Unusual and highly personal documentary about the Killing Fields of Cambodia

The French-produced documentary The Missing Picture about the killing fields of the Pol Pot regime in Cambodia in the 70s and 80s is a very powerful, imaginative, yet also flawed movie: the greatest strength is the highly unusual way in which the filmmaker, R. Pranh, uses painted ceramic figures to reenact and recreate the many scenes of the horror of those days, which he apparently lived through as a boy and young man, because the scenes are lost to history - few were recorded or documented in any manner as the country itself shunned all "imperialist" art and forms of individual expression and moved ever closer to a peasant society from the middle ages - except that it was really a horrendous autocracy under the rule of the evil Pol Pot. Pranh strikingly juxtaposes the scenes he creates with the ceramic figures against some of the surviving footage from the era: Pnomh Penh being emptied by the Khmer Rouge, children working in the rice paddies and building stone sluiceways, Pol Pot cheerful and smiling in front of massive "adoring" crowds - just awful, frightening, and the juxtapositions Pranh develops - sometimes through montage and sometimes through superimposition - are very powerful moments: the sorrow and pathos of a grown man re-creating his youth through ceramic figures will remind some of the great documentary about an outsider artist, Marwencol; the weird acceptance of horror will also recall the recent Danish-made documentary about the killings in Indonesia. Unfortunately, the film - narrated in first person by (a stand-in in English) for Pranh, his own long narrative jumps around quite a bit from theme to theme and could definitely use more of a developmental arc, either a timeline some other form of organization. I also would have like to know more about him in later life and more about the creation and use of the ceramics: was it just of this film? or some other form or expression or obsession? We see a little bit of the use of these in the closing credits, but not enough. There have been other films about the Killing Fields and the Khmer Rouge, but probably none so personal as this one.