The title, you might not be surprised to hear, is ironic: In Rithy Panh’s frenetic, splenetic new hybrid essay film, everything will most assuredly not be OK. Humans, with our immense capacit…
Rithy Panh
The Kubrick reference is apt. “Everything Will Be OK” opens under a lightning-breached sky, as something stirs under the sand. Up rises a featureless rectangular monolith, like the one that causes our our poor simian ancestors such consternation at the beginning of “2001: A Space Odyssey.” From here, it’s a short hop to the alternate future, imagined in intricate, dollhouse-like tableaux in which an animal revolution has occurred.
But Panh is scarcely getting started. He also incorporates stylistic and thematic elements from his last despairing documentary on atrocity, “Irradiated” — notably, split-screen repetitions of archival footage from some of the most traumatizing events in recent history. Again, he almost casually breaks the fairly sacrosanct cinematic taboo against showing real people dying onscreen, with a brief clip of an execution-style gunshot to the head.
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