![\"\"](\"https:\/\/www.cinemaoasis.com\/wp-content\/uploads\/2026\/05\/Poster-Casino-Cambodia_A1-copy-724x1024.jpg\")
<\/h1>\nCasino Cambodia<\/span><\/b><\/h1>\nThai, documentary, 1994<\/i><\/p>\n<\/div>\n\n\n\n\n105 min<\/i><\/h4>\nIng K<\/strong><\/em><\/h3>\nEnglish, Khmer, Thai & French<\/span><\/p>\n(Thai & English subs)<\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n\n\n\n\n\n\n.<\/span><\/div>\n<\/div>\n\n\nA trip to post-war Cambodia as it turns itself into a business opportunity and playground raises the question of who gets to write history.<\/div>\n.<\/div>\nThis 1994 film documenting Cambodia\u2019s tentative return to peace, from the POV of a former UN volunteer on the Thai-Cambodian border, has a bittersweet contemporary resonance that is both eerie and poignant, like Cambodia itself. The restoration wisely left the faded colours alone, intact with all its analogue grains, thereby deepening the sense of time travel. Down the rabbit hole we go, through mass graves and war-haunted ruins with backpackers and deminers, to \u201ccommunist man-eating crocs\u201d and a treacherous reunion of old refugee camp colleagues (including the film\u2019s director): Dr Haing Ngor (Oscar-winner of \u2018The Killing Fields\u2019 fame) and Dr Daniel Susott (later the drag queen Guru Dan in \u2018DogGod\u2019). All leads straight to the roots of the ultimate question: Who writes our history? Who shapes our collective memory of the past, of how we got here and now.<\/div>\n.<\/div>\n\u2018Casino Cambodia\u2019 version 2026 has one addition of a brief clip from a UNHCR documentary from 1980, recently posted on YouTube, of the film\u2019s director (then a recent art college drop-out and UN volunteer) teaching a classroom at Khao I Dang refugee camp. Ing K calls this her \u201cfirst full-length and last conventional film\u201d (right before \u2018DogGod\u2019 and decades before \u2018Shakespeare Must Die\u2019), made while she was still very much an investigative journalist; yet the experience is profoundly surreal.<\/div>\n.<\/div>\nThose who think this is no time for a Thai film that shows Cambodians as sweet-natured humans should please remember that the people of Cambodia and Hun Sen are not one and the same, and try to understand why they have endured his rule for nearly half a century.<\/div>\n.<\/div>\nMade before the director\u2019s domestic national security banning and international blacklisting, \u2018Casino Cambodia\u2019 was screened in countless film festivals around the world, including Rotterdam and Busan. This is its first release in Thailand, with Thai subtitles.<\/div>\n<\/div>\n.<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n——————————————————<\/span><\/div>\n.<\/div>\n\n\n\n\n\nCASINO CAMBODIA Sample Reviews:<\/strong><\/h2>\n\u201cThis cool, clear documentary [presents] a different view on the Cambodian tragedy than we usually see in the West… The film tries to avoid simple ethical judgements and is considerably more alarming than what is shown about Cambodia on television.\u201d<\/p>\n
– Rotterdam International Film Festival programme<\/strong><\/p>\n.<\/p>\n
\u201cEven more outstanding is Casino Cambodia, directed by the local \u2018barefoot\u2019 filmmaker IngK… Thefilm highlights the tragicomic and borders on the absurd.\u201d<\/p>\n
– The Nation (Bangkok)<\/strong><\/p>\n.<\/p>\n
\u201cCasino Cambodia resists easy moral judgements and is certainly more troubling than anything you will see on the TV news. Perhaps the most startling encounter is with Dr Haing Ngor, actor-hero of The Killing Fields. Ing knew him years ago in the refugee camps. Now she finds him deforesting his homeland with alogging operation…\u201d<\/p>\n
– Chris Berry, Department of Cinema Studies,<\/strong><\/p>\nLaTrobe University, Melbourne.<\/strong><\/p>\n.<\/p>\n
\u201cSurprisingly, recreation also has a role in \u2018Casino Cambodia\u2019, which casts an amused but sympathetic eye at the war-ravaged country\u2019s efforts to build a tourist trade. It is narrator Ing K\u2019s thesis that the news media have \u2018sensationalized\u2019 and \u2018oversimplified\u2019 Cambodia, and her ironic, impressionistic approach is suited to raising provocative questions rather than providing solid answers.\u201d<\/p>\n
– John Anderson, Newsday (New York)<\/strong><\/p>\n.<\/p>\n
\u201cCasino Cambodia reassesses conventional opinions about the recent return of relative peace there. The UN presence…and the wave of entrepreneurs that came with it, are shown to have resulted in an international playground (or casino) as much as an exercise in nation-building… Simplistic perspectives in the media are not so easily excused, and the film looks at how the complexity of the Khmer Rouge\u2019s origin has largely been left out of recent coverage.\u201d<\/p>\n
– Manager Magazine (Bangkok)<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n.<\/div>\n<\/div>\n\nTrailer :<\/span><\/h2>\n
Thai, documentary, 1994<\/i><\/p>\n<\/div>\n English, Khmer, Thai & French<\/span><\/p>\n (Thai & English subs)<\/span><\/p>\n<\/div>\n<\/div>\n \u201cThis cool, clear documentary [presents] a different view on the Cambodian tragedy than we usually see in the West… The film tries to avoid simple ethical judgements and is considerably more alarming than what is shown about Cambodia on television.\u201d<\/p>\n – Rotterdam International Film Festival programme<\/strong><\/p>\n .<\/p>\n \u201cEven more outstanding is Casino Cambodia, directed by the local \u2018barefoot\u2019 filmmaker IngK… Thefilm highlights the tragicomic and borders on the absurd.\u201d<\/p>\n – The Nation (Bangkok)<\/strong><\/p>\n .<\/p>\n \u201cCasino Cambodia resists easy moral judgements and is certainly more troubling than anything you will see on the TV news. Perhaps the most startling encounter is with Dr Haing Ngor, actor-hero of The Killing Fields. Ing knew him years ago in the refugee camps. Now she finds him deforesting his homeland with alogging operation…\u201d<\/p>\n – Chris Berry, Department of Cinema Studies,<\/strong><\/p>\n LaTrobe University, Melbourne.<\/strong><\/p>\n .<\/p>\n \u201cSurprisingly, recreation also has a role in \u2018Casino Cambodia\u2019, which casts an amused but sympathetic eye at the war-ravaged country\u2019s efforts to build a tourist trade. It is narrator Ing K\u2019s thesis that the news media have \u2018sensationalized\u2019 and \u2018oversimplified\u2019 Cambodia, and her ironic, impressionistic approach is suited to raising provocative questions rather than providing solid answers.\u201d<\/p>\n – John Anderson, Newsday (New York)<\/strong><\/p>\n .<\/p>\n \u201cCasino Cambodia reassesses conventional opinions about the recent return of relative peace there. The UN presence…and the wave of entrepreneurs that came with it, are shown to have resulted in an international playground (or casino) as much as an exercise in nation-building… Simplistic perspectives in the media are not so easily excused, and the film looks at how the complexity of the Khmer Rouge\u2019s origin has largely been left out of recent coverage.\u201d<\/p>\n – Manager Magazine (Bangkok)<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n105 min<\/i><\/h4>\n
Ing K<\/strong><\/em><\/h3>\n
CASINO CAMBODIA Sample Reviews:<\/strong><\/h2>\n
Trailer :<\/span><\/h2>\n