“The Cinema of Rithy Panh: Everything Has a Soul,” edited by Leslie Barnes and Joseph Mai, is a seminal anthology that delves into the profound cinematic contributions of Cambodian filmmaker Rithy Panh. Born in 1964, Panh survived the Khmer Rouge’s genocidal regime, an experience that profoundly influences his body of work. This collection stands as the first comprehensive academic examination of Panh’s extensive filmography, offering readers an in-depth understanding of his artistic vision and thematic preoccupations.

Structured into four distinct sections—”Aftermath: A Cinema of Postwar Survival,” “From Colonial to Global Cambodia,” “A Question of Justice,” and “Memory, Voice, and Cinematic Practice”—the anthology presents fourteen essays by scholars from diverse disciplines, including anthropology, film studies, cultural studies, history, art history, and philosophy. This multidisciplinary approach enriches the analysis, providing varied perspectives on Panh’s work. Notably, the volume includes a detailed historical chronology, situating Panh’s films within the broader context of Cambodian history and global cinema.

In the first section, the essays explore individual and collective responses to the Cambodian genocide. For instance, Boreth Ly examines the portrayal of women in “Rice People” and “One Night After the War,” highlighting how Panh brings to light enduring gender biases in Cambodian society. Joseph Mai’s analysis of “The Burnt Theatre” considers the resilience found within physical and symbolic ruins, reflecting on Cambodia’s artistic heritage and collective dignity.

The second section shifts focus to the impacts of colonialism and globalization on Cambodia. Leslie Barnes’s essay on “The Sea Wall” discusses Panh’s adaptation of Marguerite Duras’s work, emphasizing the director’s nuanced portrayal of Cambodia’s colonial past. Jennifer Cazenave’s contribution examines Panh’s role as a “chasseur d’images” (image hunter), delving into his quest to reconstruct lost histories through cinematic imagery.

The third section addresses themes of justice and moral reckoning. Stéphanie Benzaquen-Gautier and John Kleinen analyze Panh’s archival approach in documenting perpetrators of violence, while Donald Reid explores the director’s engagement with figures like Duch, a Khmer Rouge leader, to interrogate notions of guilt and responsibility.

The final section delves into memory, voice, and cinematic practice. Soko Phay’s essay portrays Panh as a “storyteller of the extreme,” highlighting his ability to intertwine personal trauma with collective memory, thereby challenging conventional documentary practices.

Overall, “The Cinema of Rithy Panh: Everything Has a Soul” is an invaluable resource for scholars, students, and cinephiles interested in Southeast Asian cinema, documentary filmmaking, and the intricate processes of memory and representation. The anthology not only honors Panh’s remarkable career but also contributes significantly to the discourse on how cinema can serve as a medium for historical reflection and healing.