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His discovery of a newfound ability to time travel is not only thrilling but also deeply emotional, the camera’s gaze lingering on the small artifacts of his childhood that connect him to a happier time. Perhaps we cannot relate to the Old Man’s ability to see ghosts nor his methods of laying the sick to rest, but we recognize ourselves intimately in his yearning for his past. But it’s also specific to developing countries like Laos– in the words of Do herself, “When you think of a science fiction film, where are all the country people?” In our present time, where technology advances continually at a rapid, relentless pace, the feeling of being left behind is a deeply familiar grief. Overhead, a jet travels at warp speed and townspeople make payments via implants located inside their wrists, but the Old Man’s village remains otherwise untouched by this progress. It’s telling that common illnesses continue to impact the people of his town, despite existing in a science-fiction future. Played by veteran propaganda-theater actor Yannawoutthi Chanthalangsy, his rationale for murder is revealed as a simple desire to relieve ill, elderly women of the pain he witnessed his mother succumb to as a child.
THE LONG WALK HOME THE MOVIE SERIAL
Serial killer protagonists are nothing new, but rarely are they as empathetic as the Old Man in THE LONG WALK. There is something trustworthy about her, and therefore about him, even as he kills and buries body after body using a concoction made of herbs.
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We know only that he has a friend, a ghost-girl with a sad, searching smile. They’re in search of a missing, elderly woman– whose dead body we know the Old Man has locked in a room–but we root for him in his deception, even without fully understanding his motives. In THE LONG WALK, the third feature film from Oscar-nominated Lao filmmaker Mattie Do, an old man maintains a seamless poker face when cops come knocking at his door.