Koji Minami, director and editor of the documentary “Made in Cambodia”
The Center for Southeast Asia and its Diasporas recently caught up with Koji Minami, the director and editor of “Made in Cambodia,” a documentary detailing contemporary art and artists in Cambodia since the 1970s.
Minami will be visiting the University of Washington campus this Friday, Sept. 6 for a screening and Q&A of the documentary.
1. You’ve been working on “Made in Cambodia” since 2019, what was your favorite part of this process?
My favorite aspect of the process was undoubtedly the opportunity to engage with the artists in person. It was a remarkable experience, one for which I am profoundly grateful. The artists were incredibly generous with their time and stories, graciously inviting me into their worlds and offering insights into how they experience and interpret reality. Two of them even welcomed me into their homes for the interviews.
I went into the interviews with some prior understanding of their work and backgrounds, which allowed me to prepare some questions in advance. However, the interviews evolved into more spontaneous and organic conversations — we were able to follow intriguing threads as they came up, and the artists expanded on various topics, sharing their opinions and feelings in a deeply personal way. My rudimentary preliminary thoughts I had about the actual narrative outline of the film sort of went out the window — this made the editing process exponentially more difficult, but I do think that what resulted was a much richer and more true representation of their stories.
Connecting with these exceptional artists and leading the discussions with genuine curiosity was a true privilege. I felt a strong sense of responsibility to present their stories with both skill and integrity.
2. What informed your decision(s) to feature these specific artists, and what did you hope to achieve by sharing their stories?
From the outset, I understood that, given the scope of this project, capturing the full spectrum of Cambodia’s contemporary art scene wouldn’t be possible. I think a documentary of that scale and ambition would be amazing, but this is not it. Nevertheless, it was crucial to me that a range of perspectives be represented to convey the vibrant and multifaceted nature of the artistic landscape there. I had the immense privilege of collaborating with Lauren Iida, the founder of Open Studio Cambodia, an artist collective that represents a select group of local contemporary artists.
Lauren’s deep immersion in the Cambodian art scene and her extensive knowledge of prominent artists proved invaluable. Without her involvement, the film simply couldn’t exist as it does. Together, we discussed a diverse array of artists — she provided context and showed me their work, and we just kind of bounced ideas and back and forth on how we could weave different threads together to create a tapestry of stories.
3. The documentary focuses on the personal stories of artists and elements of the Cambodian socio-political context, what did their stories teach you about the nature of being an artist and artistry in general?
This is actually one of the most intriguing insights I gained while making this film! There wasn’t really an overt plan to focus on the socio-political dimensions of art and its societal role. This aspect naturally emerged through the conversations I had with the artists. Here, it can be easy to view art as a non-essential luxury — sometimes it’s sort of looked on as a frivolous diversion, intellectual experimentation, or even a competition for coolness and cultural cachet. In other words, there can be a disconnect between art and real life. This attitude can create a disconnect between art and real life, obscuring its transformative power and essential role in society.
Courtesy of the “Made in Cambodia” team
I’m not saying that all art needs to be made with a specific purpose, or for a social cause. I think artists don’t need to conform to any specific role, and they should be and create whatever they want. I think that art and experimentation for it own sake is valuable and important in its own right. Without it, the world would be much less interesting and joyful!
However, I found the stories of the artists featured in this film to be deeply inspiring, and I think they shine a light on the potential power that art can play in our lives and our communities. I was profoundly moved by how each artist uses their work as a catalyst for social change. It’s deeply inspiring to see them channel their personal experiences into causes that matter to them, and in service to others.
4. What would you say is the biggest takeaway from the documentary?
I believe the most significant takeaway is creative inspiration. That’s what I felt through the making of this film, and it’s what I hope viewers take away from it. To see how these amazing artists have developed their genius and honed their craft amidst a world very different than many of ours is nothing short of awe-inspiring. These stories are uniquely personal, but they also tap into something shared and universal — the will to create, and the transformational power of art.
That’s just my own personal opinion though — I always love to hear what resonated for other people!
5. As someone based in Seattle, how does it feel to share this project with your local community?
It’s always really exciting to share the film with people here. I love hearing from viewers what resonated with them — what surprised them, how the artists’ experiences differ from or align with their own, and what insights they’ve gained. As I’ve mentioned before, on a personal level, I’ve long wanted to convey the magic of my experience in Cambodia. I feel that this film, in its own small way, allows me to share that sense of discovery and connection.
Although I chose not to appear directly in the documentary — opting instead to focus entirely on the artists’ stories — there is an element of my perspective woven into the film. In some styles of documentary, the filmmaker is present either on-screen or through their voice, asking questions from just out of frame, or offering commentary through voiceover. I chose to avoid this in order to prioritize and highlight the artists’ narratives. However, the film does invite viewers into my point of view, enabling them to share in the experience of discovery, learning something new, and connecting with another culture.
6. In the documentary, many of the artists mention censorship of media in Cambodia; what has been the reaction to the documentary in Cambodia, if any?
Unfortunately, we haven’t had the opportunity to screen the film in Cambodia yet. While it is available for free online through social media and video platforms, I hope we can present it there someday.
In creating the film, we gave considerable thought to how it would be received across different regions. The issue of censorship emerged prominently in my conversations with the artists, and I realized its widespread significance in the Cambodian arts. So it felt important to include it in the film, but we had to navigate carefully in deciding how much to reveal and how to frame it. Some segments of our unedited interviews were super interesting, but we had to weigh the potential risks we may be exposing the artists to in Cambodia.
In contrast, for American audiences where freedom of expression is a deeply embedded value that we sometimes take for granted — the subject might be particularly compelling. We ultimately had to find a delicate balance, and as a result, some material was omitted from the final film to ensure the safety and well-being of those involved.
7. Anything else you’d like readers to know?
One of the main inspirations behind this film is my own personal connection to Cambodia and my profound appreciation for Khmer culture. During my year-long stay in Cambodia in 2014, I was instantly captivated by the country and its rich heritage. Since then, I’ve always wanted to find a way to explore its culture more deeply, and to share what I’ve seen and learned through my experiences there.
Creating this documentary was truly a labor of love. It was self-funded on a shoestring budget and shot in a scrappy run-and-gun style. By necessity, I wore a lot of different hats — director, cinematographer, sound recordist, editor, and producer. This DIY approach is evident in the final product. While the film may be imperfect, my hope is that it conveys a sense of immediacy and sincerity, allowing viewers to feel immersed in the artists’ worlds.
My intention was to spark curiosity and encourage viewers to delve deeper into these stories, which have become deeply meaningful to me. It is a great honor to share them with others.