In the late fifties in Malaysia, the country finds itself under English domination after many trials and tribulations. In a little lost village on a wide and turbulent river, a European man clings to his pipe dreams out of love for his daughter.
In her last narrative feature film, Chantal Akerman alternately structured an organic visual language—patient, intense, emotive long-takes—demonstrating a director’s complete command of form. An ambitious adaptation that refocuses and subverts its source material: the debut novel of Joseph Conrad.
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Abram Room, 1930, Soviet Union
