental items: a child’s doll, a set of old family photographs, a handful of buttons.
The most striking formal choice Panh makes is the division of the widescreen form into three equal, squarer frames. Often the three will display the same image, giving a symmetrical, kaleidoscopic effect to, for example, Hitler at a rally striding down a geometrically straight avenue of saluting onlookers. At other times, it acts almost stereoscopically, wrapping even our peripheral vision in a representation of terrible destruction or ghastly mass murder, so that it cannot be escaped.
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