By blending clay dolls, pictures, and the images of documentary films, the winner of the Prix Un Certain Regard at Cannes this year recreates the devastating memory of the Khmer Rouge in Cambodia. In the film, public history is presented through an informative montage while the private memories are re-enacted by clay dolls. Both overlap to rewrite the distorted, hidden history. Just as the film refutes the common opinion that private memories can easily be distorted, it delicately rebuilds the internal world of Rithy Panh into a world of clay. Everything engraved in his memory, including the clothes his family and his friends used to wear and the place they used to live in is vividly revived. But the retrieved past recalls old emotions rather than restoring history. The longing for the lost family and friend and the survivor’s guilty conscience grow into the sense of duty for the ‘complete records’. The Missing Picture, consequently, opens our eyes to the respect and duty for history, not to the anger for or accusation of an abusive government. (CHO Young-jung)